標(biāo)題: Titlebook: Aphra Behn: The Comedies; Kate Aughterson Textbook 2003Latest edition The Editor(s) (if applicable) and The Author(s) 2003 [打印本頁(yè)] 作者: EXERT 時(shí)間: 2025-3-21 18:08
書目名稱Aphra Behn: The Comedies影響因子(影響力)
書目名稱Aphra Behn: The Comedies影響因子(影響力)學(xué)科排名
書目名稱Aphra Behn: The Comedies網(wǎng)絡(luò)公開度
書目名稱Aphra Behn: The Comedies網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Aphra Behn: The Comedies被引頻次
書目名稱Aphra Behn: The Comedies被引頻次學(xué)科排名
書目名稱Aphra Behn: The Comedies年度引用
書目名稱Aphra Behn: The Comedies年度引用學(xué)科排名
書目名稱Aphra Behn: The Comedies讀者反饋
書目名稱Aphra Behn: The Comedies讀者反饋學(xué)科排名
作者: Misgiving 時(shí)間: 2025-3-21 20:58
Openingsngs). There are good reasons for this, all of them signalling how distinct drama is from other literary forms, such as the traditional novel. Drama is predicated on action: for the plot to move forward, for characters to clash, to conflict and to come together during the short space of the performan作者: Inscrutable 時(shí)間: 2025-3-22 00:29
Endingsup, all characters happy participants in a celebratory closure, and all discord resolved, the ending produces a feeling of completion and inclusion. We are presented with an image of a cohesive, festive society. If, on the other hand, loose ends are left unexplained, characters are left outside the 作者: 貴族 時(shí)間: 2025-3-22 04:51 作者: Classify 時(shí)間: 2025-3-22 09:18
Heroines and Whoresiority, wit and eloquence than she does the men. She asks us to recognise them as women in a particular society. We shall examine one speech, or participation in dialogue, of each of the main female characters in each play, and consider Behn’s modes of characterisation. We have already seen how femi作者: 熟練 時(shí)間: 2025-3-22 15:45
Rakes and Gallantsscious libertines, self-interested, witty and sexy. Nevertheless, Behn uses this hero in a distinctive manner that sets her apart from many of her contemporaries: she objectifies these men through plotting, characterisation, the success of the heroine-tricksters, and the strategic employment of the 作者: 仔細(xì)閱讀 時(shí)間: 2025-3-22 17:43
Multiplying Plotsaracters. Additionally, the playwright’s plotting enables and encourages the audience to perceive and understand the action and themes in very particular ways. Behn frequently uses structural repetitions and parallels, to which our attention is explicitly drawn.作者: Flounder 時(shí)間: 2025-3-22 21:18
Stagingns. We have not the space here to consider all the examples in each play of her theatrical facility: one example from each demonstrates Behn’s use of the spatial and visual dimensions of the stage to build tension, aid characterisation and deepen the drama. Throughout our previous analyses this appr作者: 使乳化 時(shí)間: 2025-3-23 05:05 作者: 用樹皮 時(shí)間: 2025-3-23 06:22 作者: 空洞 時(shí)間: 2025-3-23 11:21
Behn’s Literary Careeration history, and from a relatively humble, and certainly obscure, background. How did such a woman emerge and go on to become one of the leading and most prolific playwrights of her generation? That question cannot be answered completely satisfactorily, partly because Behn herself fictionalised an作者: compassion 時(shí)間: 2025-3-23 16:41 作者: corn732 時(shí)間: 2025-3-23 21:06 作者: LEVY 時(shí)間: 2025-3-24 00:21
Der ggT und der euklidische Algorithmus,. Nevertheless, when we read an old play its literary and social conventions are necessarily alien. It is useful to outline some of the analytical terms used in the analyses in this book. These may be divided into three areas: linguistic form; imagery; and dramatic form and performance.作者: FRET 時(shí)間: 2025-3-24 02:42
Die Struktur der Einheitengruppen ,scious libertines, self-interested, witty and sexy. Nevertheless, Behn uses this hero in a distinctive manner that sets her apart from many of her contemporaries: she objectifies these men through plotting, characterisation, the success of the heroine-tricksters, and the strategic employment of the courtesans’ characterisation.作者: Pessary 時(shí)間: 2025-3-24 07:49
Teilertheorie im Ring ganzer Zahlen,aracters. Additionally, the playwright’s plotting enables and encourages the audience to perceive and understand the action and themes in very particular ways. Behn frequently uses structural repetitions and parallels, to which our attention is explicitly drawn.作者: Anthology 時(shí)間: 2025-3-24 12:54 作者: 逃避責(zé)任 時(shí)間: 2025-3-24 16:23
Kate AughtersonA useful and accessible guide to the plays of an important seventeenth-century female dramatist. Examines how Aphra Behn addresses the subjects of gender and sexuality in her plays. Explores drama as 作者: 謊言 時(shí)間: 2025-3-24 20:13
Analysing Textshttp://image.papertrans.cn/a/image/158969.jpg作者: cornucopia 時(shí)間: 2025-3-25 01:32
Introduction. Nevertheless, when we read an old play its literary and social conventions are necessarily alien. It is useful to outline some of the analytical terms used in the analyses in this book. These may be divided into three areas: linguistic form; imagery; and dramatic form and performance.作者: 玩忽職守 時(shí)間: 2025-3-25 06:45 作者: plasma-cells 時(shí)間: 2025-3-25 08:10 作者: Osteons 時(shí)間: 2025-3-25 12:35 作者: maintenance 時(shí)間: 2025-3-25 16:33
Stefan Müller-Stach,Jens Piontkowskings). There are good reasons for this, all of them signalling how distinct drama is from other literary forms, such as the traditional novel. Drama is predicated on action: for the plot to move forward, for characters to clash, to conflict and to come together during the short space of the performan作者: 意外的成功 時(shí)間: 2025-3-25 19:59
Stefan Müller-Stach,Jens Piontkowskiup, all characters happy participants in a celebratory closure, and all discord resolved, the ending produces a feeling of completion and inclusion. We are presented with an image of a cohesive, festive society. If, on the other hand, loose ends are left unexplained, characters are left outside the 作者: 自作多情 時(shí)間: 2025-3-26 03:48 作者: 過(guò)份 時(shí)間: 2025-3-26 08:18 作者: Impugn 時(shí)間: 2025-3-26 12:05
Die Struktur der Einheitengruppen ,scious libertines, self-interested, witty and sexy. Nevertheless, Behn uses this hero in a distinctive manner that sets her apart from many of her contemporaries: she objectifies these men through plotting, characterisation, the success of the heroine-tricksters, and the strategic employment of the 作者: 客觀 時(shí)間: 2025-3-26 16:28 作者: Coronation 時(shí)間: 2025-3-26 18:36
Die Struktur der Einheitengruppen ,ns. We have not the space here to consider all the examples in each play of her theatrical facility: one example from each demonstrates Behn’s use of the spatial and visual dimensions of the stage to build tension, aid characterisation and deepen the drama. Throughout our previous analyses this appr作者: 爆炸 時(shí)間: 2025-3-27 00:33 作者: 送秋波 時(shí)間: 2025-3-27 04:36 作者: exigent 時(shí)間: 2025-3-27 05:44 作者: 低能兒 時(shí)間: 2025-3-27 11:05
Teilertheorie im Ring ganzer Zahlen,hall broaden that approach by discussing in more detail the generic, social and political contexts for her work. We shall first examine contemporary debates about comedy, discussing Behn’s own view of such debates, which she expresses in various prefaces and prologues to her plays, and then move on 作者: catagen 時(shí)間: 2025-3-27 16:25 作者: extemporaneous 時(shí)間: 2025-3-27 19:33
cts of gender and sexuality in her plays. Explores drama as Kate Aughterson provides readers with an approachable and fascinating critical guide to the dramatic works of an important seventeenth-century woman writer.Aughterson analyses Aphra Behn‘s abilities as a playwright, showing particularly how作者: 微生物 時(shí)間: 2025-3-27 23:34 作者: hallow 時(shí)間: 2025-3-28 05:42
Teilertheorie im Ring ganzer Zahlen,ebates about comedy, discussing Behn’s own view of such debates, which she expresses in various prefaces and prologues to her plays, and then move on to consider the wider social context in which she lived and worked.作者: Pituitary-Gland 時(shí)間: 2025-3-28 06:38
Stagingthe spatial and visual dimensions of the stage to build tension, aid characterisation and deepen the drama. Throughout our previous analyses this approach has been implicit: now we need to make it explicit.作者: 北京人起源 時(shí)間: 2025-3-28 12:13
Restoration Contextsebates about comedy, discussing Behn’s own view of such debates, which she expresses in various prefaces and prologues to her plays, and then move on to consider the wider social context in which she lived and worked.作者: Clumsy 時(shí)間: 2025-3-28 16:36 作者: PUT 時(shí)間: 2025-3-28 18:46
https://doi.org/10.1007/978-3-642-94574-8 it is in the context of participating in a shared debate that you should read criticism. If you approach critical argument in this way you will be better equipped to be sceptical and thoughtful about critics’ arguments, and be better able to come to your own conclusions about the validity and importance of their views.作者: aplomb 時(shí)間: 2025-3-29 00:53
Openingshe best way of doing this is to plunge into the middle of a situation encapsulating the themes and conflicts of the whole play. We are then ready to recognise such themes as they develop, and often encouraged. from this very early stage. to take sides.作者: GRAVE 時(shí)間: 2025-3-29 06:56
Sample Critical Views and Performances it is in the context of participating in a shared debate that you should read criticism. If you approach critical argument in this way you will be better equipped to be sceptical and thoughtful about critics’ arguments, and be better able to come to your own conclusions about the validity and importance of their views.作者: BRAND 時(shí)間: 2025-3-29 09:23
Endingssocial festivity, or discordant notes are sounded, the audience is left critical of the festive and inclusive images. Comedies employing the former method tend to be labelled ‘romantic’, and those the latter, ‘satiric’. We shall consider Behn’s endings in the light of these comments, starting with ..作者: 過(guò)剩 時(shí)間: 2025-3-29 14:47 作者: Pruritus 時(shí)間: 2025-3-29 18:14 作者: majestic 時(shí)間: 2025-3-29 19:44 作者: 領(lǐng)袖氣質(zhì) 時(shí)間: 2025-3-30 03:52
https://doi.org/10.1007/978-3-8348-9064-1ninity, gender and sexual identity are flagged up as key issues in the plays’ openings, and how the endings leave us asking questions about social and gender inequalities. Let us consider now how Behn furthers these questions through characterisation.作者: scoliosis 時(shí)間: 2025-3-30 06:40
Elementare und algebraische Zahlentheoriel questions central to each play. We shall consider whether Behn manipulates staging and comic convention to direct or question our views on key themes, and whether she simply mirrors or actively criticises the social and political structures she represents.作者: Nomadic 時(shí)間: 2025-3-30 11:25
Textbook 2003Latest editionitics and society.In the second part, Aughterson not only examines Behn‘s literary career and the Restoration contexts of her plays, but also looks at some sample criticism and explores Behn‘s drama as performance.作者: Loathe 時(shí)間: 2025-3-30 12:42 作者: 蘑菇 時(shí)間: 2025-3-30 18:36
Carnival and Masqueradend structure. We shall examine the way in which Behn uses Carnival’s modes (such as inversion, cross-dressing, disguise, grotesquerie, and darkness) in order both to celebrate aberrant behaviour and identity and to show how women are often punished more for such aberrance than men. Let us look at . to explore this.
