Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays
Cambridge University Press, 1995 - 197 Seiten
This book contends that Shakespeare's so-called "problem plays" can be viewed as experiments in the Mannerist style. The plays reappraised here are Julius Caesar, Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure. Maquerlot reveals intriguing analogies between Shakespeare's plays and the structural ambiguity of certain Italian Mannerist paintings, establishing the relevance to drama of a concept imported from the field of visual art.
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
The problem of Mannerism
towards a definition of Mannerism
Mannerism in reaction to formalism
Julius Caesar and dramatic coquetry
Hamlet optical effects
Troilus and Cressida 1 18
Mostrar lartc Alls ellThatEnds ell and Measure for Measure
The end of the Mannerist moment
Andere Ausgaben - Alle anzeigen
Achilles action Aeneas aesthetic Agamemnon All's ambiguity Angelo anticlassical Antony appears artifice artists audience avenger Baroque Bertram Bronzino's Brutus C.H. Smyth characters Christ classical Claudius comedy comic contrapposto conventions death denouement Desdemona dramatic dramatist Duke effect Elsinore episodes evil expression eyes feeling figures Fortinbras give Gonzago Guildenstern Hamlet hand Hector Helena High Renaissance Horatio human idea Isabella Jonson Julius Caesar King Laertes less madness maniera Mannerism Mannerist art Mannerist painting means Measure for Measure metaphor Michelangelo monologue moral murder nature Ophelia Othello Pandarus Parmigianino personages perspective play play's plot Polonius Pontormo present psychological Quattrocento reason revenge rhetorical formalism role romances Rosencrantz Rosso scene sense Shakespeare Shakespearian Shearman Shylock situation space Spanish Tragedy speak spectator speech spirit stage story structure style teclmique theatre theatrical theme Thersites things thought Tintoretto tion tragedy Troilus and Cressida Trojan turn Ulysses Vasari Venice words