Woman and Gender in Renaissance Tragedy: Study of King Lear, Othello the Duchess of Malfi and the White DevilHarvester Wheatsheaf, 1989 - 187 Seiten |
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Seite 75
... Vittoria is not on stage for much of the time and so her literal absences and often mute stage presences provide interesting and telling holes in the play . In Act I scene ii , Vittoria has a mere two lines of welcome to Bracciano ...
... Vittoria is not on stage for much of the time and so her literal absences and often mute stage presences provide interesting and telling holes in the play . In Act I scene ii , Vittoria has a mere two lines of welcome to Bracciano ...
Seite 76
... Vittoria has not been given the space for uninterrupted speech , whereas Othello is a well- established character who already has had an opportunity for lengthy oration , and Vittoria is not constructed through any sort of ' authentic ...
... Vittoria has not been given the space for uninterrupted speech , whereas Othello is a well- established character who already has had an opportunity for lengthy oration , and Vittoria is not constructed through any sort of ' authentic ...
Seite 118
... Vittoria : ' If the devil / Did ever take good shape behold his picture ( III . ii . 216-17 ) . Bracciano also rails at Vittoria in similar terms : ' Your beauty , O , ten thousand curses on't . / How long have I beheld the devil in ...
... Vittoria : ' If the devil / Did ever take good shape behold his picture ( III . ii . 216-17 ) . Bracciano also rails at Vittoria in similar terms : ' Your beauty , O , ten thousand curses on't . / How long have I beheld the devil in ...
Inhalt
Introduction | 1 |
The Centrality of Gender | 7 |
Feminism and Tragedy | 9 |
Urheberrecht | |
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analogy appears argues authority becomes Belsey body Bosola category of woman central concept constitutes construction contradictions Cordelia course court criticism crucial cultural curse daughter death defined Desdemona desire difference differentiation discourse dominant dramatic Duchess of Malfi English example excess fact father fear female characters feminine feminist Flamineo Fool function gender Goneril hand head human Iago ideology important John language less London malcontent male marriage masculinity means misogynistic misogyny mother namely Nancy Vickers nature never Notes notion object once opposition Othello particularly patriarchal phallic phallus play political position problem produced Quoted regarded relation remains Renaissance seen sense serves sexual Shakespeare silence Similarly social speak speech status structure sword symbolic thou tragedy tragic transgression undermines University Press usually virtue Vittoria voice White Devil woman women York