Early Responses to Renaissance Drama

¾ÕÇ¥Áö
Cambridge University Press, 2006. 8. 31. - 341ÆäÀÌÁö
It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to understanding pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. It makes possible the study of particular responses of women and of workers and contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a fresh view of dramatic production.
 

¸ñÂ÷

¼½¼Ç1
17
¼½¼Ç2
41
¼½¼Ç3
55
¼½¼Ç4
56
¼½¼Ç5
58
¼½¼Ç6
70
¼½¼Ç7
82
¼½¼Ç8
91
¼½¼Ç12
147
¼½¼Ç13
161
¼½¼Ç14
169
¼½¼Ç15
195
¼½¼Ç16
201
¼½¼Ç17
233
¼½¼Ç18
234
¼½¼Ç19
237

¼½¼Ç9
115
¼½¼Ç10
124
¼½¼Ç11
134
¼½¼Ç20
241
¼½¼Ç21
245
¼½¼Ç22
259

±âŸ ÃâÆÇº» - ¸ðµÎ º¸±â

ÀÚÁÖ ³ª¿À´Â ´Ü¾î ¹× ±¸¹®

ÀÌ Ã¥À» ÂüÁ¶ÇÑ ÀÚ·á

ÀúÀÚ Á¤º¸ (2006)

Charles Whitney is Professor of English at the University of Nevada, Las Vegas.

µµ¼­ ¹®ÇåÁ¤º¸