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莎氏喜剧和琼生喜剧:《威尼斯商人》与《狐狸》比较研究(社版)

作者：廖运刚

出版社：四川大学出版社出版时间：2018-03-01

开本： 32开 页数： 352

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版权信息
内容简介
目录
节选
作者简介

莎氏喜剧和琼生喜剧:《威尼斯商人》与《狐狸》比较研究(社版) 版权信息

ISBN：9787569014891
条形码：9787569014891 ; 978-7-5690-1489-1
装帧：一般胶版纸
册数：暂无
重量：暂无
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文学
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戏剧

莎氏喜剧和琼生喜剧:《威尼斯商人》与《狐狸》比较研究(社版) 内容简介

　　历史一度认为，莎翁喜剧流畅、浪漫、祥和、喜闻乐见、重娱乐而轻教化，琼生喜剧则呆板、阴冷、讥讽、书卷气重、重教化而轻娱乐。直至近百年来，此类对立观点才开始改变。　　《莎氏喜剧和琼生喜剧：与比较研究（英文版）》从贪婪主题、教化意图、人物塑造三点比较了莎翁的《威尼斯商人》和琼生的《老狐狸》，认为上述传统观点过于简略，未能充分反映剧作家的喜剧全貌。　　《莎氏喜剧和琼生喜剧：与比较研究（英文版）》的结论是，两人的技巧、意图可能极似。二者确有不同，但并非以往过简、过略的观点所能描述。

莎氏喜剧和琼生喜剧:《威尼斯商人》与《狐狸》比较研究(社版) 目录

序言
PREFACE
Introduction

1 Shakespearian and Jonsonian Comedy
I． A general view of Shakespearian and Jonsonian comedy
II． Shakespeare and Jonson in dramatic context
III． Shakespeare and Jonson in historical context
IV． The "rub" of generalization

2 The Theme of Avarice
I． Definition of avarice
II． Praise and prosecution of avarice
III． Historical background of avarice

3 Jonson's and Shakespeare's Dramatic Didacticism
I． Introduction
II． Jonson's didacticism
IH． Shakespeare's didacticism

4 Characterization in Volpone and The Merchant of Venice
I． Humors and character types
II． The fortune hunters
III． The facilitators
IV． The villains of passions

Conclusion
Works Cited

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莎氏喜剧和琼生喜剧:《威尼斯商人》与《狐狸》比较研究(社版) 节选

　　《莎氏喜剧和琼生喜剧：与比较研究（英文版）》：　　Scholars have noted the importance of Shakespeare's inheritance of the English popular traditions. A great and humane genius， humanist and outstanding writer， actor and theater owner， Shakespeare was able to combine different traditions and sources to produce his unique， inimitable comedies. Traditionally the main features of Shakespeare's comedies have been claimed to be their sweetness， concern with male/female relationships， popular appeal and the purpose of entertainment. Compared with Jonson， Shakespeare's use of classical techniques and materials was limited. Shakespeare's lack of classical education was seen to be the cause of his violations of the dramatic rules laid down by Greek and Roman writers and renewed by the English and French neo-classicists. .　　Compared with Shakespeare， Jonson was regarded as more influenced by classical comic traditions. A well-read scholar of the classics， court poet and humariist， Jonson learned from the Greek and Roman dramatists while absorbing the English tradition of morality plays. He particularly drew much on contemporary London life. Traditionally Jonson's comedies have been considered learned， humorous， satirical and didactic. Dissatisfied with the current practices in playwriting， Jonson created hunor comedies as a new genre based on his studies of classical literature and on his own literary theories. l3eing a drama theorist and critic himself， Jonson also produced comedies which deal with human follies aiming at warning against and correcting them. He was praised by both contemporary and future critics as a staunch observer of neo-classical dramatic rules.　　Shakespeare's and Jonson's techniques of characterization have been thought markedly different. Shakespeare's characters have been considered unique， natural individuals that can be found in all ages and all places. They are always alive. Jonson's characters， in contrast， were considered not as unique individuals， but as types， for example， a bragging soldier or an old miser. They were alive in the dramatist's London， but not in other ages or other places. Shakespeare was praised for his naturalness and spontaneity； Jonson was blamed for his mechanicality and labored contrivance. Shakespeare was hailed for his nature； and Jonson， his art.　　The past four hundred years have witnessed the vicissitudes of the reception of Shakespeare's and Jonson's comedies. From his death until almost the last quarter of the eighteenth century when neo-classical rules dominated the literary world， Shakespeare was largely criticized， extensively adapted and occasionally appreciated， while Jonson was avidly worshiped， carefully imitated and held up as the standard and culmination of dramatic comedy. The English Romantic movement radically changed this situation. With the new emphasis on " spontaneous overflow of powerful feelings" （Wordsworth 237）， Shakespeare found great favor with the Romantics， who brought Shakespeare to continued ascendancy. The Romantics' elevation of Shakespeare resulted in ignorance and even rejection of Jonson， and an even lower place for him was still to come in the late nineteenth century， when most of his plays， especially his earlier， well-recognized， great Jacobean comedies， were disregarded. Since the　　……