Shakespeare's Division of ExperienceSummit Books, 1981 - 376 páginas William Shakespeare regarded men and women quite differently. In his early plays, the so-called masculine qualities of prowess, bravery, and individualism were accorded more respect than "feminine" attributes of mercy, compassion, and intuitiveness. Yet, in his later plays, there is evidence of a reversal in Shakespeare's attitudes, a new fear of the power of the masculine principle and new admiration for the feminine. Marilyn French, author of the acclaimed novels THE WOMEN'S ROOM and THE BLEEDING HEART, offers a feminist perspective on each of Shakespeare's plays. More than a brilliantly original literary interpretation, this fascinating volume provides penetrating insight into attitudes toward men, women, love, and power in Western culture. "A feminist's view of William Shakespeare . . . Quite dazzling." -- The New York Times "An ambitious work . . . conveys the fresh excitement of interpretative discovery . . . insightful . . . seductive and nutritive." -- The Washington Post Book World |
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Página 344
... Shakespeare and His Comedies ( London , 1957 ) , p . 39 , writes that the comedies and the histories focus on more characters than the tragedies ; in " The Interpretation of Shakespeare's Comedies : 1900-1953 , ” SS 8 ( 1955 ) : 1–13 ...
... Shakespeare and His Comedies ( London , 1957 ) , p . 39 , writes that the comedies and the histories focus on more characters than the tragedies ; in " The Interpretation of Shakespeare's Comedies : 1900-1953 , ” SS 8 ( 1955 ) : 1–13 ...
Página 348
... Shakespeare and His Comedies ( London , 1957 ) , p . 54 , claims there is general recognition at the end of the play that love is ownership . 6. For a slightly different analysis of these images , see Ralph Berry , Shakespeare's Com ...
... Shakespeare and His Comedies ( London , 1957 ) , p . 54 , claims there is general recognition at the end of the play that love is ownership . 6. For a slightly different analysis of these images , see Ralph Berry , Shakespeare's Com ...
Página 350
... Shakespeare and His Comedies ( London , 1957 ) , p . 62 . 5. Harley Granville - Barker , Prefaces to Shakespeare ( London , 1930 ) , p . 90 . 6. In line with such an attitude towards the play , Bertrand Evans sees Portia's announce ...
... Shakespeare and His Comedies ( London , 1957 ) , p . 62 . 5. Harley Granville - Barker , Prefaces to Shakespeare ( London , 1930 ) , p . 90 . 6. In line with such an attitude towards the play , Bertrand Evans sees Portia's announce ...
Conteúdo
The Gender Principles | 21 |
Formal Equivalents of the Gender Principles | 32 |
The First Tetralogy | 57 |
Direitos autorais | |
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accept action All's Angelo Antony and Cleopatra attempt attitudes behavior Bertram Caliban Cassio challenge characters chaste constancy chastity claims Claudius Comedy of Errors Cordelia Coriolanus Cressida critics culture Cymbeline death Desdemona desire disguise divine dominant Duke elements emotional evil experience father feeling female figure gender principles Gloucester Goneril Hamlet harmony Helena Henry Henry VI Hero heroines human Iago Iago's ideal illegitimate imagery Imogen incest inconstancy inlaw feminine principle Isabel justice kill King L. C. Knights language Lear Lear's legitimate Leontes Lucio M. C. Bradbrook Macbeth male legitimacy marriage masculine principle Measure for Measure moral murder nature Othello outlaw feminine principle Parolles Pericles plot political possession Posthumus power-in-the-world problem comedies problem plays Prospero qualities Richard romances says scene seems seen sense sexual Shakespeare society speech structure subordination suggests tetralogy theme thing Timon tion tragedy transcendence Troilus Troilus and Cressida values Venice wife woman women words