Shakespeare and WomenOUP Oxford, 26 трав. 2005 р. - 180 стор. Shakespeare and Women situates Shakespeare's female characters in multiple historical contexts, ranging from the early modern England in which they originated to the contemporary Western world in which our own encounters with them are staged. In so doing, this book seeks to challenge currently prevalent views of Shakespeare's women-both the women he depicted in his plays and the women he encountered in the world he inhabited. Chapter 1, 'A Usable History', analyses the implications and consequences of the emphasis on patriarchal power, male misogyny, and women's oppression that has dominated recent feminist Shakespeare scholarship, while subsequent chapters propose alternative models for feminist analysis. Chapter 2, 'The Place(s) of Women in Shakespeare's World', emphasizes the frequently overlooked kinds of social, political, and economic agency exercised by the women Shakespeare would have known in both Stratford and London. Chapter 3, 'Our Canon, Ourselves', addresses the implications of the modern popularity of plays such as The Taming of the Shrew which seem to endorse women's subjugation, arguing that the plays-and the aspects of those plays-that we have chosen to emphasize tell us more about our own assumptions than about the beliefs that informed the responses of Shakespeare's first audiences. Chapter 4, 'Boys will be Girls', explores the consequences for women of the use of male actors to play women's roles. Chapter 5, 'The Lady's Reeking Breath', turns to the sonnets, the texts that seem most resistant to feminist appropriation, to argue that Shakespeare's rewriting of the idealized Petrarchan lady anticipates modern feminist critiques of the essential misogyny of the Petrarchan tradition. The final chapter, 'Shakespeare's Timeless Women', surveys the implication of Shakespeare's female characters in the process of historical change, as they have been repeatedly updated to conform to changing conceptions of women's nature and women's social roles, serving in ever-changing guises as models of an unchanging, universal female nature. |
З цієї книги
Результати 1-5 із 78
Сторінка
... women/Phyllis Rackin. p. cm. – (Oxford Shakespeare topics) Includes bibliographical references (p. ) and index. 1. Shakespeare, William, 1564–1616–Characters–Women. 2. Shakespeare, William, 1564–1616–Re- lations with women. 3. Women and ...
... women/Phyllis Rackin. p. cm. – (Oxford Shakespeare topics) Includes bibliographical references (p. ) and index. 1. Shakespeare, William, 1564–1616–Characters–Women. 2. Shakespeare, William, 1564–1616–Re- lations with women. 3. Women and ...
Сторінка
... Characters from Titus Andronicus (c.1595) Longleat Historic Collections, Longleat House, Warminster, Wiltshire 4. Elizabeth Taylor as Cleopatra (1963) Photofest, New York 5. 'The true picture of a woman neighbour to the Picts', from ...
... Characters from Titus Andronicus (c.1595) Longleat Historic Collections, Longleat House, Warminster, Wiltshire 4. Elizabeth Taylor as Cleopatra (1963) Photofest, New York 5. 'The true picture of a woman neighbour to the Picts', from ...
Сторінка 2
... women's roles in Shakespeare's plays and about the roles women were assigned in Shakespeare's England. As I argue in Chapter 1, these stories have too often emphasized patriarchal power, male misogyny, and women's oppression. No one can ...
... women's roles in Shakespeare's plays and about the roles women were assigned in Shakespeare's England. As I argue in Chapter 1, these stories have too often emphasized patriarchal power, male misogyny, and women's oppression. No one can ...
Сторінка 3
... women's power and autonomy as occasions for anxious hostility. Given the diYculty of rethinking our basic assumptions ... female characters, the most striking and best-known manifestation of that diVerence is the fact that all of his ...
... women's power and autonomy as occasions for anxious hostility. Given the diYculty of rethinking our basic assumptions ... female characters, the most striking and best-known manifestation of that diVerence is the fact that all of his ...
Сторінка 4
... female characters whose roles were performed by male actors in female costumes adopted male disguise? What kind of erotic excitement was generated by the spectacle of a love scene when both of the actors who performed it were male and ...
... female characters whose roles were performed by male actors in female costumes adopted male disguise? What kind of erotic excitement was generated by the spectacle of a love scene when both of the actors who performed it were male and ...
Зміст
1 | |
7 | |
Historical Fact and Feminist Interpretation | 26 |
3 Our Canon Ourselves | 48 |
4 Boys Will Be Girls | 72 |
5 The Ladys Reeking Breath | 95 |
6 Shakespeares Timeless Women | 112 |
Further Reading | 138 |
Notes | 145 |
Index | 161 |
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