결과등록시 초록은 학술논문에 게재되어 있는 주초록으로 대체하였음.

결과등록시 초록은 학술논문에 게재되어 있는 주초록으로 대체하였음.

Shakespeare's comedies have been examined in various ways including formal studies, evolutionary studies, thematic studies and source studies. Many critics have noted that Shakespeare stresses not satire but reconciliation, forgiveness, self-awar ...

Shakespeare's comedies have been examined in various ways including formal studies, evolutionary studies, thematic studies and source studies. Many critics have noted that Shakespeare stresses not satire but reconciliation, forgiveness, self-awareness, and festive ending in his comedies. And they have identified certain recurrent devices rooted in the Greek and Roman traditions, and been concerned chiefly with his plentiful use of figures of speech for ornament and embellishment. But scholars have paid little attention to the comic, that is, amusement,
My paper aims to clarify Shakespeare's comic dramaturgy by providing solid evidence that his superb plays such as A Midsummer Night's Dream, Much Ado About Nothing, As You Like It, and Twelfth Night share three common conditions: the harmonious interplay between the comic devices and comic rhetoric, an organic unity between the romantic group and the comic group, and the dominance of the comic over the dark. Through the whole process of my analysis, I have attempted to apply these three requirements to his sixteen plays and to find what change Shakespeare has made in his craftsmanship as a comic playwright from The Comedy of Errors to The Tempest. He achieves the most ideal form of comedy during the years usually thought of as his peak--the period of romantic comedies. First, these acclaimed comedies exemplify Shakespeare's unparalleled orchestration of comic devices and comic rhetoric, both elements of which never function separately one from the other; he shows his dexterous manipulation in managing the interplay of them in these plays. Second, the romantic plot of each comedy is organically united with its group of comic characters. Third, Shakespeare highlights a bright facade with dark elements behind it; the dark never outweighs the comic.

I. 희극의 정의와 범주
II. 셰익스피어 희극의 본질
III. 셰익스피어 낭만희극들의 세 가지 공통적 조건
IV. 결론

I. 희극의 정의와 범주
II. 셰익스피어 희극의 본질
III. 셰익스피어 낭만희극들의 세 가지 공통적 조건
IV. 결론