LEADER 03511oam 2200577I 450 001 9910963748203321 005 20251117090025.0 010 $a1-351-88534-0 010 $a1-315-23820-9 024 7 $a10.4324/9781315238203 035 $a(CKB)3710000001081491 035 $a(MiAaPQ)EBC4817062 035 $a(Au-PeEL)EBL4817062 035 $a(CaPaEBR)ebr11356237 035 $a(OCoLC)975222884 035 $a(OCoLC)974642004 035 $a(FINmELB)ELB139555 035 $a(BIP)63372511 035 $a(BIP)8684463 035 $a(EXLCZ)993710000001081491 100 $a20180706e20162004 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 14$aThe name and nature of tragicomedy /$fVerna A. Foster 205 $a1st ed. 210 1$aLondon :$cRoutledge,$d2016. 215 $a1 online resource (230 pages) 225 1 $aStudies in European Cultural Transition ;$vVolume 18 300 $aFirst published 2004 by Ashgate Publishing. 311 08$a0-7546-3567-8 311 08$a1-351-88535-9 320 $aIncludes bibliographical references and index. 327 $a1. 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. 330 $aFocusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic). Foster posits that, in the sense of the dramaturgical and emotional fusion of tragic and comic elements to create a distinguishable new genre, tragicomedy has emerged only twice in the history of drama. She argues that tragicomedy first emerged and was controversial in the Renaissance; and that it has in modern times replaced tragedy itself as the most serious and moving of all dramatic genres. In the first section of the book, the author analyzes the name 'tragicomedy' and the genre's problems of identity; then goes on to explore early modern tragicomedies by Shakespeare, Beaumont and Fletcher, and Massinger. A transitional chapter addresses cognate genres. The final section of the book focuses on modern tragicomedies by Ibsen, Chekhov, Synge, O'Casey, Williams, Ionesco, Beckett and Pinter. By exploring dramaturgical similarities between early modern and modern tragicomedies, Foster demonstrates the persistence of tragicomedy's generic markers and provides a more precise conceptual framework for the genre than has so far been available. 410 0$aStudies in European cultural transition ;$vVolume 18. 606 $aTragicomedy$xHistory and criticism 606 $aEuropean drama$xHistory and criticism 615 0$aTragicomedy$xHistory and criticism. 615 0$aEuropean drama$xHistory and criticism. 676 $a809.2523 700 $aFoster$b Verna A.$f1946-,$01865089 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910963748203321 996 $aThe name and nature of tragicomedy$94472115 997 $aUNINA