Titlebook: Restoration Comedy; Crises of Desire and Edward Burns Book 1987 Palgrave Macmillan, a division of Macmillan Publishers Limited 1987 comedy.

注意力集中

Edward Burnsh stimmen, da? in vielen anderen Bereichen, vor allem in der freien Wirtschaft, die Bedeutung einer Schulung der sozialen Wahrnehmung und ein konkretes Training von Gespr?chsführung l?ngst als so bedeutsam erachtet wurden, da? entsprechende Ausbildungs- und Fortbildungskurse weitgehend selbstverst?n

護航艦

e instatement of women writers as major contributors to the culture of the age. It offers a substantial and original interpretation of one of the most intriguing of seventeenth-century literature forms.978-1-349-18760-7

Genteel

,Professional Dramatists — Shadwell and Crowne,ve roster of still underrated plays. More complex and ragged than the products of the Wits, their occasionally botched or compromised form is compensated for by an energy and ferocity all their own. A Restoration revival on the contemporary stage could well start here.

Obsequious

Aphra Behn,y reserves for men. Our drama contains few enough roles that could be called female equivalents to Hamlet or Lear; but it is as hard to cite a female Prospero, a theatrical image of woman as artist, as it is to find representations of a female God.

arrogant

Book 1987riters than the conventional ossified canon taking in a revaluation of many rarely studied dramatists, a reconsideration of pastoral, and the instatement of women writers as major contributors to the culture of the age. It offers a substantial and original interpretation of one of the most intriguing of seventeenth-century literature forms.

ADORN

Introduction,ar dramatic genre is characterized by its relation to social and political change. Otherwise the term has no meaning. If we are to continue to use it, we must establish whether this is so. The Restoration of the monarchy in 1660 established a new court and new social forms. It could not however ‘res

露天歷史劇

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,‘The Wits’ Garden’ — Court Forms and Libertine Philosophies, Charles II is patchy and irregular, characterized by false starts and half-hearted ambition. There is no equivalent of the coherent and idealistic enthusiasms of the court of Henrietta Maria. The hierarchical platonism of the Caroline court gave place to a materialist philosophy associated with Luc

COMMA

,Professional Dramatists — Shadwell and Crowne, protégé of William Cavendish Duke of Newcastle, but also, more relevantly perhaps to Dryden’s scorn, as the second professional writer to work regularly for the Restoration stage. The distinction between professional and amateur is important to the four writers whose work I discuss in the next thre

Conquest