Dynamism of Character in Shakespeare's Mature TragediesUniversity of Delaware Press, 2003 - 327페이지 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. |
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페이지
... psychological and 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 ...
... psychological and 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 ...
7 페이지
... psychological interpretation of Shake- speare's dramatic persons , especially one with the word " charac- ter " in the title , immediately runs the risk of being a little out of step with the critical trends of the day . On the other ...
... psychological interpretation of Shake- speare's dramatic persons , especially one with the word " charac- ter " in the title , immediately runs the risk of being a little out of step with the critical trends of the day . On the other ...
10 페이지
... psychological laws . This means that a psychologically unrealistic play can still be good as a play , but then again I would argue that the best plays , such as Shakespeare's , can be both artistically satisfying and psy- chologically ...
... psychological laws . This means that a psychologically unrealistic play can still be good as a play , but then again I would argue that the best plays , such as Shakespeare's , can be both artistically satisfying and psy- chologically ...
15 페이지
... psychological genius " of the bard , who " makes men on the stage what they are in nature " with his " fine touch of knowledge of human nature , and generally of the great laws of the human mind . " 7 The Romantic critical tradition ...
... psychological genius " of the bard , who " makes men on the stage what they are in nature " with his " fine touch of knowledge of human nature , and generally of the great laws of the human mind . " 7 The Romantic critical tradition ...
18 페이지
... psychological point of view the above critical suggestions seem to spring from the assumption that individual personality , while enjoying a certain degree of freedom from the external cir- cumstances , can also be shaped and molded in ...
... psychological point of view the above critical suggestions seem to spring from the assumption that individual personality , while enjoying a certain degree of freedom from the external cir- cumstances , can also be shaped and molded in ...
목차
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 |
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자주 나오는 단어 및 구문
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
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286 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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 페이지 - 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.