By Richard Dutton, Jean E. Howard

ISBN-10: 0470996552

ISBN-13: 9780470996553

ISBN-10: 0631226346

ISBN-13: 9780631226345

The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely accomplished image of present Shakespeare feedback. This quantity appears at Shakespeare’s comedies.

  • Contains unique essays on each comedy from The gents of Verona to Twelfth Night.
  • Includes twelve extra articles on such subject matters because the humoral physique in Shakespearean comedy, Shakespeare's comedies on movie, Shakespeare's relation to different comedian writers of his time, Shakespeare's pass dressing comedies, and the geographies of Shakespearean comedy.
  • Brings jointly new essays from a various, overseas team of students.
  • Complements David Scott Kastan's A spouse to Shakespeare (1999), which desirous about Shakespeare as an writer in his ancient context.
  • Offers a provocative roadmap to Shakespeare reports.

Chapter 1 Shakespeare and the Traditions of English degree Comedy (pages 4–22): Janette Dillon
Chapter 2 Shakespeare's Festive Comedies (pages 23–46): Francois Laroque
Chapter three The Humor of It: our bodies, Fluids, and Social self-discipline in Shakespearean Comedy (pages 47–66): Gail Kern Paster
Chapter four category X: Shakespeare, type, and the Comedies (pages 67–89): Peter Holbrook
Chapter five The Social family members of Shakespeare's comedian families (pages 90–113): Mario DiGangi
Chapter 6 Shakespeare's Crossdressing Comedies (pages 114–136): Phyllis Rackin
Chapter 7 The Homoerotics of Shakespeare's Elizabethan Comedies (pages 137–158): Julie Crawford
Chapter eight Shakespearean Comedy and fabric existence (pages 159–181): Lena Cowen Orlin
Chapter nine Shakespeare's comedian Geographies (pages 182–199): Garrett A. Sullivan
Chapter 10 Rhetoric and comedian Personation in Shakespeare's Comedies (pages 200–222): Lloyd Davis
Chapter eleven fats Knight, or What you'll: Unimitable Falstaff (pages 223–242): Ian Frederick Moulton
Chapter 12 Wooing and successful (Or Not): Film/Shakespeare/Comedy and the Syntax of style (pages 243–265): Barbara Hodgdon
Chapter thirteen the 2 gents of Verona (pages 266–288): Jeffrey Masten
Chapter 14 “Fie, what a silly accountability name you this?” The Taming of the Shrew, Women's Jest, and the Divided viewers (pages 289–306): Pamela Allen Brown
Chapter 15 The Comedy of error and The Calumny of Apelles: An workout in resource research (pages 307–319): Richard Dutton
Chapter sixteen Love's Labour's misplaced (pages 320–337): John Michael Archer
Chapter 17 A Midsummer Night's Dream (pages 338–357): Helen Hackett
Chapter 18 Rubbing at Whitewash: Intolerance within the service provider of Venice (pages 358–375): Marion Wynne?Davies
Chapter 19 The Merry better halves of Windsor: Unhusbanding wishes in Windsor (pages 376–392): Wendy Wall
Chapter 20 a lot Ado approximately not anything (pages 393–410): Alison Findlay
Chapter 21 As you love It (pages 411–428): Juliet Dusinberre
Chapter 22 12th evening: “The Babbling Gossip of the Air” (pages 429–446): Penny homosexual

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No, my good lord, it is more pleasing stuff. Sly. What, household stuff? 24 François Laroque Bartholomew. It is a kind of history. Sly. Well, we’ll see’t. 64–136) Sly’s dream that he has become a lord and may be treated to a private performance of a “comonty” in his own house certainly anticipates Bottom’s dream that he was loved by the fairy queen before waking up and walking away from the woods to play Pyramus at the marriage revels at Duke Theseus’ court. 1 But both fictions are used by Shakespeare to illustrate his style of popular, romantic comedy as opposed to the more learned, elitist form of play which Ben Jonson was to advocate a few years later.

Oxford: Clarendon Press. —— (1991). Campaspe and Sappho and Phao, ed. G. K. Hunter and David Bevington. Manchester and New York: Manchester University Press. Mincoff, M. (1961). Shakespeare and Lyly. Shakespeare Survey, 14, 15–24. Peele, G. (1952–71). The Life and Works of George Peele, 3 vols, ed. C. T. Prouty. New Haven, CT: Yale University Press. Salingar, L. (1974). Shakespeare and the Traditions of Comedy. Cambridge: Cambridge University Press. Shakespeare, W. (1997). The Riverside Shakespeare, 2nd edn, ed.

Bakhtin’s concept of carnival as a form of popular culture showing subversive irreverence for authority and a way of indulging verbal exuberance and vulgarity, even obscenity, that revels in ambivalence (confusing high and low, birth and death . ) and celebrates the pleasures of the body, especially in its orifices, protuberances, and appetites, has been the most widely used and discussed over the past thirty years. To the eyes of the Russian critic, carnival makes mutability and topsyturvydom the main energizing poles of the popular culture of the late Middle Ages and the Renaissance: During the century-long development of the medieval carnival, prepared by thousands of years of ancient comic ritual, including the primitive Saturnalias, a special idiom of forms and symbols was evolved – an extremely rich idiom that expressed the unique yet complex carnival experience of the people.

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A Companion to Shakespeare's Works, Volume 3: Literature and Culture by Richard Dutton, Jean E. Howard

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