Titlebook: Dreams, Sleep, and Shakespeare’s Genres; Claude Fretz Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Early modern.Renaissa

outskirts

審問,審訊

,‘God’s Secret Judgement’? Dreams in Tragedy,often had natural origins and were potentially deceptive. This paradigm shift enabled Shakespeare to problematise the model of the prophetic dream found in classical tragedy, where dreams point to supernatural determinism, and instead to use dreams to emphasise human agency.

蒙太奇

有毒

Book 2020ies, and late plays, it argues that Shakespeare systematically exploits early modern physiological, religious, and political understandings of dreams and sleep in order to reshape conventions of dramatic genre, and to experiment with dream-inspired plots..The book discusses the significance of dream

anarchist

Introduction,kespeare’s time. Fretz argues that dreams and sleep were ambiguous and indeterminate states in early modern England and that they could have various possible origins and meanings—ranging from somatic to divine or demonic. While the subject of early modern dreams and sleep has been explored in many c

wall-stress

,‘Following Darkness Like a Dream’: Dreams, Sleep, and Dark Comedy,sleep defy comedic closure by introducing darker themes that are neither resolved nor absorbed by the plays’ endings. The chapter examines how Shakespeare created a darker form of comedy in part by adapting literary traditions of fictitious dreams (mainly Plautine) and dream visions (mainly Chauceri

HOWL

,‘God’s Secret Judgement’? Dreams in Tragedy, the chapter begins by examining the traditions that Shakespeare inherited—and from which he also deliberately departed. It discusses how the Renaissance moved away from the near-universal acceptance that dreams could be supernatural and prophetic, and towards an increased acknowledgement that they

thrombus

metropolitan

,‘Such Stuff as Dreams Are Made On’? Shakespeare’s Late Genre,icate comic and tragic genre conventions. Like Shakespeare’s genre frameworks, his devices of dreams and sleep evolved throughout his career. Fretz shows that this ultimately led to an indeterminate kind of drama that rests on the logic of dreams and systematically involves devices of dreams and sle

CLASP