Comic Women, Tragic Men: A Study of Gender and Genre in ShakespeareStanford University Press, 01 հնս, 1982 թ. - 212 էջ 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. |
From inside the book
Արդյունքներ 81–ի 1-ից 5-ը:
Էջ 3
... says , citing Lear's mad rant Down from the waist they are Centaurs , Though women all above : But to the girdle do the gods inherit , Beneath is all the fiend's . There's hell , there's darkness , there's the sulphurous pit , Burning ...
... says , citing Lear's mad rant Down from the waist they are Centaurs , Though women all above : But to the girdle do the gods inherit , Beneath is all the fiend's . There's hell , there's darkness , there's the sulphurous pit , Burning ...
Էջ 8
... say that " the most important thing that happens in a Shakespearean tragedy is that the hero follows a cycle of change , which is , in part , psychic change . " 10 Psychic change is a prerogative of the Self ; whereas the Other seems ...
... say that " the most important thing that happens in a Shakespearean tragedy is that the hero follows a cycle of change , which is , in part , psychic change . " 10 Psychic change is a prerogative of the Self ; whereas the Other seems ...
Էջ 9
... says , " thou hast cleft my heart in twain . . . . What shall I do ? " ( III.iv.157 , lSl ) - At this point she is willing to take direction from Hamlet , to conspire with him ; presumably , therefore , she has come to see the situation ...
... says , " thou hast cleft my heart in twain . . . . What shall I do ? " ( III.iv.157 , lSl ) - At this point she is willing to take direction from Hamlet , to conspire with him ; presumably , therefore , she has come to see the situation ...
Էջ 10
... says de Beauvoir , is what women have been unwilling to do ; but of course since 1949 , when she wrote The Second Sex , everything has changed . Since then the reciprocal claims of " the other consciousness " have been made with such ...
... says de Beauvoir , is what women have been unwilling to do ; but of course since 1949 , when she wrote The Second Sex , everything has changed . Since then the reciprocal claims of " the other consciousness " have been made with such ...
Էջ 12
... says Neely , is the same as the project in the comedies ; the correction by women of the foolish romanticism of the men . In this case , the project fails . Romanticism turns into its own murderous shadow , misogyny , and " the comic ...
... says Neely , is the same as the project in the comedies ; the correction by women of the foolish romanticism of the men . In this case , the project fails . Romanticism turns into its own murderous shadow , misogyny , and " the comic ...
Բովանդակություն
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 |
Այլ խմբագրություններ - View all
Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare Linda Bamber Դիտել հնարավոր չէ - 1982 |
Common terms and phrases
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