The Production of the Tragic: Locating Tragedy in Romeo and Juliet
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This article aims to place Raymond Williams’ notion of the structure of feeling at the center of the history of tragedy, and to examine the generic features of Shakespeare’s Romeo and Juliet. Tracing tragic elements in Shakespeare is certainly not a new topic. Yet, much criticism has focused on finding and abstracting the conceptual elements or principles based on the assumption that the Renaissance inherited classical and medieval traditions and produced legitimate tragedies. This article, instead, argues that specific material conditions—such as the proliferation of commercial theater, audience diversity, and the popularity of printed playbooks—were central to the establishment of early modern tragedy. Thus, this article seeks to engage with certain historical and material aspects about publishing and staging Romeo and Juliet, and to show how an Elizabethan structure of feeling can be closely linked to the formation of early modern tragedy.
Abstract
This article aims to place Raymond Williams’ notion of the structure of feeling at the center of the history of tragedy, and to examine the generic features of Shakespeare’s Romeo and Juliet. Tracing tragic elements in Shakespeare is certainly not a new topic. Yet, much criticism has focused on finding and abstracting the conceptual elements or principles based on the assumption that the Renaissance inherited classical and medieval traditions and produced legitimate tragedies. This article, instead, argues that specific material conditions—such as the proliferation of commercial theater, audience diversity, and the popularity of printed playbooks—were central to the establishment of early modern tragedy. Thus, this article seeks to engage with certain historical and material aspects about publishing and staging Romeo and Juliet, and to show how an Elizabethan structure of feeling can be closely linked to the formation of early modern tragedy.
참고문헌 (22)
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