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 41
... object of study . He collapses contrariety of the period and that of dramatic structure back onto Shakespeare's genius : ' By stretching and contorting language , Shakespeare expresses meanings that are otherwise beyond the reach of ...
... object of study . He collapses contrariety of the period and that of dramatic structure back onto Shakespeare's genius : ' By stretching and contorting language , Shakespeare expresses meanings that are otherwise beyond the reach of ...
Seite 94
... object poisons sight , Let it be hid . ( V. ii . 363-5 ) The female gaze functions here not just to shame but also to blind . The female tragic character may even register her absent presence in death even when her remains are not ...
... object poisons sight , Let it be hid . ( V. ii . 363-5 ) The female gaze functions here not just to shame but also to blind . The female tragic character may even register her absent presence in death even when her remains are not ...
Seite 166
... object ' , always containing the potential for its own symbolic inversion , as in Othello's disavowal of base lust for Desdemona : ' Let housewives make a skillet of my helm ' ( I. iii . 272 ) , which implies that the accoutrements of ...
... object ' , always containing the potential for its own symbolic inversion , as in Othello's disavowal of base lust for Desdemona : ' Let housewives make a skillet of my helm ' ( I. iii . 272 ) , which implies that the accoutrements of ...
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