By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely accomplished photo of present Shakespeare feedback. This quantity appears to be like at Shakespeare’s comedies.
- Contains unique essays on each comedy from The gents of Verona to Twelfth Night.
- Includes twelve extra articles on such issues 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 staff of students.
- Complements David Scott Kastan's A spouse to Shakespeare (1999), which curious about Shakespeare as an writer in his old 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 classification 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 lifestyles (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 responsibility 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 mistakes 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 other halves of Windsor: Unhusbanding wants 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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Additional info for A Companion to Shakespeare's Works, Volume 3: Literature and Culture
Thorndike also lists the known Robin Hood plays between 1589 and 1599. The Robin Hood plays also seem to demonstrate familiarity with this more literary vein of writing. 16–17), in which his praise of an outdoor life, where “For Arras hangings, and rich Tapestrie, / We haue sweete Natures best imbrothery [embroidery]” (The Downfall, lines 1374–5) sounds like a dispute with Sidney. The other two are Common Conditions (1576) and The Rare Triumphs of Love and Fortune (1582). This point is made by Agnes Latham in her introduction to the Arden edition of the play.
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. G. Blakemore Evans. Boston: Houghton Mifflin. Sidney, P. (1973). An Apology for Poetry, ed. Geoffrey Shepherd. Manchester: Manchester University Press.
If one subtext of comedy is indeed carnival, festivity, rejoicing, and liberation, another is containment, exclusion, and regulation. One is Dionysiac and celebratory, the other normative and corrective. Festive Comedy vs. Comica1 Satire Festivity, celebration, carnival – these are words that have positive, genial, exciting connotations attached to them, while laughter, satire, ridicule, and folly sound cruel, punitive, expository.