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Record Nr. |
UNINA9910963748203321 |
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Autore |
Foster Verna A. <1946-, > |
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Titolo |
The name and nature of tragicomedy / / Verna A. Foster |
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Pubbl/distr/stampa |
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London : , : Routledge, , 2016 |
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ISBN |
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1-351-88534-0 |
1-315-23820-9 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (230 pages) |
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Collana |
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Studies in European Cultural Transition ; ; Volume 18 |
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Disciplina |
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Soggetti |
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Tragicomedy - History and criticism |
European drama - History and criticism |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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First published 2004 by Ashgate Publishing. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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1. The name of tragicomedy : problems of identity -- 2. Early English tragicomedy : from providential design to metatheatre -- 3. Shakespearean tragicomedy -- 4. The tragicomedy of sexuality and surprise : Beaumont and Fletcher, and Massing -- 5. Tragicomedy in transition -- 6. Modern tragicomedy I : tragicomedy and realism -- 7. Modern tragicomedy II : metatheatre and the absurd. |
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Sommario/riassunto |
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Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, |
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O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available. |
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