Peter Womack – författare

Dialogue is a many-sided critical concept; at once an ancient philosophical genre, a formal component of fiction and drama, a model for the relationship of writer and reader, and a theoretical key to the nature of language. In all its forms, it questions ‘literature’, disturbing the singleness and fixity of the written text with the fluid interactivity of conversation.In this clear and concise guide to the multiple significance of the term, Peter Womack: outlines the history of dialogue form, looking at Platonic, Renaissance, Enlightenment and Modern examples illustrates the play of dialogue in the many ‘voices’ of the novel, and considers how dialogue works on the stageinterprets the influential dialogic theories of Mikhail Bakhtinexamines the idea that literary study itself consists of a ‘dialogue’ with the pastpresents a useful glossary and further reading section.Practical and thought-provoking, this volume is the ideal starting-point for the exploration of this diverse and fascinating literary form.

Dialogue is a many-sided critical concept; at once an ancient philosophical genre, a formal component of fiction and drama, a model for the relationship of writer and reader, and a theoretical key to the nature of language. In all its forms, it questions ‘literature’, disturbing the singleness and fixity of the written text with the fluid interactivity of conversation.In this clear and concise guide to the multiple significance of the term, Peter Womack: outlines the history of dialogue form, looking at Platonic, Renaissance, Enlightenment and Modern examples illustrates the play of dialogue in the many ‘voices’ of the novel, and considers how dialogue works on the stageinterprets the influential dialogic theories of Mikhail Bakhtinexamines the idea that literary study itself consists of a ‘dialogue’ with the pastpresents a useful glossary and further reading section.Practical and thought-provoking, this volume is the ideal starting-point for the exploration of this diverse and fascinating literary form.

This book provides a comprehensive account of the cutlural history of English drama. Drawing upon new empirical research and the latest theoretical models, Shepherd and Womack show how the character of a given theatrical 'age', as traditionally described, is packed with contradictions and uneven in development. Focusing on key historical moments and modes, they offer chapters on Medieval Theatre, Renaissance Drama, Restoration Comedy, Melodrama, and Naturalism, and conclude with accounts of Post-War British Theatre and the State, and Drama in the Age of Television.

The book considers the London theatrical culture which took shape in the 1570s and came to an end in 1642. Places emphasis on those plays that are readily available in modern editions and can sometimes to be seen in modern productions, including Shakespeare.Provides students with the historical, literary and theatrical contexts they need to make sense of Renaissance drama.Includes a series of short biographies of playwrights during this period.Features close analyses of more than 20 plays, each of which draws attention to what makes a particular play interesting and identifies relevant critical questions.Examines early modern drama in terms of its characteristic actions, such as cuckolding, flattering, swaggering, going mad, and rising from the dead.

The book considers the London theatrical culture which took shape in the 1570s and came to an end in 1642. Places emphasis on those plays that are readily available in modern editions and can sometimes to be seen in modern productions, including Shakespeare.Provides students with the historical, literary and theatrical contexts they need to make sense of Renaissance drama.Includes a series of short biographies of playwrights during this period.Features close analyses of more than 20 plays, each of which draws attention to what makes a particular play interesting and identifies relevant critical questions.Examines early modern drama in terms of its characteristic actions, such as cuckolding, flattering, swaggering, going mad, and rising from the dead.

The sea for Shakespeare is both a location and a metaphor; and either way it affords him an extraordinary freedom of invention, releasing whatever in the plays is vast, fluid and unceasing. It is also a defining element of his historical context: he lived and worked a few yards from one of the great maritime rivers of the world, and for much of his career England was engaged in a naval war with Spain. So the Shakespearean sea invites two distinct perspectives poetics and history, the conventional literary symbol and the contingent economic struggle. This book embraces both of them together, tracing the intricate connections between them, and showing how they meet, above all, on the stage. It was in the Elizabethan playhouse that commercial enterprise, physical confinement and boundless rhetoric interacted to generate an imaginative energy whose waves can still be fel.