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
... 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 before she departs to re ...
... 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 before she departs to re ...
Seite 90
... stage and by the audience in a way that male bodies are not . A dead man on stage swiftly becomes part of the stage furniture , and even in the death of the tragic hero , we glance at him only momentarily before the curtain falls and ...
... stage and by the audience in a way that male bodies are not . A dead man on stage swiftly becomes part of the stage furniture , and even in the death of the tragic hero , we glance at him only momentarily before the curtain falls and ...
Seite 96
... stage presences have been somewhat fleeting and intermittent . In tragedy , female longevity is as unusual as Vittoria's mode of dying . As a shadowy presence in all previous Acts , her absent presence is asserted finally not through ...
... stage presences have been somewhat fleeting and intermittent . In tragedy , female longevity is as unusual as Vittoria's mode of dying . As a shadowy presence in all previous Acts , her absent presence is asserted finally not through ...
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