Paradigms Found: Feminist, Gay, and New Historicist Readings of ShakespeareRodopi, 2001 - 162 strán (strany) 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. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 14.
Strana 26
... Woodbridge's Women and the English Renaissance : Literature and the Nature of Womankind , 1540-1620 , published in 1984. Woodbridge acknowledges the huge scope of her topic , which traditionally has focused on the various attacks and ...
... Woodbridge's Women and the English Renaissance : Literature and the Nature of Womankind , 1540-1620 , published in 1984. Woodbridge acknowledges the huge scope of her topic , which traditionally has focused on the various attacks and ...
Strana 27
... 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 general terms , and that all the works within the ...
... 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 general terms , and that all the works within the ...
Strana 28
... Woodbridge turns her attention to other genres , and finds traces of the controversy in narrative prose , the ballad , and surprisingly , in The Fairie Queene . As far as drama is concerned , she sees as its most significant ...
... Woodbridge turns her attention to other genres , and finds traces of the controversy in narrative prose , the ballad , and surprisingly , in The Fairie Queene . As far as drama is concerned , she sees as its most significant ...
Strana 29
... Woodbridge observes that the anonymous author gives the impression that large numbers of women were involved . An interesting development of this phase of the controversy is the importance attached to city life , which is blamed for ...
... Woodbridge observes that the anonymous author gives the impression that large numbers of women were involved . An interesting development of this phase of the controversy is the importance attached to city life , which is blamed for ...
Strana 30
... Woodbridge gives such speculations short shrift : Nothing in Shakespeare suggests that but for a little artificial social conditioning , an Orlando would faint at the sight of blood , or a Rosalind challenge Charles the wrestler .... In ...
... Woodbridge gives such speculations short shrift : Nothing in Shakespeare suggests that but for a little artificial social conditioning , an Orlando would faint at the sight of blood , or a Rosalind challenge Charles the wrestler .... In ...
Obsah
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 |
Iné vydania - Zobraziť všetky
Paradigms Found: Feminist, Gay, and New Historicist Readings of Shakespeare Pilar Hidalgo Obmedzený náhľad - 2021 |
Časté výrazy a frázy
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
Populárne pasáže
Strana 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.
Strana 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.
Strana 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...
Strana 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.
Strana 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.
Strana 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?
Strana 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.
Strana 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...
Strana 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.
Strana 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.