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 103
... less of an assumed physical difference between the sexes in the Renaissance than in later medical theories , and consequently a concomitant imperative to produce differential markers . What is continually and crucially stressed in ...
... less of an assumed physical difference between the sexes in the Renaissance than in later medical theories , and consequently a concomitant imperative to produce differential markers . What is continually and crucially stressed in ...
Seite 114
... less ' ( I. i . 92-3 ) . It is Lear who ruptures the parent / child bond , not Cordelia : Let it be so : thy truth then be thy dow'r ! For by the sacred radiance of the sun , The [ mysteries ] of Hecat and the night ; By all the ...
... less ' ( I. i . 92-3 ) . It is Lear who ruptures the parent / child bond , not Cordelia : Let it be so : thy truth then be thy dow'r ! For by the sacred radiance of the sun , The [ mysteries ] of Hecat and the night ; By all the ...
Seite 145
... less perfect creations than men , decried those who thought otherwise by calling them , ' monsters and the sons of monsters'.11 He defends women by none the less alluding to the idea of the monstrous mother . Similarly Othello cries ...
... less perfect creations than men , decried those who thought otherwise by calling them , ' monsters and the sons of monsters'.11 He defends women by none the less alluding to the idea of the monstrous mother . Similarly Othello cries ...
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