Titlebook: Ben Jonson; Richard Allen Cave Textbook 1991Latest edition Macmillan Publishers Limited 1991 drama.dramatist.English.performance.play.reli

Conjecture

書目名稱Ben Jonson影響因子(影響力)




書目名稱Ben Jonson影響因子(影響力)學(xué)科排名




書目名稱Ben Jonson網(wǎng)絡(luò)公開度




書目名稱Ben Jonson網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Ben Jonson被引頻次




書目名稱Ben Jonson被引頻次學(xué)科排名




書目名稱Ben Jonson年度引用




書目名稱Ben Jonson年度引用學(xué)科排名




書目名稱Ben Jonson讀者反饋




書目名稱Ben Jonson讀者反饋學(xué)科排名

懶鬼才會衰弱

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

Asparagus

Conscientious

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

essential-fats

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

Vaginismus

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

Diaphragm

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

先兆

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.

串通

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

inferno

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