English Stage Comedy 1490-1990Alexander Leggatt Routledge, 31. 1. 2002 - 192 strán (strany) First published in 2004. English stage comedy has weathered centuries of social and theatrical change. How did it survive? English Stage Comedy 1490–1990 is a unique and beautifully written study of the comedy of the English stage from the Tudor period to the late twentieth century. Organized thematically, it shows how this remarkably enduring genre has dealt with the tensions of social life, using its conventions as tools for social inquiry. Through an examination of comedy Alexander Leggatt demonstrates that an approach through genre, neglected in recent criticism, can have much to say about our current concerns with the relations between literature and society. English Stage Comedy 1490–1990 surveys five centuries of classic comic drama, focusing on major playwrights such as: Shakespeare, Jonson, Etherege, Wycherley, Congreve, Vanbrugh, Goldsmith, Sheridan, Wilde, Shaw, Coward, Orton, Ayckbourn and many lesser-known figures. |
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Výsledky 1 - 5 z 75.
Strana 2
... Marriage Act of 1753, which seemed to give excessive power to parents and guardians.3 Neither reading can be ruled ... Married Beau (1694) old Thorneback boasts of his continuing sexual prowess by quoting Bartholomew Fair (1614): 'I'm ...
... Marriage Act of 1753, which seemed to give excessive power to parents and guardians.3 Neither reading can be ruled ... Married Beau (1694) old Thorneback boasts of his continuing sexual prowess by quoting Bartholomew Fair (1614): 'I'm ...
Strana 3
... marriage, for example) are conscious of doing so; they invoke the expectation by denying it. A comedy, then, is a problem-solving story, ending in resolution and order normally symbolized by marriage. The other distinctive feature of ...
... marriage, for example) are conscious of doing so; they invoke the expectation by denying it. A comedy, then, is a problem-solving story, ending in resolution and order normally symbolized by marriage. The other distinctive feature of ...
Strana 5
... marriage, the family, the rule of law – so the anxieties on which comic laughter plays are social anxieties: the need ... married life' and calls for an opening of the lines of communication between literary criticism and social history ...
... marriage, the family, the rule of law – so the anxieties on which comic laughter plays are social anxieties: the need ... married life' and calls for an opening of the lines of communication between literary criticism and social history ...
Strana 6
... marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at times panic, not just in particular moments (Austen allows that) but as a basic ... married to the 6 FIVE CENTURIES OF A GENRE.
... marriage in stage comedy have minutes where Austen's characters have weeks. There is urgency, pressure, even at times panic, not just in particular moments (Austen allows that) but as a basic ... married to the 6 FIVE CENTURIES OF A GENRE.
Strana 7
Alexander Leggatt. question of whether or not Morose is married to the title character is solved at a stroke when Dauphine whips off Epicoene's peruke and announces, 'here is your release, sir; you have married a boy' (V.iv.204–5). It ...
Alexander Leggatt. question of whether or not Morose is married to the title character is solved at a stroke when Dauphine whips off Epicoene's peruke and announces, 'here is your release, sir; you have married a boy' (V.iv.204–5). It ...
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Amanda anxiety Arden audience Bellinda Brindsley Butler Saw calls Cambridge University Press century characters claims Cloud 9 comedy’s comic Conscious Lovers convention Country Wife Coward death declares detachment display Dorimant drama Earnest Eliza Elyot English comedy fantasy father final Friendall genre Hardcastle Heartbreak House Higgins husband identity insists Jack John Lahr joke Jonson’s Kate keep Lady Bracknell laugh laughter London London Prodigal loner look Love’s lovers maid man’s Manly Manly’s Marlow marriage married Midsummer Night’s Dream Mirabell never Noël Coward one’s Orton other’s parents parody Petruchio play play’s plot reality relationship Restoration Restoration comedy role romantic Rosalind scene School for Scandal second world sexual Shakespeare’s Sheridan shows Shylock’s Sir Sampson social society stage comedy Steele’s style Susan Susan Carlson tells theatre theatrical thing traditional tragedy turn Valentine Volpone Wilde Wilde’s woman women young