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Shakespeare's theory of drama / Pauline Kiernan.

By: Kiernan, Pauline.
Material type: materialTypeLabelBookPublisher: Cambridge : Cambridge University Press, 2000Edition: 1st ed., Reprinted ed.Description: xii, 218 p. ; 22 cm.ISBN: 0521633583 (pbk); 9780521633581 (pbk).Subject(s): Shakespeare, William, 1564-1616 -- Aesthetics | English drama -- Early modern and Elizabethan, 1500-1600 -- History and criticism -- Theory, etc | English drama -- 17th century -- History and criticism -- Theory, etc | Aesthetics, Modern -- 16th century | Aesthetics, Modern -- 17th century | | Humanities, English April2019Genre/Form: -- Reading bookDDC classification: 822.33 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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Includes bibliographical references (p. 209-215) 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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