標(biāo)題: Titlebook: Ben Jonson; Richard Allen Cave Textbook 1991Latest edition Macmillan Publishers Limited 1991 drama.dramatist.English.performance.play.reli [打印本頁(yè)] 作者: Conjecture 時(shí)間: 2025-3-21 16:55
書(shū)目名稱Ben Jonson影響因子(影響力)
書(shū)目名稱Ben Jonson影響因子(影響力)學(xué)科排名
書(shū)目名稱Ben Jonson網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Ben Jonson網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Ben Jonson被引頻次
書(shū)目名稱Ben Jonson被引頻次學(xué)科排名
書(shū)目名稱Ben Jonson年度引用
書(shū)目名稱Ben Jonson年度引用學(xué)科排名
書(shū)目名稱Ben Jonson讀者反饋
書(shū)目名稱Ben Jonson讀者反饋學(xué)科排名
作者: 懶鬼才會(huì)衰弱 時(shí)間: 2025-3-22 00:04
Light at the End of the Tunnel?,tre fitting ‘fables for your finer ears’. Then comes what at first sounds like a humble apology until the phrasing takes an unexpected turn:.It is a skilfully delivered, back-handed compliment; elderly theatregoers aware of the development of Jonson’s career over three reigns and of the range of sty作者: Asparagus 時(shí)間: 2025-3-22 03:05 作者: Conscientious 時(shí)間: 2025-3-22 05:24
https://doi.org/10.1007/978-3-030-19803-9fair to ., which is a finer play than this comment would suggest; also the elements of what went to make . the remarkable innovation that it is were all present in embryonic form in Jonson’s Elizabethan comedies, but there they were isolated, chance conceptions and had not yet found a right relation作者: essential-fats 時(shí)間: 2025-3-22 11:20
https://doi.org/10.1007/978-3-030-19803-9e image that comes most readily to mind is a memory of himself as a child-actor and the idol of all the female members of his audience:.It is an expansively lyrical moment and remarkable for its concern with the recollection of times past when the language of most of the characters in the play is pr作者: Vaginismus 時(shí)間: 2025-3-22 14:52
https://doi.org/10.1007/978-3-030-19803-9ense and illusion … some enterprising directors will restore . to its rightful place in the dramatic repertory’.. Pinter in . and . and Orton in . have come even closer to the spirit and subject-matter of Jonson’s comedy and yet the strategies that motivate their games with illusion and pretence are作者: Diaphragm 時(shí)間: 2025-3-22 20:44
https://doi.org/10.1007/978-3-030-19803-9on (‘roll’d bullet heard/To say, it thunders’). He is questioning the validity of plays that need to establish principles of stylisation. Pushed to a logical extreme that line of argument would begin to question the very nature of drama as an exercise of the imagination requiring a willing suspensio作者: 先兆 時(shí)間: 2025-3-22 23:06
https://doi.org/10.1007/978-3-030-19803-9devising scenarios for the benefit of one or sometimes two privileged individuals who constitute an audience of a rather special kind. Their patronage buys a private performance which, since the play is designed to realise their most intimate fantasies, begins quickly to engross them in the action. 作者: 串通 時(shí)間: 2025-3-23 02:19
https://doi.org/10.1007/978-3-030-19803-9 by echoes of scenes, situations, climactic revelations, characters, even phrases that recall past successes. Face and Subtle were such clever and flexible impersonators, one can well imagine them several years on settling old scores, joining forces again, turning their attentions higher up the soci作者: inferno 時(shí)間: 2025-3-23 07:19
Inequality, Polarization and Conflictland). The court masque, fashioned out of aspects of state celebration and ceremonial, was focused on spectacle, and its scenic inventions and extensive use of displays of dancing demanded a special form of playing space: Jonson and his collaborator, the architect and scenographer Inigo Jones, intro作者: 抗生素 時(shí)間: 2025-3-23 11:12 作者: Ambulatory 時(shí)間: 2025-3-23 17:34
https://doi.org/10.1007/978-1-349-21189-0drama; dramatist; English; performance; play; relief; tragedy; British and Irish Literature作者: 芳香一點(diǎn) 時(shí)間: 2025-3-23 18:49 作者: REP 時(shí)間: 2025-3-24 00:57 作者: 指數(shù) 時(shí)間: 2025-3-24 03:35 作者: Delirium 時(shí)間: 2025-3-24 06:44 作者: Aids209 時(shí)間: 2025-3-24 14:23 作者: 最有利 時(shí)間: 2025-3-24 17:15
,‘The Alchemist’,tophanes exploring whether life would be significantly better if women were in supreme control in parliament or if Aeschylus could be resurrected from the grave to combat with his art the cynicism prevailing in Athens, as it is of Feydeau investigating his characters’ quest for the perfect sexual experience.作者: misshapen 時(shí)間: 2025-3-24 22:54
g his Elizabethan comedies, his tragedy Sejanus, and his masques, which throw into relief his better-known works such as Volpone and The Alchemist. Professor Cave has highlighted throughout the dynamic relationship that Jonson established between stage and audience, whom, as his career progressed, h作者: Charade 時(shí)間: 2025-3-25 00:19
https://doi.org/10.1007/978-3-030-19803-9sively lyrical moment and remarkable for its concern with the recollection of times past when the language of most of the characters in the play is preoccupied obsessively with the immediate present, the . of things and of people, which they each hope in the fullness of time to turn to their personal advantage.作者: cringe 時(shí)間: 2025-3-25 05:18
,‘Volpone’,sively lyrical moment and remarkable for its concern with the recollection of times past when the language of most of the characters in the play is preoccupied obsessively with the immediate present, the . of things and of people, which they each hope in the fullness of time to turn to their personal advantage.作者: 車(chē)床 時(shí)間: 2025-3-25 09:30 作者: BOON 時(shí)間: 2025-3-25 14:24
The New Culture of Indebtedness,ttacks theatre-audiences as oafish, ill-discerning, unwilling to engage imaginatively with original work: the implication is that . achieved popularity in spite of itself, that the stubbornly sentimental Elizabethan public saw in it what they wanted to see (which in some measure they were conditione作者: LEERY 時(shí)間: 2025-3-25 16:40 作者: 商議 時(shí)間: 2025-3-25 22:20
https://doi.org/10.1007/978-3-030-19803-9f female roles . being played by boys or young men. To judge by the roles written for such performers the art was far more subtle even in comedy than that of transvestite or ‘drag’ acts in the modern theatre. Today one is consciously aware of ., however clever the impersonation, aware in fact of the作者: 蜈蚣 時(shí)間: 2025-3-26 00:47
https://doi.org/10.1007/978-3-030-19803-9aw it as a means of subtly heightening and intensifying the themes explored in the play overall). The on-stage audience was generally aristocratic or royal which made the play-within-the-play in some degree an act of homage. This whole pattern of action had its parallel, of course, in historical rea作者: HUMID 時(shí)間: 2025-3-26 07:02 作者: 碎石頭 時(shí)間: 2025-3-26 11:32
Inequality, Polarization and Conflictate scenarios to contain them. The intention behind the masques was twofold: to set off the beauty of members of the royal family and the aristocracy and their skill in dancing within a structure that would also pay compliment to the king both as host of the revels and as monarch of the realm. The l作者: 連接 時(shí)間: 2025-3-26 15:04
Inequality, Polarization and Conflict) he could not turn his hand to and invest with his own characteristic qualities and tone. Though diverse in subject-matter, the last five plays convey the sense of being a group, much as his satirical comedies did earlier in his career. Anne Barton has glowingly defended the plays against Dryden’s 作者: 失誤 時(shí)間: 2025-3-26 18:03 作者: 暴發(fā)戶 時(shí)間: 2025-3-26 23:52 作者: floaters 時(shí)間: 2025-3-27 04:33
,A First Interlude: ‘Sejanus his Fall’,’s sense of the differences between the ideas brought into a sudden relation only to give greater immediacy to one’s sense of the manifest similarities. For the audience the impact is at once to make them both conscious of themselves as present at a theatre and conscious of the artifice of performan作者: ostrish 時(shí)間: 2025-3-27 06:52
,‘Epicoene’,f female roles . being played by boys or young men. To judge by the roles written for such performers the art was far more subtle even in comedy than that of transvestite or ‘drag’ acts in the modern theatre. Today one is consciously aware of ., however clever the impersonation, aware in fact of the作者: Psa617 時(shí)間: 2025-3-27 13:30 作者: 獎(jiǎng)牌 時(shí)間: 2025-3-27 16:49
,‘The Devil Is An Ass’,ototype, is less averse to speaking her mind. Fitzdottrel seems a compound of several of the male characters in ., being as enamoured as Sir Politick Would-be with daft schemes and zany enterprises yet, when necessity demands it, able to fake demonic possession with a skill to match Voltore’s. Gilth作者: Leaven 時(shí)間: 2025-3-27 18:35 作者: impale 時(shí)間: 2025-3-28 01:19 作者: Allowance 時(shí)間: 2025-3-28 02:30 作者: LINE 時(shí)間: 2025-3-28 07:19
Elizabethan Jonson, though the dramatist himself chose not to include it in the Folio of 1616. There are several possible reasons for this. It is the closest Jonson came — to judge by the surviving plays — to writing in the spirit of the typical Elizabethan comedy with its delight in densely-packed action, wondrous ev作者: milligram 時(shí)間: 2025-3-28 13:44 作者: 我沒(méi)有強(qiáng)迫 時(shí)間: 2025-3-28 18:35 作者: 苦澀 時(shí)間: 2025-3-28 20:53
,‘Epicoene’,ense and illusion … some enterprising directors will restore . to its rightful place in the dramatic repertory’.. Pinter in . and . and Orton in . have come even closer to the spirit and subject-matter of Jonson’s comedy and yet the strategies that motivate their games with illusion and pretence are作者: 壓迫 時(shí)間: 2025-3-29 02:40
,‘The Alchemist’,on (‘roll’d bullet heard/To say, it thunders’). He is questioning the validity of plays that need to establish principles of stylisation. Pushed to a logical extreme that line of argument would begin to question the very nature of drama as an exercise of the imagination requiring a willing suspensio作者: 有其法作用 時(shí)間: 2025-3-29 04:07 作者: 消滅 時(shí)間: 2025-3-29 08:53 作者: Physiatrist 時(shí)間: 2025-3-29 13:09
A Second Interlude: the Court Masques,land). The court masque, fashioned out of aspects of state celebration and ceremonial, was focused on spectacle, and its scenic inventions and extensive use of displays of dancing demanded a special form of playing space: Jonson and his collaborator, the architect and scenographer Inigo Jones, intro作者: delta-waves 時(shí)間: 2025-3-29 17:55 作者: 無(wú)情 時(shí)間: 2025-3-29 20:23
