Titlebook: Aphra Behn: The Comedies; Kate Aughterson Textbook 2003Latest edition The Editor(s) (if applicable) and The Author(s) 2003

EXERT

書目名稱Aphra Behn: The Comedies影響因子(影響力)




書目名稱Aphra Behn: The Comedies影響因子(影響力)學科排名




書目名稱Aphra Behn: The Comedies網(wǎng)絡公開度




書目名稱Aphra Behn: The Comedies網(wǎng)絡公開度學科排名




書目名稱Aphra Behn: The Comedies被引頻次




書目名稱Aphra Behn: The Comedies被引頻次學科排名




書目名稱Aphra Behn: The Comedies年度引用




書目名稱Aphra Behn: The Comedies年度引用學科排名




書目名稱Aphra Behn: The Comedies讀者反饋




書目名稱Aphra Behn: The Comedies讀者反饋學科排名

Misgiving

Openingsngs). There are good reasons for this, all of them signalling how distinct drama is from other literary forms, such as the traditional novel. Drama is predicated on action: for the plot to move forward, for characters to clash, to conflict and to come together during the short space of the performan

Inscrutable

Endingsup, all characters happy participants in a celebratory closure, and all discord resolved, the ending produces a feeling of completion and inclusion. We are presented with an image of a cohesive, festive society. If, on the other hand, loose ends are left unexplained, characters are left outside the

貴族

Classify

Heroines and Whoresiority, wit and eloquence than she does the men. She asks us to recognise them as women in a particular society. We shall examine one speech, or participation in dialogue, of each of the main female characters in each play, and consider Behn’s modes of characterisation. We have already seen how femi

熟練

Rakes and Gallantsscious libertines, self-interested, witty and sexy. Nevertheless, Behn uses this hero in a distinctive manner that sets her apart from many of her contemporaries: she objectifies these men through plotting, characterisation, the success of the heroine-tricksters, and the strategic employment of the

仔細閱讀

Multiplying Plotsaracters. Additionally, the playwright’s plotting enables and encourages the audience to perceive and understand the action and themes in very particular ways. Behn frequently uses structural repetitions and parallels, to which our attention is explicitly drawn.

Flounder

Stagingns. We have not the space here to consider all the examples in each play of her theatrical facility: one example from each demonstrates Behn’s use of the spatial and visual dimensions of the stage to build tension, aid characterisation and deepen the drama. Throughout our previous analyses this appr

使乳化

用樹皮