Texts and Traditions explores Shakespeare's thoroughgoing engagement with the religious culture of his time. In the wake of the recent resurgence of interest in Shakespeare's Catholicism, Groves eschews a reductively biographical approach and considers instead the ways in which Shakespeare's borrowing from both the visual culture of Catholicism and the linguistic wealth of the Protestant English Bible enriched his drama. Through close readings of a number of plays - Romeo and Juliet, King John, 1 Henry IV, Henry V ,and Measure for Measure - Groves unearths and explains previously unrecognised allusions to the Bible, the Church's liturgy, and to the mystery plays performed in England in Shakespeare's boyhood. Texts and Traditions provides new evidence of the way in which Shakespeare exploited his audience's cultural memory and biblical knowledge in order to enrich his ostensibly secular drama and argues that we need to unravel the interpretative possibilities of these religious nuances in order fully to grasp the implications of his plays.
0 有用 砚一 2023-06-21 16:48:47 北京
作者试图探究宗教因素如何进入世俗戏剧(以莎士比亚代表,与神秘剧相对)。与大量集中于成熟悲剧与晚期传奇剧的做法不同,作者关注早期莎士比亚,同时展现神秘剧和世俗戏剧两条线。作者用来定义天主教传统对莎士比亚戏剧创作影响的核心关键词是“nostagial”。宗教改革中反偶像崇拜给戏剧造成了重要打击,作者仍然认为理解文艺复兴时期的representation离不开incarnation, “Drama is... 作者试图探究宗教因素如何进入世俗戏剧(以莎士比亚代表,与神秘剧相对)。与大量集中于成熟悲剧与晚期传奇剧的做法不同,作者关注早期莎士比亚,同时展现神秘剧和世俗戏剧两条线。作者用来定义天主教传统对莎士比亚戏剧创作影响的核心关键词是“nostagial”。宗教改革中反偶像崇拜给戏剧造成了重要打击,作者仍然认为理解文艺复兴时期的representation离不开incarnation, “Drama is an embodied art form, and at the centre of the mysteries is the Incarnation”。文艺复兴悲剧不同于古典悲剧,一是文体的混用,二是对死亡本身的舞台呈现,这都得益于基督教神学传统,主线有意思但对文本处理蛮粗糙的。 (展开)
0 有用 砚一 2023-06-21 16:48:47 北京
作者试图探究宗教因素如何进入世俗戏剧(以莎士比亚代表,与神秘剧相对)。与大量集中于成熟悲剧与晚期传奇剧的做法不同,作者关注早期莎士比亚,同时展现神秘剧和世俗戏剧两条线。作者用来定义天主教传统对莎士比亚戏剧创作影响的核心关键词是“nostagial”。宗教改革中反偶像崇拜给戏剧造成了重要打击,作者仍然认为理解文艺复兴时期的representation离不开incarnation, “Drama is... 作者试图探究宗教因素如何进入世俗戏剧(以莎士比亚代表,与神秘剧相对)。与大量集中于成熟悲剧与晚期传奇剧的做法不同,作者关注早期莎士比亚,同时展现神秘剧和世俗戏剧两条线。作者用来定义天主教传统对莎士比亚戏剧创作影响的核心关键词是“nostagial”。宗教改革中反偶像崇拜给戏剧造成了重要打击,作者仍然认为理解文艺复兴时期的representation离不开incarnation, “Drama is an embodied art form, and at the centre of the mysteries is the Incarnation”。文艺复兴悲剧不同于古典悲剧,一是文体的混用,二是对死亡本身的舞台呈现,这都得益于基督教神学传统,主线有意思但对文本处理蛮粗糙的。 (展开)