Titlebook: Dreams, Sleep, and Shakespeare’s Genres; Claude Fretz Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Early modern.Renaissa

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LAITY

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基因组

,‘Following Darkness Like a Dream’: Dreams, Sleep, and Dark Comedy,eare created a darker form of comedy in part by adapting literary traditions of fictitious dreams (mainly Plautine) and dream visions (mainly Chaucerian), and by engaging with early modern notions of dreams as satanic or demonic deceptions, as resurgences of waking thoughts, and as expressions of desires, fears, and emotions.

Largess

Largess

https://doi.org/10.1007/978-3-030-83063-2often had natural origins and were potentially deceptive. This paradigm shift enabled Shakespeare to problematise the model of the prophetic dream found in classical tragedy, where dreams point to supernatural determinism, and instead to use dreams to emphasise human agency.

BLANC

1940–1942: At the Rothschild Hospitalons of sleep underline the human origins of Shakespearean tragedy. It analyses, for example, how indolent sleep practices lead to tragedy, how the murder of a sleeping character emphasises human responsibility and wickedness, and how insomnia and waking hallucinations exacerbate a character’s physiological, psychological, and spiritual suffering.

固执点好

2731-3204 previously unexplored relationship between dreams, sleep, a.This book explores how Shakespeare uses images of dreams and sleep to define his dramatic worlds. Surveying Shakespeare’s comedies, tragedies, histories, and late plays, it argues that Shakespeare systematically exploits early modern physi

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https://doi.org/10.1007/978-3-030-83063-2eare created a darker form of comedy in part by adapting literary traditions of fictitious dreams (mainly Plautine) and dream visions (mainly Chaucerian), and by engaging with early modern notions of dreams as satanic or demonic deceptions, as resurgences of waking thoughts, and as expressions of desires, fears, and emotions.