Paradigms Found: Feminist, Gay, and New Historicist Readings of ShakespeareRodopi, 2001 - 162 Seiten Paradigms Found is an indispensable book for students and teachers of Shakespeare, and for anyone interested in the diverse ways in which his plays are read and taught at the start of the twenty-first century. It traces the paradigm shift in Shakespeare studies which, beginning in the 1970s, has foregrounded the playwright's embeddedness in the material practices and ideological constructs of his time, and focussed on the conflicts, gaps and faultlines in early modern society. The book concentrates on feminism and new historicism as the two critical schools that have brought about significant changes in Shakespeare studies, and devotes a chapter to issues in early modern culture and drama highlighted by gay scholars. Topics covered include: contrasting views on the position of Renaissance women, material feminist criticism, Renaissance attacks and defences of women, the maternal body, boy actors, myths of homosexual desire, theatrical transvestism, the role of anecdotes in new historicist practice, self-fashioning, subversion, anxiety and wonder. In tracking the shifting interests of feminist, gay and new historicist critics, Paradigms Found demonstrates the explanatory power of the new approaches, discusses their limitations and places them in the context of developments in society and the academy. |
Im Buch
Ergebnisse 1-5 von 19
Seite 15
... material , mostly from the twentieth century , but some also from the Romantic and Victorian periods , and concludes that many of the male critics that have written about the Queen of Egypt seem to feel threatened by what Cleopatra is ...
... material , mostly from the twentieth century , but some also from the Romantic and Victorian periods , and concludes that many of the male critics that have written about the Queen of Egypt seem to feel threatened by what Cleopatra is ...
Seite 27
... materials dealing with the querelle des femmes . Woodbridge takes as defining features the debate format in which arguments and counterarguments are bandied about , the fact that the formal controversy discusses the nature of women in ...
... materials dealing with the querelle des femmes . Woodbridge takes as defining features the debate format in which arguments and counterarguments are bandied about , the fact that the formal controversy discusses the nature of women in ...
Seite 32
... materials she has marshalled . The first , that it was the defences of women that elicited the attacks , and not the other way around , and that it is in the attacks , and not in the defences , where modern feminists can find some ...
... materials she has marshalled . The first , that it was the defences of women that elicited the attacks , and not the other way around , and that it is in the attacks , and not in the defences , where modern feminists can find some ...
Seite 33
... materials that both activities entail forms the basis for Woodbridge's analogy . Although Woodbridge does not quote her , Elaine Showalter had traced a connection between the patchwork characteristic of nineteenth - century American ...
... materials that both activities entail forms the basis for Woodbridge's analogy . Although Woodbridge does not quote her , Elaine Showalter had traced a connection between the patchwork characteristic of nineteenth - century American ...
Seite 34
... materials to create a new plot would be metaphorically connected to cannibalism ; hence the importance of oral images in ... material in his plays , and also brings in linguistic evidence : both " text " and " textile " come from Latin ...
... materials to create a new plot would be metaphorically connected to cannibalism ; hence the importance of oral images in ... material in his plays , and also brings in linguistic evidence : both " text " and " textile " come from Latin ...
Inhalt
5 | |
9 | |
23 | |
Maternal Subtexts | 43 |
Gay Interventions | 53 |
The Critic as StoryTeller | 71 |
The Pastoral of Power | 83 |
Social Energy and Renaissance Drama | 99 |
The Contest of Paradigms | 127 |
Bibliography | 145 |
Index | 155 |
Andere Ausgaben - Alle anzeigen
Paradigms Found: Feminist, Gay, and New Historicist Readings of Shakespeare Pilar Hidalgo Eingeschränkte Leseprobe - 2021 |
Häufige Begriffe und Wortgruppen
Adelman analysis anecdote anti-theatrical pamphlets Antony and Cleopatra anxiety arguments Barroll boy actor central century chapter comedies concept contemporary context criticism of Shakespeare critique cross-dressing cultural Desdemona discourse Dusinberre Dusinberre's E. M. W. Tillyard early modern Elizabethan Emphasis England English Literary Renaissance essay European fantasy female characters femininity feminism feminist criticism formal controversy genre Goldberg Grady Greenblatt Hamlet Henry heterosexual historical historicism historicist homoerotic homosexual Howard Iago identity ideological Invisible Bullets issue Jardine King Lear Levin male friendship Marlowe Marlowe's marriage masculine material materialist McLuskie misogynistic misogyny Montrose mother Neely Norton Orgel Othello paradigm pastoral perceives perspective playwright political position present privileged psychoanalytic Queen radical reading reification relationship Renaissance drama Renaissance literature Renaissance Self-Fashioning Renaissance studies role scholars sexuality Shakespeare Shakespeare's plays social sodomy Spenser stage subversion textual theatre theatrical theory traditional tragedies transvestism transvestite transvestite women Troilus and Cressida Twelfth Night woman Woodbridge
Beliebte Passagen
Seite 90 - They say he is already in the forest of Arden, and a many merry men with him ; and there they live like the old Robin Hood of England. They say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world.
Seite 16 - Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
Seite 69 - I'll have Italian masks by night, Sweet speeches, comedies, and pleasing shows; And in the day, when he shall walk abroad, Like sylvan nymphs my pages shall be clad; My men, like satyrs grazing on the lawns, Shall with their goat-feet dance an antic hay...
Seite 25 - Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience ; Too little payment for so great a debt.
Seite 91 - Force should be right; or rather, right and wrong, Between whose endless jar justice resides, Should lose their names, and so should justice too. Then everything includes itself in power, Power into will, will into appetite; And appetite, an universal wolf, So doubly seconded with will and power, Must make perforce an universal prey, And last eat up himself.
Seite 46 - Lear. O, how this mother swells up toward my heart ! Hysterica passio ! — down, thou climbing sorrow, Thy element's below ! — Where is this daughter?
Seite 30 - In the confrontation between Sir Andrew Aguecheek and Viola, we are invited to laugh with mild contempt at the male coward and with affectionate indulgence at the female coward: cowardice violates his nature but is a natural expression of hers. Transvestite disguise in Shakespeare does not blur the distinction between the sexes but heightens it: case after case demonstrates that not even masculine attire can hide a woman's natural squeamishness and timidity.
Seite 89 - The ox hath therefore stretch'd his yoke in vain, The ploughman lost his sweat, and the green corn Hath rotted ere his youth attain'da beard : The fold stands empty in the drowned field, And crows are fatted with the murrain flock...
Seite 100 - If we are to attempt an answer to these questions, it would be well to begin with certain abjurations: 1 There can be no appeals to genius as the sole origin of the energies of great art. 2. There can be no motiveless creation. 3. There can be no transcendent or timeless or unchanging representation. 4. There can be no autonomous artifacts. 5. There can be no expression without an origin and an object, a from and a for.
Seite 74 - Self-fashioning is achieved in relation to something perceived as alien, strange, or hostile. This threatening Other — heretic, savage, witch, adulteress, traitor, Antichrist — must be discovered or invented in order to be attacked and destroyed.