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 41–ի 1-ից 5-ը:
Էջ 2
... simply a disappointment ; she calls it " a retraction . " As a value system , therefore , the feminist ideas of this article are in conflict with our evaluation of Shake- speare as a whole . Only some plays can be grouped to illustrate ...
... simply a disappointment ; she calls it " a retraction . " As a value system , therefore , the feminist ideas of this article are in conflict with our evaluation of Shake- speare as a whole . Only some plays can be grouped to illustrate ...
Էջ 4
... simply irrelevant . In order to make 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 ...
... simply irrelevant . In order to make 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 ...
Էջ 6
... simply aware of the original one . The tragic hero explains and justifies himself , he finds fault with himself , he insists on himself , he struggles to be true to himself . The most obvious example is Hamlet , but all the heroes have ...
... simply aware of the original one . The tragic hero explains and justifies himself , he finds fault with himself , he insists on himself , he struggles to be true to himself . The most obvious example is Hamlet , but all the heroes have ...
Էջ 8
... simply unfold from their original premises . They may surprise us , but only because we did not understand who they were to begin with , not because they seem to have become something new . The point can be made by comparing two minor ...
... simply unfold from their original premises . They may surprise us , but only because we did not understand who they were to begin with , not because they seem to have become something new . The point can be made by comparing two minor ...
Էջ 11
... simply adequate to their function in the story , acceptable as sex objects , love objects , mar- riage objects for the authors ' heroines . ( Jane Austen's and Kate Chopin's men fit into this third category . ) Women will not neces ...
... simply adequate to their function in the story , acceptable as sex objects , love objects , mar- riage objects for the authors ' heroines . ( Jane Austen's and Kate Chopin's men fit into this third category . ) Women will not neces ...
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