Beyond Tragedy: Structure and Experience in Shakespeare's RomancesUniversity Press of Kentucky, 15 de jul. 2014 - 160 pàgines In this compact, yet comprehensive exploration of Shakespeare's romances, Robert W. Uphaus suggests that the romances bring us to a realm of human and dramatic experience that is "beyond tragedy." The inexorable movement of tragedy toward death and a final close is absorbed in romance by a further movement in which death can lead to renewed life, characters can experience a second time of joy and peace, and the audience's conventional expectations about reality and literature are challenged and enlarged. In the late tragedies of King Lear and Antony and Cleopatra, Uphaus finds the tragic structure augmented by elements that will later contribute to the form of the romances. Turning then to the romances themselves, he sees these plays as forming a profession in which Pericles is a brilliant outline of the conventions of romance and Cymbeline is romance taken to its dramatic limits, in fact to the point of parody. Through his fresh and provocative readings of the plays we experience anew the delight of Shakespearean romance and glimpse the world of renewal at its heart. |
Des de l'interior del llibre
Resultats 1 - 5 de 79.
... play and of human life is ultimately defined by the loss or exhaustion of the very life which asserts that meaning. But what happens to a tragic sense of life when the conventional basis of tragedy is at once reversed and expanded? That ...
... play intimations of values which outstrip time. In other words, there are suggestions of a realm of transcendent value which time cannot touch.” Characters thus do not so much control as respond to experiences larger than their own ...
... play around the tragic events of twelve years past, so that the whole of The Tempest is at once a reenactment and a recycling of a past tragedy that leads to an experience of romance, as transformed tragedy, in the present. For Prospero ...
... play and forces the witches to distinguish between what is, ultimately, tragic and what is nontragic. The “seeds of time,” it turns out, are themselves equivocal: “Lesser than Macbeth, and greater / Not so happy, yet much happier ...
... play itself, with Macbeth as its center, deals only with the compressed time of tragedy, where every action Macbeth initiates in the present is done in anticipation of, and defined against, future necessity. Every act of possession ...
Continguts
1 | |
12 | |
Pericles and the Conventions of Romance | 34 |
Cymbeline and the Parody of Romance | 49 |
The Issues of The Winters Tale | 69 |
Prosperos Art and the Descent of Romance | 92 |
History Romance and Henry VIII | 118 |
NOTES | 141 |
INDEX | 149 |
Altres edicions - Mostra-ho tot
Beyond Tragedy: Structure & Experience in Shakespeare's Romances, Volum 10 Robert W. Uphaus Previsualització limitada - 1981 |
Beyond Tragedy: Structure and Experience in Shakespeare's Romances Robert W. Uphaus Previsualització limitada - 2021 |
Beyond Tragedy: Structure & Experience in Shakespeare's Romances, Volum 10 Robert W. Uphaus Visualització de fragments - 1981 |