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DC Field | Value | Language |
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dc.contributor.advisor | M., Douglas J. | en_US |
dc.contributor.author | Leach, Douglas Andrew | en_US |
dc.date.accessioned | 2014-06-18T16:58:37Z | - |
dc.date.available | 2014-06-18T16:58:37Z | - |
dc.date.created | 2012-06-22 | en_US |
dc.date.issued | 1989-08 | en_US |
dc.identifier.other | opendissertations/7094 | en_US |
dc.identifier.other | 8147 | en_US |
dc.identifier.other | 3018173 | en_US |
dc.identifier.uri | http://hdl.handle.net/11375/12189 | - |
dc.description.abstract | <p>In this thesis, I am concerned with Jonson's attitude toward theatricality in the world. His representation of a "centered self," especially in his poems, can be seen both as a part of the Renaissance concern with fashioning identity and as a protest against the theatrical role-playing it often caused. I am further interested in Jonson's conception of the nature of the theatre as a significant social activity. He employs the theatrical metaphor in Volpone, Epicoene, and The Alchemist in which clever author and actor-figures deceive less clever audience-figures who lack proper judgement. These characters reflect Jonson's awareness of his own engagement with his audience. The series of plays-within-the-play illustrate a theatre of deception and manipulation by which Jonson comes to measure both himself as a playwright and his art.</p> <p>This study also attempts to come to terms with the interesting discrepancy between Jonson the moralist and Jonson the artist. There is a certain tension created in Jonsonian comedy when we consider that he infuses his theatrical tricksters with immense comic vigour. The audience's ability to pass judgement on the author and actor-figures' subversive actions is complicated since they perform so amusingly and with such brilliance.</p> <p>As well, I trace the development of Jonson's thinking about the nature and function of comedy. With each successive play, I find that he subtly disguises his moral idealism in order to write successful comedy. A problem with this formula was that it tended to mask Jonson's identity as a morally purposeful writer. Increasingly, his comedies seemed to owe their success to a triumph of theatrical over moral values. Jonson remains a morally responsible dramatist who incorporates into his art the critical acceptance of the stage as a medium.</p> | en_US |
dc.subject | English | en_US |
dc.subject | English Language and Literature | en_US |
dc.subject | English Language and Literature | en_US |
dc.title | Author, Actor and Audience- Figures: The Theatrical Metaphor in Jonsonian Comedy | en_US |
dc.type | thesis | en_US |
dc.contributor.department | English | en_US |
dc.description.degree | Master of Arts (MA) | en_US |
Appears in Collections: | Open Access Dissertations and Theses |
Files in This Item:
File | Size | Format | |
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fulltext.pdf | 2.39 MB | Adobe PDF | View/Open |
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