Comic Women, Tragic Men: A Study of Gender and Genre in ShakespeareStanford University Press, 01.06.1982 - 212 Seiten 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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Seite 8
... play makes him seem a somewhat different character at the end from what he was at the beginning . Maynard Mack goes so far as to say that " the most important thing that happens in a Shakespearean tragedy is that the hero follows a ...
... play makes him seem a somewhat different character at the end from what he was at the beginning . Maynard Mack goes so far as to say that " the most important thing that happens in a Shakespearean tragedy is that the hero follows a ...
Seite 12
... play is a kind of equal - but - opposite distortion . For Fitz argues that Cleopatra is a " tragic hero " 13 with all the privileges of the Self , comparable not to Juliet , Rosalind , or Portia but to Hamlet , Lear , and Antony ...
... play is a kind of equal - but - opposite distortion . For Fitz argues that Cleopatra is a " tragic hero " 13 with all the privileges of the Self , comparable not to Juliet , Rosalind , or Portia but to Hamlet , Lear , and Antony ...
Seite 13
... play , the point of view from which everything assumes its proper shape . Emilia is right . Things are as she sees them . Othello is " ignorant " and the men in general are " coxcombs . " Emilia shares with the comic heroines a clarity ...
... play , the point of view from which everything assumes its proper shape . Emilia is right . Things are as she sees them . Othello is " ignorant " and the men in general are " coxcombs . " Emilia shares with the comic heroines a clarity ...
Seite 14
... play itself makes the point that projection onto women is a function of inco- herence within the male Self . It is only when his sense of his own identity is threatened that the hero projects onto women what he refuses to acknowledge in ...
... play itself makes the point that projection onto women is a function of inco- herence within the male Self . It is only when his sense of his own identity is threatened that the hero projects onto women what he refuses to acknowledge in ...
Seite 16
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Inhalt
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 |
Andere Ausgaben - Alle anzeigen
Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare Linda Bamber Eingeschränkte Leseprobe - 1982 |
Comic Women, Tragic Men: A Study of Gender and Genre in Shakespeare Linda Bamber Keine Leseprobe verfügbar - 1982 |
Häufige Begriffe und Wortgruppen
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
Verweise auf dieses Buch
Shakespeare Recycled: The Making of Historical Drama Graham Holderness Keine Leseprobe verfügbar - 1992 |
Transitional Objects and Potential Spaces: Literary Uses of D.W ..., Seite 4 Peter L. Rudnytsky Eingeschränkte Leseprobe - 1993 |