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001 BRILL9789004334243
003 nllekb
005 20260610105750.0
007 cr un uuuua
008 020906s2002 ne s 000 0 eng d
020 _a9789004334243
_q(electronic book)
020 _z9789042015593
_q(print)
024 7 _a10.1163/9789004334243
_2DOI
035 _a(OCoLC)50569118
040 _aNL-LeKB
_cNL-LeKB
_erda
050 4 _aPN1942
_b.F37 2002
072 7 _aPN
_2lcco
072 7 _aPA
_2lcco
072 7 _aAN
_2bicssc
072 7 _aDRA000000
_2bisacsh
082 0 4 _a809.2523
245 0 0 _aFarce and farcical elements /
_cedited by Wim Hüsken and Konrad Schoell in conjunction with Leif Søndergaard.
264 1 _aAmsterdam ;
_aNew York, NY :
_bRodopi,
_c2002.
300 _a1 online resource (223 pages)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_2rdacarrier
490 1 _aLudus,
_x1385-0393 ;
_v6
500 _a"Ludus: medieval and early Renaissance theatre and drama"--Preliminary page.
505 0 0 _tIntroduction /
_rWim Hüsken and Konrad Schoell --
_tFarcical Elements in the English Mystery Cycles /
_rPeter Happé --
_tMockery, Farce, and Risus Paschalis in the York Christ before Herod /
_rMichael O’Connell --
_tMirth and Mockery: The Devil’s Way /
_rCharlotte Spivack --
_tFarce and Farcical Elements in the English Interludes, or: How the Vice beat the Farce /
_rJean Paul Debax --
_tChaucer, Medieval Drama and a Newly Discovered Seventeenth-Century Play: The Survival of Medieval Stereotypes? /
_rElizabeth Baldwin --
_tL’Individu et le Groupe Social dans la Farce /
_rKonrad Schoell --
_tLes Eléments Farcesques dans la Sottie Française /
_rJelle Koopmans --
_t“Le Silence est le bouclier de la sagesse”: Le Dialogo da Ressurreição de Gil Vicente /
_rMaria José Palla --
_tCombat Between the Genders: Farcical Elements in the German Fastnachtspiel /
_rLeif Søndergaard --
_tDas heiß eysen, un Jeu de Carnaval de Hans Sachs /
_rMarie Lesaffre --
_tLa Reception du Décaméron dans les Jeux de Carnaval de Hans Sachs /
_rDanielle Buschinger --
_tFrom Revelry to Reality: Drinking, Poverty and Salvation in Hans Rudolf Manuel’s Weinspiel /
_rJoe G. Delap.
506 _aAvailable to subscribing member institutions only.
520 _aFarcical elements were incorporated into non-comic drama ever since the theatre had been rediscovered in the Middle Ages. Already at a very early stage, comic scenes proved to be popular additions to liturgical music drama and, later, to religious plays in the vernacular. Some scholars believe that the genre of farce developed out of these farcical elements. The suggestion was made that farces, similar to the stuffing of meat or poultry, had been added to plays to increase audience involvement. Other researchers see quite different origins for the farce. The present volume does not aspire to solve the question of the relationship between the two types of “comedy” on the medieval stages but its editors hope that it will nevertheless contribute to this discussion. In addition, it will enable its readers to form an impression of the huge variety of the comic in the vast area of medieval and early Renaissance theatre and drama.
546 _aEnglish and French.
650 0 _aFarce.
650 0 _aDrama, Medieval
_xHistory and criticism.
650 7 _aDrama, Medieval.
_2fast
650 7 _aFarce.
_2fast
655 7 _aCriticism, interpretation, etc.
_2fast
700 1 _aHüsken, Wim N. M.
700 1 _aSchoell, Konrad,
_d1938-
700 1 _aSøndergaard, Leif.
776 0 8 _iOnline version:
_tFarce and farcical elements.
_dAmsterdam ; New York, NY : Rodopi, 2002
_w(OCoLC)606931179
830 0 _aLudus
_v6.
856 4 _zDOI:
_uhttp://dx.doi.org/10.1163/9789004334243
999 _c47121
_d47121