Comic Women, Tragic Men: A Study of Gender and Genre in ShakespeareStanford University Press, 01/06/1982 - 212 páginas This book proceeds from the assumption that Shakespeare, so often perceived as the one writer who appears to have transcended the limits of gender, inevitably writes from the perspective of his own gender. From this perspective, whatever represents the Self is necessarily male; and the Other, which challenges the Self, is female. The author's approach gives us a fresh understanding of both Shakespeare's characters and the structure of the plays. The author defines genre in terms of the nature of the challenge offered by the Other to the Self. Using specific plays and characters of Shakespeare, the author shows how in tragedy the Other betrays or appears to betray the Self; in comedy the Other evades the social hierarchies dominated by versions of the male Self; in romance the Other comes and goes, leaving the Self bereft when she is gone and astounding him with happiness when she reappears. History is defined as a genre in which the masculine heroes confront no challenge from the Other but only from each other, from other versions of the Self. The book consists of a long theoretical introduction followed by chapters on comedy, history, and some individual plays: Hamlet, Antony and Cleopatra, Macbeth, Coriolanus, and The Tempest. |
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Resultados 1-5 de 55
Página 3
... sense . It is not just the ugly portraits that present difficulties in the tragedies . We have also to account for the violent misogyny of the very characters we feel closest to . Lear , Hamlet , Antony , and Othello all turn on women ...
... sense . It is not just the ugly portraits that present difficulties in the tragedies . We have also to account for the violent misogyny of the very characters we feel closest to . Lear , Hamlet , Antony , and Othello all turn on women ...
Página 4
... sense of the plays that do not answer to feminist ideas , it seems more useful to assume that all of the plays are governed by a masculine perspective and to discuss them on that basis . It may seem that I have come full circle , 4 ...
... sense of the plays that do not answer to feminist ideas , it seems more useful to assume that all of the plays are governed by a masculine perspective and to discuss them on that basis . It may seem that I have come full circle , 4 ...
Página 5
... sense of identification with his or her own sex . It is natural for a writer to attribute to same - sex characters the privileges of the Self— privileges that , as we shall see , attach in Shakespeare most notably to the tragic hero ...
... sense of identification with his or her own sex . It is natural for a writer to attribute to same - sex characters the privileges of the Self— privileges that , as we shall see , attach in Shakespeare most notably to the tragic hero ...
Página 8
... sense of an identity discovering itself , judging and shaping itself . The tragic heroes observe themselves — approving and disapproving of what they are , or noticing that they are no longer what they used to be . They feel some ...
... sense of an identity discovering itself , judging and shaping itself . The tragic heroes observe themselves — approving and disapproving of what they are , or noticing that they are no longer what they used to be . They feel some ...
Página 9
... sense of being at fault . In her final moments she appears to have forgotten the issue entirely . She feels no strain on her relationship with Hamlet , and her atten- tions to him in the last scene are unaffectedly cheerful : The Queen ...
... sense of being at fault . In her final moments she appears to have forgotten the issue entirely . She feels no strain on her relationship with Hamlet , and her atten- tions to him in the last scene are unaffectedly cheerful : The Queen ...
Índice
1 | |
TWO Antony and Cleopatra | 45 |
THREE Hamlet | 71 |
FOUR Macbeth and Coriolanus | 91 |
FIVE The Comic Heroine and the Avoidance | 109 |
Toward Tragedy | 135 |
The Tempest | 169 |
Outras edições - Ver tudo
Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare Linda Bamber Pré-visualização limitada - 1982 |
Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare Linda Bamber Pré-visualização indisponível - 1982 |
Palavras e frases frequentes
aggression Antony and Cleopatra Antony's battle betrayed Caesar Caliban challenge choice comic heroine conflict consciousness contrast Cordelia Coriolanus Coriolanus's course criticism Danby daughter death defined Desdemona desire dialectic drama Egypt emotion Enobarbus father feelings female feminine feminist Fiedler final Fitz genre Gertrude Gertrude's Hamlet Henry Hermione hero's history hero history plays honor Hotspur husband identity imagine instance Kate kill King Lear Lady Macbeth Lady Macduff Laertes Lear's Leontes Leslie Fiedler Macbeth and Coriolanus male manliness masculine masculine-historical Miranda misogyny mother Nature never Octavia Ophelia Orsino Othello Perdita Petruchio political Portia projection Prospero refuses relationship represents resolution Richard Richard II role romances Rome says scene seems sense sexual Shakespeare Shakespearean comedy Shakespearean tragedy shrew simply speech struggle tells Tempest thee things thou tion tragic hero Twelfth Night Viola Virgilia Volumnia whereas wife Winter's Tale woman
Referências a este livro
Shakespeare Recycled: The Making of Historical Drama Graham Holderness Pré-visualização indisponível - 1992 |
Transitional Objects and Potential Spaces: Literary Uses of D.W ..., Página 4 Peter L. Rudnytsky Pré-visualização limitada - 1993 |