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Courses on Shakespeare and Comedy are very popular so there is a
ready market for this book Study of humour and comedy more
generally is growing so there is a secondary market This book draws
parallels between Shakespeare's time and today, which makes the
book very relevant and understandable to readers Draws on a broad
range of Shakespeare's plays so easy to slot onto courses Written
in an engaging and accessible style for readers of all levels
This book examines laughter in the Shakespearean theatre, in the
context of a cultural history of early modern laughter. Aimed at an
informed readership as well as graduate students and scholars in
the field of Shakespeare studies, it is the first study to focus
specifically on laughter, not comedy. It looks at various strands
of the early modern discourse on laughter, ranging from medical
treatises and courtesy manuals to Puritan tracts and jestbook
literature. It argues that few cultural phenomena have undergone as
radical a change in meaning as laughter. Laughter became bound up
with questions of taste and class identity. At the same time,
humanist thinkers revalorised the status of recreation and
pleasure. These developments left their trace on the early modern
theatre, where laughter was retailed as a commodity in an emerging
entertainment industry. Shakespeares plays both reflect and shape
these changes, particularly in his adaptation of the Erasmian wise
fool as a stage figure, and in the sceptical strain of thought that
is encapsulated in the laughter evoked in the plays. -- .
Courses on Shakespeare and Comedy are very popular so there is a
ready market for this book Study of humour and comedy more
generally is growing so there is a secondary market This book draws
parallels between Shakespeare's time and today, which makes the
book very relevant and understandable to readers Draws on a broad
range of Shakespeare's plays so easy to slot onto courses Written
in an engaging and accessible style for readers of all levels
A collection of writings on travels undertaken in the Victorian
era. The texts collected in these volumes show how 19th century
travel literature served the interests of empire by promoting
British political and economic values that translated into
manufacturing goods.
A collection of writings on travels undertaken in the Victorian
era. The texts collected in these volumes show how 19th century
travel literature served the interests of empire by promoting
British political and economic values that translated into
manufacturing goods.
A collection of writings on travels undertaken in the Victorian
era. The texts collected in these volumes show how 19th century
travel literature served the interests of empire by promoting
British political and economic values that translated into
manufacturing goods.
A collection of writings on travels undertaken in the Victorian
era. The texts collected in these volumes show how 19th century
travel literature served the interests of empire by promoting
British political and economic values that translated into
manufacturing goods.
Much Ado About Nothing presents a world of glittering surfaces and
exquisite social performances. The language of the play sparkles
with a fireworks of wit and dazzling bouts of repartee, most
memorably in the "merry war" of words between the reluctant lovers,
Benedick and Beatrice. A closer look at the language of the play,
however, reveals it to be laced with violence and charged with the
desire to humiliate others. Wit is deployed as a weapon to ridicule
one's opponent; much of the humour circulates incessantly around
the theme of cuckoldry, a major source of male anxiety in the
period. The most drastic use of language is to slander Hero by
accusing her of a lack of chastity - an accusation that spelt
social death for a woman in the early modern age. The death that
Hero feigns mirrors accurately the devastating effects of the
assassination of her character by the smart set of young noblemen
in the play. This study guide focuses on examining the array of the
uses of language that the play displays, and probes into the ideas
about language that it explores. The book looks at key film
versions of the play by Kenneth Branagh and Joss Whedon which are
often used on courses, whilst also offering practical questions and
tips to help students develop their own critical writing skills and
deepen their understanding of the play.
Much Ado About Nothing presents a world of glittering surfaces and
exquisite social performances. The language of the play sparkles
with a fireworks of wit and dazzling bouts of repartee, most
memorably in the "merry war" of words between the reluctant lovers,
Benedick and Beatrice. A closer look at the language of the play,
however, reveals it to be laced with violence and charged with the
desire to humiliate others. Wit is deployed as a weapon to ridicule
one's opponent; much of the humour circulates incessantly around
the theme of cuckoldry, a major source of male anxiety in the
period. The most drastic use of language is to slander Hero by
accusing her of a lack of chastity - an accusation that spelt
social death for a woman in the early modern age. The death that
Hero feigns mirrors accurately the devastating effects of the
assassination of her character by the smart set of young noblemen
in the play. This study guide focuses on examining the array of the
uses of language that the play displays, and probes into the ideas
about language that it explores. The book looks at key film
versions of the play by Kenneth Branagh and Joss Whedon which are
often used on courses, whilst also offering practical questions and
tips to help students develop their own critical writing skills and
deepen their understanding of the play.
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