Plagiarism in Typee: A Peep at Herman Melville?s Lifting from Travel Narratives

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F60076658%3A12410%2F17%3A43895508" target="_blank" >RIV/60076658:12410/17:43895508 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Plagiarism in Typee: A Peep at Herman Melville?s Lifting from Travel Narratives

Popis výsledku v původním jazyce

Regarded by critics as one of Philip Roth?s comic and salacious masterpieces, Sabbath?s Theater incorporates a fascinatingly large amount of intertextual responses to William Shakespeare?s sublime tragedy King Lear. From Gloucester?s opening account of enjoying the creation of his bastard son in the opening of Act I to King Lear?s proclamation to ?Let Copulation Thrive? in Act IV scene 6, Roth draws on Shakespeare?s tragedy to present his own modern version of extramarital love-affairs, betrayal, madness, suicide, and acknowledgments of mistakes and regrets. Both heroes are observed to be quite mad yet many sympathized with their situation even though it was in both cases their own doing, for Lear?s and Sabbath?s madness are comprehensible due to their respective losses. This contribution will try to argue that Mickey Sabbath played the role of King Lear not merely off-Broadway in the 1950s, but later in his life in a modern version of the legendary King of Britain.

Název v anglickém jazyce

Plagiarism in Typee: A Peep at Herman Melville?s Lifting from Travel Narratives

Popis výsledku anglicky

Regarded by critics as one of Philip Roth?s comic and salacious masterpieces, Sabbath?s Theater incorporates a fascinatingly large amount of intertextual responses to William Shakespeare?s sublime tragedy King Lear. From Gloucester?s opening account of enjoying the creation of his bastard son in the opening of Act I to King Lear?s proclamation to ?Let Copulation Thrive? in Act IV scene 6, Roth draws on Shakespeare?s tragedy to present his own modern version of extramarital love-affairs, betrayal, madness, suicide, and acknowledgments of mistakes and regrets. Both heroes are observed to be quite mad yet many sympathized with their situation even though it was in both cases their own doing, for Lear?s and Sabbath?s madness are comprehensible due to their respective losses. This contribution will try to argue that Mickey Sabbath played the role of King Lear not merely off-Broadway in the 1950s, but later in his life in a modern version of the legendary King of Britain.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

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OECD FORD obor

60204 - General literature studies

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2017

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

American and British Studies Annual

ISSN

1803-6058

e-ISSN

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Svazek periodika

2017

Číslo periodika v rámci svazku

10

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

13

Strana od-do

33-45

Kód UT WoS článku

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EID výsledku v databázi Scopus

2-s2.0-85038411391