Arcadia (ca. 1577) to the completion of Shakespeare's Tempest is a culminating moment for romance in'/> The trials of romance in the English Renaissance (Sir Philip Sidney, Edmund Spenser, William Shakespeare).
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The trials of romance in the English Renaissance (Sir Philip Sidney, Edmund Spenser, William Shakespeare).

机译:英国文艺复兴时期的浪漫史考验(菲利普·西德尼爵士,埃德蒙·斯彭瑟,威廉·莎士比亚)。

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摘要

The thirty-five year period from the first writing of Sidney's Arcadia (ca. 1577) to the completion of Shakespeare's Tempest is a culminating moment for romance in England. Both a high point and a turning point, it serves as an interesting platform for the study of a genre that is historically rooted, protean, persistent, and for some, problematic. It is to the last adjective that the “trials” in the title alludes, and the argument takes the form initially of interrogating this view of a belatedly “discovered” genre that is seen by some reputable commentary as a critical mirage. The discussion builds on the work of key romance theorists, Northrop Frye, Frederic Jameson, Alastair Fowler, and Patricia Parker, and includes as practice, in addition to the Arcadia, Edmund Spenser's Faerie Queene and the late romances of Shakespeare often grouped with The Tempest—Pericles, Cymbeline, and The Winter's Tale.; Romance occupies imaginary spaces, Arcadian settings, wish fulfillment, endless quests for idealized objects—the Grail, the Blatant Beast—and subjects—Gloriana, Dulcinea—and is often characterized by interruptions of narrative and interventions of the marvellous. The argument evolves metonymically with the genre, from a specific investigation to a more general consideration. Romance in the seventeenth century is going through a process of diffusion from its simple, absolute state in the medieval—Don Quixote , for example, traverses the terrain between an ironic treatment of the chivalric and a romantic resolution of that satire—to the complexity of the eighteenth century novel and on to nineteenth century poetics, where in Harold Bloom's words we witness the “internalization of the quest romance.” This generic flexibility questions the notion of genre as immutable and fixed as it moves toward a more fluid and pragmatic model, and asserts an intrinsic connection between the alteration of generic codes and the creation of meaning.
机译:从西德尼(Sidney)的 Arcadia (大约1577年)的第一本书到莎士比亚的 Tempest 的完成,这是英格兰浪漫史的最后时刻。它既是一个高峰,又是一个转折点,是研究具有历史根源,千篇一律,持久且有些问题的流派的有趣平台。直到最后一个形容词,标题中的“审判”都在暗示,而论证的形式最初是盘问这种迟来的“发现的”体裁的观点,这种观点被一些著名的评论者视为是关键的海市rage楼。讨论建立在主要浪漫史理论家诺斯罗普·弗莱(Northrop Frye),弗雷德里克·詹姆森(Frederic Jameson),阿拉斯泰尔·福勒(Alastair Fowler)和帕特里夏·帕克(Patricia Parker)的工作基础之上,并包括了 Arcadia ,Edmund Spenser的 Faerie Queene < / italic>和莎士比亚的晚期恋情通常与《暴风雨— Pericles,Cymbeline》,《冬天的故事》组合在一起。爱情占据虚构的空间,阿卡狄亚式的环境,愿望的实现,对理想对象(圣杯,公然的野兽)和主题-格洛里亚纳,杜尔西纳的无休止的追求,通常以叙事的中断和奇妙的干预为特征。从特定的研究到更广泛的考虑,该论点都随着体裁的代名词演变而来。十七世纪的浪漫史经历了从中世纪的简单,绝对状态的传播过程,例如, Don Quixote 穿越了对骑士精神的讽刺性对待与对浪漫主义的解决之间的地形。这种讽刺意味深长,充满了十八世纪小说的复杂性以及十九世纪的诗学,在哈罗德·布鲁姆(Harold Bloom)的话中,我们见证了“追求浪漫的内在化”。这种通用的灵活性对类型的观念提出了质疑,这种观念在朝着更加流畅和务实的模型发展时是不变的和固定的,并且断言了通用代码变更和意义创造之间的内在联系。

著录项

  • 作者

    Damstra, David A.;

  • 作者单位

    New York University.;

  • 授予单位 New York University.;
  • 学科 Literature English.; Theater.; Literature Modern.
  • 学位 Ph.D.
  • 年度 2003
  • 页码 226 p.
  • 总页数 226
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 公共建筑;世界文学;
  • 关键词

  • 入库时间 2022-08-17 11:45:02

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