In Words and Deeds: The Spectacle of Incest in English Renaissance TragedyRodopi, 2002 - 296 páginas Departing from earlier studies which regarded incest as a literary topos or dramatic metaphor foregrounding political, social, or legal issues, Words and Deeds: The Spectacle of Incest in English Renaissance Tragedy argues that the presence of incest on the Renaissance stage is a strategy for the enactment of the spectator's tragic experience. Incest is explored neither as a sin nor as a crime, but as an "unspeakable" experience filtered through dramatic words and deeds. The incitement of desire, visual pleasure, and unconscious fantasy, as well as traumatic rejection, pain, and horror, are all aspects of this paradoxical and uncanny experience. Aristotelian theory of tragedy, Freudian and Lacanian psychoanalysis, and Michel Foucault's notions of the deployment of sexuality and alliance, concur in the analysis of plays where incest is a central or a secondary motif - Ford's 'Tis Pity She's a Whore, Beaumont and Fletcher's Cupid's Revenge, Webster's The Duchess of Malfi - and others where incest is an effect of language and mise-en-scène - Sackville and Norton's Gorboduc, Shakespeare's King Lear. The variety of topics and the combination of critical perspectives makes In Words and Deeds an attractive book for students and teachers of Renaissance drama, as well as for those with a special interest in psychoanalytic and other new theoretical approaches to the literary text. |
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Página 4
... discourse on incest as a crime against the family , or as an offence against Nature's law , has been the basis for previous studies on the subject.3 And yet , regardless of the function incest has as motif or element in the plot ...
... discourse on incest as a crime against the family , or as an offence against Nature's law , has been the basis for previous studies on the subject.3 And yet , regardless of the function incest has as motif or element in the plot ...
Página 15
... discourses . By means of several metaphorical strategies , incest becomes a multi- farious political tool , whose ... discourse establishes 29 Charles R. Forker , " A Little More than Kin , and Less than Kind ' : Incest , Inti- macy ...
... discourses . By means of several metaphorical strategies , incest becomes a multi- farious political tool , whose ... discourse establishes 29 Charles R. Forker , " A Little More than Kin , and Less than Kind ' : Incest , Inti- macy ...
Página 16
... discourse of the monarch as a nurturing mother - the self- representations of monarchs like Elizabeth I or James I - or , on the contrary , as a correlative to tyranny – the literary cliché of the lustful , incestuous king in ...
... discourse of the monarch as a nurturing mother - the self- representations of monarchs like Elizabeth I or James I - or , on the contrary , as a correlative to tyranny – the literary cliché of the lustful , incestuous king in ...
Página 18
... discourse common to the theory of tragedy as propounded by humanism is incapable of containing the subversive dimension of tragedy in performance : " Sometimes a kind of poetic justice emerges ... but only as perfunctory closure - that ...
... discourse common to the theory of tragedy as propounded by humanism is incapable of containing the subversive dimension of tragedy in performance : " Sometimes a kind of poetic justice emerges ... but only as perfunctory closure - that ...
Página 19
... discourse of the royal family in the Renaissance is at the very root of twentieth- century criminal practices of child abuse.38 McCabe recounts a re- corded case of father - daughter sexual violence that took place at Glastonbury in the ...
... discourse of the royal family in the Renaissance is at the very root of twentieth- century criminal practices of child abuse.38 McCabe recounts a re- corded case of father - daughter sexual violence that took place at Glastonbury in the ...
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In Words and Deeds: The Spectacle of Incest in English Renaissance Tragedy Zenón Luis-Martínez Pré-visualização limitada - 2021 |
Palavras e frases frequentes
anagnorisis analysis Annabella Aristotelian audience Bacha becomes blood body Boehrer brother catharsis cause character conception conflict constitutes Cordelia critical Cupid's Revenge daughter death demand difference discourse dramatic Duchess of Malfi Duke early modern effect Elizabethan emblem emblematic emotional emphasis added English Renaissance ethos experience fantasy father Ferdinand Ferrex Flamineo Foucault Freud Giovanni Gorboduc Hamlet heart Hippolito Ibid identity incest incestuous desire Jacques Lacan King Lear kinship Lacan language Lear's Leucippus literary Literature Livia Marcello marriage maternal meaning mimesis mise-en-scène moral mother motif mythos narrative object Oedipus Oedipus the King opsis play play's pleasure plot poetics political psychoanalytic Renaissance drama representation repression Revenger's Tragedy ritual role scene sense sexuality Shakespeare sister social spectacle spectator spectator's stage structure symbolic order teleology theatrical theory Thierry and Theodoret tion Tis Pity tragic trans uncanny unconscious Videna Vindice Vindice's Whore Women Beware Women words
Passagens conhecidas
Página 154 - Why should a dog, a horse, a rat, have life, And thou no breath at all ? Thou 'It come no more, Never, never, never, never, never ! Pray you, undo this button : thank you, sir. Do you see this ? Look on her, look, her lips, Look there, look there ! [Dies.
Página 8 - The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that -particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.
Página 141 - The barbarous Scythian, Or he that makes his generation messes To gorge his appetite, shall to my bosom Be as well neighbour'd, pitied, and reliev'd As thou, my sometime daughter.
Página 141 - Let it be so! thy truth then be thy dower! For, by the sacred radiance of the sun, The mysteries of Hecate and the night; By all the operation of the orbs From whom we do exist and cease to be...
Página 137 - Good my lord, You have begot me, bred me, lov'd me : I .Return those duties back as are right fit, Obey you, love you, and most honour you. Why have my sisters husbands if they say They love you all? Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty : Sure I shall never marry like my sisters, To love my father all.
Página 151 - I'll kneel down, And ask of thee forgiveness; so we'll live, // And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news; and we'll talk with them too, Who loses and who wins; who's in, who's out; And...
Página 128 - It did always seem so to us : but now, in the division of the kingdom, it appears not which of the dukes he values most ; for equalities are so weighed, that curiosity in neither can make choice of cither's moiety.
Página 130 - Tell me, my daughters (Since now we will divest us both of rule, Interest of territory, cares of state), Which of you shall we say doth love us most? That we our largest bounty may extend Where nature doth with merit challenge.
Página 125 - ... the mother herself, the beloved one who is chosen after her pattern, and lastly the Mother Earth who receives him once more.