Dynamism of Character in Shakespeare's Mature TragediesUniversity of Delaware Press, 2003 - 327 oldal Dynamism of Character in Shakespeare's Mature Tragedies applies the systems theory of character to the analysis of the psychological and dramatic consistency of the main characters of Hamlet, Othello, King Lear, and Macbeth. The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind, independent of the pressures of the sociocultural environment and the immediate situational context. What we call character thus denotes an autonomous configuration of psychological elements, which ensure the consistency and continuity of individual identity, despite the influence of the changing external circumstances. intuitive, and impressionistic approaches to character criticism, to the New Critical aesthetic readings of Shakespeare's plays which often ignore psychology as a valid interpretive perspective, and to the more recent cultural materialist readings that consider dramatic characters solely as functions of external, sociocultural forces. Piotr Sadowski teaches English literature at the American College Dublin, Dublin Business School, and Trinity College Dublin. |
Részletek a könyvből
1 - 5 találat összesen 78 találatból.
. oldal
... dramatic consistency of the main characters from Hamlet , Othello , King Lear , and Macbeth . The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind , independent from the ...
... dramatic consistency of the main characters from Hamlet , Othello , King Lear , and Macbeth . The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind , independent from the ...
7. oldal
... dramatic figures resembling human persons and therefore inviting the kind of response we nor- mally have toward people we meet in life . This subjective , personal bias seems therefore inevitable in ana- lyzing dramatic characters of ...
... dramatic figures resembling human persons and therefore inviting the kind of response we nor- mally have toward people we meet in life . This subjective , personal bias seems therefore inevitable in ana- lyzing dramatic characters of ...
8. oldal
... dramatic characters offered in the present book is also underpinned by a theory , which means that the resulting inter- pretive analyses are as good , or as bad , as the underlying theory . My intention is to use what can be called a ...
... dramatic characters offered in the present book is also underpinned by a theory , which means that the resulting inter- pretive analyses are as good , or as bad , as the underlying theory . My intention is to use what can be called a ...
9. oldal
... dramatic plots allows for a more objective and less impressionistic interpre- tation . More than that , assuming that dramatic personages are prop- erly identified with respect to their dynamism of character , it is actually possible to ...
... dramatic plots allows for a more objective and less impressionistic interpre- tation . More than that , assuming that dramatic personages are prop- erly identified with respect to their dynamism of character , it is actually possible to ...
10. oldal
... dramatic character to be effective onstage , some degree of psychological consistency is necessary to make that character convincing to the audience . On the other hand , we need not remind ourselves that theatrical plays are not ...
... dramatic character to be effective onstage , some degree of psychological consistency is necessary to make that character convincing to the audience . On the other hand , we need not remind ourselves that theatrical plays are not ...
Tartalomjegyzék
7 | |
13 | |
26 | |
Dynamism of Character | 49 |
Characters in Action | 81 |
Hamlet | 98 |
Othello | 164 |
King Lear | 219 |
Macbeth | 273 |
Notes | 300 |
Bibliography | 318 |
Index | 324 |
Más kiadások - Összes megtekintése
Gyakori szavak és kifejezések
acter action appear attitude audience avenger balance Banquo behavior Bradley Cassio cause character types characterological Claudius Claudius's context Cordelia crisis critics daughters death Desdemona dramatic dynamism of character Edgar Edmund Emilia emotional endodynamic character endostatic example exodynamic exostatic external fact father feelings filial Fortinbras gender Gertrude Ghost Gloucester Gloucester's Goneril Gonzago play Grene Hamlet hand heroic honest Honigmann Horatio human husband Iago Iago's individual interactions justice Kent killing King Lear king's Knight L. C. Knights Lady Macbeth Laertes Laertes's lago Lear's literary loyalty Macduff madness McElroy ment mental mind moral motives murder namic nature Ophelia Othello partner plot political Polonius Polonius's possible prince prince's principles psychological reaction reason relations revenge Roderigo role Rosencrantz and Guildenstern scene sense sexual Shakespeare's Shakespeare's Mature Tragedies Shakespeare's Tragic Imagination Shakespearean Tragedy situation social sociological power static character static person statism thou tion traditional unconscious villain wife Wilson Knight
Népszerű szakaszok
286. oldal - It is too full o' the milk of human kindness To catch the nearest way : thou wouldst be great ; Art not without ambition ; but without The illness should attend it : what thou wouldst highly, That wouldst thou holily ; wouldst not play false, And yet wouldst wrongly win : thou'dst have, great Glamis, That which cries " Thus thou must do, if thou have it ; And that which rather thou dost fear to do Than wishest should be undone.
282. oldal - That shake us nightly: better be with the dead, Whom we, to gain our peace, have sent to peace, Than on the torture of the mind to lie In restless ecstasy. Duncan is in his grave , After life's fitful fever he sleeps well...
144. oldal - A murderer and a villain ; A slave that is not twentieth part the tithe Of your precedent lord ; a vice of kings ; A cutpurse of the empire and the rule, That from a shelf the precious diadem stole, And put it in his pocket ! Queen.
277. oldal - Implored your highness' pardon and set forth A deep repentance: nothing in his life Became him like the leaving it; he died As one that had been studied in his death, To throw away the dearest thing he owed As 'twere a careless trifle.
161. oldal - That they are not a pipe for fortune's finger To sound what stop she please. Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee.
105. oldal - Hamlet wrong'd Laertes? Never Hamlet. If Hamlet from himself be ta'en away, And when he's not himself does wrong Laertes, Then Hamlet does it not, Hamlet denies it. Who does it, then? His madness. If't be so, Hamlet is of the faction that is wrong'd; His madness is poor Hamlet's enemy.
251. oldal - Hear, Nature, hear ! dear goddess, hear ! Suspend thy purpose, if thou didst intend To make this creature fruitful ! Into her womb convey sterility ! Dry up in her the organs of increase, And from her derogate body never spring A babe to honour her...
115. oldal - Hecuba to him or he to Hecuba That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears.
182. oldal - I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am ; nothing extenuate, Nor set down aught in malice...
150. oldal - Pale as his shirt ; his knees knocking each other ; And with a look so piteous in purport, As if he had been loosed out of hell, To speak of horrors, — he comes before me.
Hivatkozások erre a könyvre
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Nincs elérhető előnézet - 2006 |