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Shakespeare's theory of drama / Pauline Kiernan, University of Reading and the Globe, Bankside.

By: Material type: TextTextPublisher: Cambridge : Cambridge University Press, 2000Edition: Reprinted editionDescription: xii, 218 pages ; 22 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 0521633583 (pbk)
  • 9780521633581 (pbk)
Subject(s): Genre/Form: DDC classification:
  • 822.33 KIE 22
Summary: Why did Shakespeare write drama? Did he have specific reasons for his choice of this art form? Did he have clearly defined aesthetic aims in what he wanted drama to do - and why? Pauline Kiernan opens up a new area of debate for Shakespearean criticism in showing that a radical, complex defence of drama which challenged the Renaissance orthodox view of poetry, history and art can be traced in Shakespeare's plays and poems. This study, first published in 1996, examines different stages in the canon to show that far from being restricted by the 'limitations' of drama, Shakespeare consciously exploits its capacity to accommodate temporality and change, and its reliance on the physical presence of the actor. This lively, readable book offers an original and scholarly insight into what Shakespeare wanted his drama to do and why.
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Holdings
Item type Current library Collection Call number Status Date due Barcode Item holds
Book - Borrowing Book - Borrowing Central Library Second Floor Baccah 822.33 KIE (Browse shelf(Opens below)) Available 000044565
Total holds: 0

Includes bibliographical references and index.

Why did Shakespeare write drama? Did he have specific reasons for his choice of this art form? Did he have clearly defined aesthetic aims in what he wanted drama to do - and why? Pauline Kiernan opens up a new area of debate for Shakespearean criticism in showing that a radical, complex defence of drama which challenged the Renaissance orthodox view of poetry, history and art can be traced in Shakespeare's plays and poems. This study, first published in 1996, examines different stages in the canon to show that far from being restricted by the 'limitations' of drama, Shakespeare consciously exploits its capacity to accommodate temporality and change, and its reliance on the physical presence of the actor. This lively, readable book offers an original and scholarly insight into what Shakespeare wanted his drama to do and why.

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