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>'Foolery, sir, does walk about the orb like the sun': fool-characters and comic dramatic structures in Hamlet, Twelfth night and Troilus and Cressida
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'Foolery, sir, does walk about the orb like the sun': fool-characters and comic dramatic structures in Hamlet, Twelfth night and Troilus and Cressida
The thesis analyses fool-characters and comic structures in Shakespeare's three plays-each play representing a different dramatic genre. The chapter on Hamlet primarily focuses on Hamlet's fool-role originating from his "antic disposition." In Twelfth Night, the study examines the topsy-turvydom dominant in Olivia's household. Sir Toby Belch, as a Lord of Misrule, and Feste, as a professional jester, are the central characters in the analysis. In the chapter on Troilus and Cressida--a dramatic work frequently categorized as a "problem play"-the dramatic functions of two fool-characters, Pandarus and Thersites, are explored. udThe thesis examines the sources and theatrical traditions relevant to the analysed characters. It also investigates the various ways in which these characters create a counterweight to the social and political status quo of their respective plays, as a result of which they eventually become expelled, muted, or forced to adjust to the final social and political constellation emerging at the conclusion of the plays. ud
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机译:本文分析了莎士比亚三部剧中的傻瓜人物和喜剧结构,每种戏剧都代表着不同的戏剧体裁。关于哈姆雷特的章节主要集中于哈姆雷特的愚蠢角色,源于他的“古怪性格”。在第十二夜,研究调查了奥利维亚家庭的颠倒性统治。分析中的中心人物是作为流亡者之王的托比·贝尔奇爵士和作为职业小丑的费斯特。在关于Troilus和Cressida的一章中,这是一部戏剧性的作品,经常被归类为“问题游戏”,探讨了两个傻瓜人物Pandarus和Thersites的戏剧性功能。 ud本文研究了与所分析角色有关的来源和戏剧传统。它还研究了这些角色与各自戏剧的社会和政治现状形成平衡的各种方式,最终导致他们被开除,沉默或被迫适应最终出现的社会和政治格局。戏剧的结局。 ud
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