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The view through French spectacles
Richard Hillman

generic blending, can again shed light on Shakespeare’s practice, the present study is anomalous. The critical literature on early modern tragicomedy is vast, but English material is rarely brought into contact with French. The three main founts of influence commonly taken to flow into English tragicomic composition are various Italian dramatic forms, the popular romantic drama of the earlier Elizabethan period decried by Sidney – some elements of which were demonstrably taken over by Shakespeare 2 – and late classical narrative (the Hellenistic novel). 3 At least as

in The Shakespearean comic and tragicomic
From Nosferatu to Nazism
Patrick Colm Hogan

It has been widely asserted that nationhood is inseparable from narration. This vague claim may be clarified by understanding that nationalism is bound up with the universal prototypical narrative structures of heroic, romantic, and sacrificial tragi-comedy. This essay considers an historically important case of the emplotment of nationalism - the sacrificial organization of German nationalism between the two world wars. It examines one exemplary instance of this emplotment, F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922). However unintentionally, Nosferatu represents the vampire in a way that is cognitively continuous with Nazi representations of Jews. The films sacrificial emplotment of vampirism is, in turn, continuous with Nazi policies. That continuity places the film in a larger discourse that helped to make Nazi policies possible.

Film Studies
French inflections

This book discusses Shakespeare’s deployment of French material within genres whose dominant Italian models and affinities might seem to leave little scope for French ones. It proposes specific, and unsuspected, points of contact but also a broad tendency to draw on French intertexts, both dramatic and non-dramatic, to inflect comic forms in potentially tragic directions. The resulting tensions within the genre are evident from the earliest comedies to the latest tragicomedies (or ‘romances’). An introduction establishes the French inflection of Italian modes and models, beginning with The Taming of the Shrew, as a compositional paradigm and the basis for an intertextual critical approach. Next, A Midsummer Night’s Dream is related to three French intertexts highlighting, respectively, its use of pastoral dramatic convention, its colouration by the histoire tragique and its parodic dramatisation of the Pyramus and Thisbe story. The third chapter interrogates the ‘French’ settings found in the romantic comedies, while the fourth applies French intertexts to three middle-to-late comedies as experiments in tragicomedy. Finally, the distinctive form given tragicomedy (or ‘romance’) in Shakespeare’s late production is set against the evolution of tragicomedy in France and related to French intertexts that shed new light on the generic synthesis achieved—and the degree of bricolage employed in achieving it.

Shakespeare’s Italian language-learning habits
Jason Lawrence

reading beyond the immediate process of language learning itself. Marston’s sustained attention to Guarini’s Il pastor fido when composing his own tragicomedy The Malcontent provides another possible connection with Shakespeare in the early years of the seventeenth century. Hunter argues that both All’s Well That Ends Well and Measure for Measure demonstrate Shakespeare’s dramatic

in ‘Who the devil taught thee so much Italian?’
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James Shirley’s The Traitor
Jessica Dyson

Most of the extant drama from the Caroline professional stage is not tragic in genre. Of the major Caroline professional playwrights – Ben Jonson, Richard Brome, John Ford, Philip Massinger and James Shirley – the surviving plays are predominantly comedy and tragicomedy. Nevertheless, Massinger, Shirley and John Ford did write some tragedy for the Caroline stage amid comic and tragicomic writing, presenting tragedies of power in Massinger's The Roman Actor (1626) and Believe as You List (1631), domestic tragedy in Ford's ’Tis Pity She

in The genres of Renaissance tragedy
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Fantastic Renaissance spectacles
Elisabeth Bronfen
Beate Neumeier

only are central within the Gothic mode but which have been particularly productive in the early modern period, when the theatre enacted ‘boundary disputes’ through ghostly apparitions and shape-shifters like witches, werewolves and devil-dogs, foregrounding their transformations in and of the dramatic genres of tragedy and tragicomedy. Ghostly

in Gothic Renaissance
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Shakespeare, Jonson and the circulation of theatrical ideas
John Drakakis

, memes and scenarios are revisited, reformulated and transformed to create new perspectives on matters with which the theatre audience can be expected to have some prior familiarity. The resonance of the Thorello sub-plot, in a play that, in part, recuperates elements of The Merchant of Venice , expands within the Shakespeare oeuvre to take in comedy, tragedy and tragicomedy and to suggest a creative ingenuity that is capable of moulding form to discuss shifts in emphasis and particular faultlines in Elizabethan and Jacobean

in Shakespeare’s resources
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The Far East and the limits of representation in the theatre, 1621–2002
Gordon McMullan

call ‘Mandevillian drama’ both in the early seventeenth century and in the early twenty-first. My focus is on a particular dramatic text – John Fletcher’s 1621 tragicomedy, The Island Princess – and, in the latter part of the chapter, on a particular production of that text: the Royal Shakespeare Company’s revival in 2002–3 (the first for three centuries) at the Swan

in A knight’s legacy
The Merchant of Venice, Measure for Measure, Twelfth Night
Richard Hillman

As this chapter’s title is meant to signal, I propose to treat three comedies dating from between 1596 (roughly) and 1604 as varied experiments in tragicomedy. To this extent, they anticipate the formal generic turn of the final plays, but they are far from achieving the distinctive synthesis of tragic and comic strains which the latter establish (while exhibiting, of course, their own variations). Instead, the notion of tragicomedy that broadly applies here involves a more or less uneasy juxtaposition of fulfilled comic patterns with an affirmation of tragic

in The Shakespearean comic and tragicomic
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Sue Vice

tragicomedy. Although Charles Clover claims of London’s Burning that it is one of Rosenthal’s ‘Jack Does …’ films, in which an institution rather than character is under scrutiny,1 none of these films is primarily documentary in form. Rather, each deploys a precise and accurate backdrop of factual detail and – particularly in London’s Burning – setting, as a way of generating both character and narrative. On the other hand, for none of the three films is the profession represented simply a pretext for situation comedy, as it is in, for instance, Taxi. Rosenthal co

in Jack Rosenthal