標(biāo)題: Titlebook: Ben Jonson, John Marston and Early Modern Drama; Satire and the Audie Rebecca Yearling Book 2016 The Editor(s) (if applicable) and The Auth [打印本頁(yè)] 作者: Cyclone 時(shí)間: 2025-3-21 18:54
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama影響因子(影響力)
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama影響因子(影響力)學(xué)科排名
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama被引頻次
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama被引頻次學(xué)科排名
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama年度引用
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama年度引用學(xué)科排名
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama讀者反饋
書(shū)目名稱Ben Jonson, John Marston and Early Modern Drama讀者反饋學(xué)科排名
作者: Congestion 時(shí)間: 2025-3-21 22:29 作者: 代理人 時(shí)間: 2025-3-22 03:44
,Jonson and Marston: ‘I write just in thy vein, I’,hts — Marston, Dekker, Samuel Daniel, Michael Drayton, Francis Beaumont, Shakespeare — his attitude is typically ambivalent at best, and he never admits that they have had any influence on his own works. The title page to the quarto edition of . offers the Horatian tag, ‘.’ (‘I did not walk in the s作者: 女歌星 時(shí)間: 2025-3-22 06:25 作者: 侵略主義 時(shí)間: 2025-3-22 08:59
on. While Marston is usually famed more for his very public rivalry with Jonson than for the quality of his plays, this book argues that such a view of Marston seriously underestimates his importance to the theatre of his time. In it, the author contends that Marston‘s plays represent an experiment 作者: 哀求 時(shí)間: 2025-3-22 14:51 作者: BARK 時(shí)間: 2025-3-22 19:06 作者: peritonitis 時(shí)間: 2025-3-23 00:06
https://doi.org/10.1057/9781137347015 attempted to develop a hermeneutic that bridges some of the gaps between literary analysis, performance criticism, biographical approaches and theatrical and audience history, in order to explore how the works of Jonson and Marston came to be written.作者: 影響深遠(yuǎn) 時(shí)間: 2025-3-23 01:51 作者: Synovial-Fluid 時(shí)間: 2025-3-23 08:04 作者: MAL 時(shí)間: 2025-3-23 10:03 作者: Oscillate 時(shí)間: 2025-3-23 15:28 作者: 談判 時(shí)間: 2025-3-23 19:17 作者: figure 時(shí)間: 2025-3-24 01:32
,Jonson and Marston: ‘I write just in thy vein, I’,e opinions of others; his own judgement is what counts. He believes that a good writer should read widely and engage in serious scholarly thought, but he is contemptuous of those who simply follow literary fads and imitate what is currently fashionable. Most poets have ‘servile imitating spirits’ (.作者: 舊石器時(shí)代 時(shí)間: 2025-3-24 04:44
Conclusion,ual early-modern writer and the larger social, cultural, political and economic contexts within which s/he operated. Moving away from the idea of the author-as-origin, we are developing a greater appreciation for the ways in which playwrights’ works were influenced and shaped by a multitude of exter作者: 欲望 時(shí)間: 2025-3-24 10:23
https://doi.org/10.1007/978-1-137-56399-6Jonson; Marston; early modern; drama; satire; audience; Renaissance; theatre; spectators; Britain; dramatist; h作者: 變白 時(shí)間: 2025-3-24 12:59 作者: septicemia 時(shí)間: 2025-3-24 16:24
Mohammad Kashif Khan,Balakrushna Padhine’s Red Lion, in Stepney, East London. This was soon followed by a host of others: the Theatre, which opened in Shoreditch in 1576, the Curtain, also in Shoreditch, in 1577, and the Rose, on the Bankside, in 1587.作者: 聽(tīng)覺(jué) 時(shí)間: 2025-3-24 21:31
Discourse: The Great Inequality Debate,been an occasional, often haphazard affair, but now the experience of playgoing had been formalised and professionalised. Audiences were larger, playgoers were more sophisticated, and expectations were higher.作者: Parallel 時(shí)間: 2025-3-25 01:51
https://doi.org/10.1057/978-1-137-59701-4ssue that was of particular importance to the satiric playwright, given that the efficacy of satire relies on the audience’s willingness to accept the satirist as a source of moral truth. The satiric playwright needs to find a way of making his spectators respect and agree with his judgements, in or作者: 雇傭兵 時(shí)間: 2025-3-25 06:46
Inequality, Poverty and Well-beinge opinions of others; his own judgement is what counts. He believes that a good writer should read widely and engage in serious scholarly thought, but he is contemptuous of those who simply follow literary fads and imitate what is currently fashionable. Most poets have ‘servile imitating spirits’ (.作者: 谷物 時(shí)間: 2025-3-25 07:48
https://doi.org/10.1057/9781137347015ual early-modern writer and the larger social, cultural, political and economic contexts within which s/he operated. Moving away from the idea of the author-as-origin, we are developing a greater appreciation for the ways in which playwrights’ works were influenced and shaped by a multitude of exter作者: Lipoprotein(A) 時(shí)間: 2025-3-25 13:05 作者: sorbitol 時(shí)間: 2025-3-25 19:19 作者: NIB 時(shí)間: 2025-3-25 23:30 作者: 甜食 時(shí)間: 2025-3-26 03:28
John Marston: Provoking the Audience,In T.S. Eliot’s influential 1934 essay on John Marston, he writes of his ‘bewilderment’ at Marston’s . plays:作者: Deject 時(shí)間: 2025-3-26 06:03
Prologue: The Problem of the Audience,ne’s Red Lion, in Stepney, East London. This was soon followed by a host of others: the Theatre, which opened in Shoreditch in 1576, the Curtain, also in Shoreditch, in 1577, and the Rose, on the Bankside, in 1587.作者: 高爾夫 時(shí)間: 2025-3-26 09:11
The Playwrights and the Audience,been an occasional, often haphazard affair, but now the experience of playgoing had been formalised and professionalised. Audiences were larger, playgoers were more sophisticated, and expectations were higher.作者: 松馳 時(shí)間: 2025-3-26 14:52 作者: 可能性 時(shí)間: 2025-3-26 20:35
Mohammad Kashif Khan,Balakrushna Padhine’s Red Lion, in Stepney, East London. This was soon followed by a host of others: the Theatre, which opened in Shoreditch in 1576, the Curtain, also in Shoreditch, in 1577, and the Rose, on the Bankside, in 1587.作者: fulcrum 時(shí)間: 2025-3-26 21:46
Discourse: The Great Inequality Debate,been an occasional, often haphazard affair, but now the experience of playgoing had been formalised and professionalised. Audiences were larger, playgoers were more sophisticated, and expectations were higher.作者: 清晰 時(shí)間: 2025-3-27 02:42
8樓作者: 弄皺 時(shí)間: 2025-3-27 08:45
9樓作者: Indebted 時(shí)間: 2025-3-27 09:40
9樓作者: 松雞 時(shí)間: 2025-3-27 16:21
9樓作者: Keratectomy 時(shí)間: 2025-3-27 21:29
9樓作者: penance 時(shí)間: 2025-3-27 22:13
10樓作者: 羽毛長(zhǎng)成 時(shí)間: 2025-3-28 04:35
10樓作者: Original 時(shí)間: 2025-3-28 06:32
10樓作者: 悠然 時(shí)間: 2025-3-28 12:55
10樓
