By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely entire photograph 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 subject matters 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 crew of students.
- Complements David Scott Kastan's A significant other to Shakespeare (1999), which enthusiastic about Shakespeare as an writer in his historic context.
- Offers a provocative roadmap to Shakespeare experiences.
Chapter 1 Shakespeare and the Traditions of English level 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, classification, 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 existence (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 are going to: Unimitable Falstaff (pages 223–242): Ian Frederick Moulton
Chapter 12 Wooing and profitable (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 accountability 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 better 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're keen on 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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Extra resources for A Companion to Shakespeare's Works, Volume 3: Literature and Culture
This way of classifying the comedies by looking at their sources or at the specific “comic tradition” they belong to rather than by analyzing their specific plots and forms is certainly interesting and intellectually stimulating, but it also offers the risk of downplaying Shakespeare’s own invention, additions, or variations in his playtexts. And in the case of his festive comedies the importance taken on by the sources (as in Love’s Labour’s Lost or A Midsummer Night’s Dream for instance) seems precisely less than in his other works.
When, after being pinched by the Windsor fairies, he finds out that he has been gulled (made an “ass” or an “ox”) and made the victim of the two wives’ hoax, he realizes that the horns are more the badge of humiliation than of sexual potency, contrary to what he had thought (Salingar 1974: 236–7; Laroque 1984: 27). As in a local charivari, he is now wearing the horns of the cuckolded husband. He has become a substitute or dopplegänger of Ford disguised as Master Brook, a character whom his pathologically comic jealousy leads to the door of cuckoldry with the help of Falstaff, whose lust and financial appetite he is unwittingly encouraging.
Bakhtin’s concept of carnival as a form of popular culture showing subversive irreverence for authority and a way of indulging verbal exuberance and vulgarity, even obscenity, that revels in ambivalence (confusing high and low, birth and death . ) and celebrates the pleasures of the body, especially in its orifices, protuberances, and appetites, has been the most widely used and discussed over the past thirty years. To the eyes of the Russian critic, carnival makes mutability and topsyturvydom the main energizing poles of the popular culture of the late Middle Ages and the Renaissance: During the century-long development of the medieval carnival, prepared by thousands of years of ancient comic ritual, including the primitive Saturnalias, a special idiom of forms and symbols was evolved – an extremely rich idiom that expressed the unique yet complex carnival experience of the people.