'Then draw the Curtaines againe': The Strange Case of Good Duke Humphrey (of William Shakespeare's Henry VI, Part Two)

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F13%3A33149462" target="_blank" >RIV/61989592:15210/13:33149462 - isvavai.cz</a>

Výsledek na webu

<a href="http://www.lancaster.ac.uk/luminary/issue3/Issue3article5.htm" target="_blank" >http://www.lancaster.ac.uk/luminary/issue3/Issue3article5.htm</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

'Then draw the Curtaines againe': The Strange Case of Good Duke Humphrey (of William Shakespeare's Henry VI, Part Two)

Popis výsledku v původním jazyce

The image of a sleeping character on stage had a special dramatic significance for mediaeval and early-modern playwrights and audiences, often playing a crucial rôle in the dramaturgical plane of the play in question. William Shakespeare seems to have been particularly fond of this trope, having used it numerous times throughout his dramatic career. The present paper discusses the very first instance of the topos in Shakespeare's canon - the murder of Duke Humphrey in his bed in 2 Henry VI. Special attention is paid to two distinct versions of the scene (Quarto and Folio), whose relationship has not been unanimously agreed upon by literary criticism. The author argues that, while the Quarto version seems to be the original work of early Shakespeare, the Folio variant is dramatically superior and more consistent with the use of the topos in Shakespeare's later - and more mature - works.

Název v anglickém jazyce

'Then draw the Curtaines againe': The Strange Case of Good Duke Humphrey (of William Shakespeare's Henry VI, Part Two)

Popis výsledku anglicky

The image of a sleeping character on stage had a special dramatic significance for mediaeval and early-modern playwrights and audiences, often playing a crucial rôle in the dramaturgical plane of the play in question. William Shakespeare seems to have been particularly fond of this trope, having used it numerous times throughout his dramatic career. The present paper discusses the very first instance of the topos in Shakespeare's canon - the murder of Duke Humphrey in his bed in 2 Henry VI. Special attention is paid to two distinct versions of the scene (Quarto and Folio), whose relationship has not been unanimously agreed upon by literary criticism. The author argues that, while the Quarto version seems to be the original work of early Shakespeare, the Folio variant is dramatically superior and more consistent with the use of the topos in Shakespeare's later - and more mature - works.

Druh

J_x - Nezařazeno - Článek v odborném periodiku (Jimp, Jsc a Jost)

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2013

Kód důvěrnosti údajů

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

Název periodika

The Luminary

ISSN

2056-9238

e-ISSN

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Svazek periodika

3

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

12

Strana od-do

26-37

Kód UT WoS článku

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EID výsledku v databázi Scopus

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