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Antecedents, Models, and Dramatic Theory Antecedents, Models, and Dramatic Theory
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The Aesthetic of Mixing, Middle to Late The Aesthetic of Mixing, Middle to Late
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‘Within a Foot of the Extreme Verge’: Tragicomic Precipice and Tragic Abyss ‘Within a Foot of the Extreme Verge’: Tragicomic Precipice and Tragic Abyss
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‘The Art Itself is Nature’: The Paradox of Tragicomic Mimesis ‘The Art Itself is Nature’: The Paradox of Tragicomic Mimesis
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Curious Perspectives Curious Perspectives
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Select Bibliography Select Bibliography
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17 ‘The action of my life’: Tragedy, Tragicomedy, and Shakespeare’s Mimetic Experiments
Get accessSubha Mukherji was educated in Calcutta, Oxford, and Cambridge. She teaches at the University of Cambridge and is Principal Investigator on the ERC-funded interdisciplinary project Crossroads of Knowledge in Early Modern England: The Place of Literature. She is the author of Law and Representation in Early Modern Drama (Cambridge University Press, 2006), General Editor of the series Crossroads of Knowledge in Early Modern Literature (Palgrave Macmillan), and editor or co-editor of five critical volumes and three forthcoming collections. Most recently, she edited and contributed to Blind Spots of Knowledge in Shakespeare and His World (Medieval Institute Publications, 2019). She is currently writing a monograph on Knowing Encounters in Early Modern Literature.
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Published:02 November 2016
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Abstract
This essay will put pressure on moments at generic thresholds—in particular, that between tragicomedy and tragedy—as a way of understanding the stakes in Shakespeare’s interrogation of genre, and its implications for representation and response. The boundaries of tragedy are no less problematic than those of comedy. How does the notion of tragicomedy trouble these edges further? But it is neither tragedy nor tragicomedy alone that effects Shakespeare’s ethical and affective questioning of his art. As his career progresses, each genre helps the other sharpen its own claims on mimetic responsibility. A consideration of his tragic art in relation to tragicomedy—both in his consciously mixed-mode plays and in his inscription of what look like generically incompatible moments within his tragedies—illuminates the urgency of these experiments.
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