Shakespeare's Division of ExperienceSummit Books, 1981 - 376 Seiten William Shakespeare regarded men and women quite differently. In his early plays, the so-called masculine qualities of prowess, bravery, and individualism were accorded more respect than "feminine" attributes of mercy, compassion, and intuitiveness. Yet, in his later plays, there is evidence of a reversal in Shakespeare's attitudes, a new fear of the power of the masculine principle and new admiration for the feminine. Marilyn French, author of the acclaimed novels THE WOMEN'S ROOM and THE BLEEDING HEART, offers a feminist perspective on each of Shakespeare's plays. More than a brilliantly original literary interpretation, this fascinating volume provides penetrating insight into attitudes toward men, women, love, and power in Western culture. "A feminist's view of William Shakespeare . . . Quite dazzling." -- The New York Times "An ambitious work . . . conveys the fresh excitement of interpretative discovery . . . insightful . . . seductive and nutritive." -- The Washington Post Book World |
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Seite 188
... Lucio is essen- tially distant . He cracks a joke and moves on . He does not feel tied to anyone , and above all , he accepts no responsibility for the world around him . With Isabel , Lucio is at his best , insisting that Claudio's act ...
... Lucio is essen- tially distant . He cracks a joke and moves on . He does not feel tied to anyone , and above all , he accepts no responsibility for the world around him . With Isabel , Lucio is at his best , insisting that Claudio's act ...
Seite 189
... Lucio with Isabel , which may be seen as the central , or normal position on sex , every other stance contains some sense of sex as tainted . Escalus deplores Angelo's intention to execute Claudio , but when the Justice murmurs " Lord ...
... Lucio with Isabel , which may be seen as the central , or normal position on sex , every other stance contains some sense of sex as tainted . Escalus deplores Angelo's intention to execute Claudio , but when the Justice murmurs " Lord ...
Seite 191
... Lucio , and the nobleman's fury at the rake in the final scene , the two are associated on the mythic level . There , regardless of his behavior , the Duke is as lascivious and licensed as the city itself . Lucio is his other half ...
... Lucio , and the nobleman's fury at the rake in the final scene , the two are associated on the mythic level . There , regardless of his behavior , the Duke is as lascivious and licensed as the city itself . Lucio is his other half ...
Inhalt
The Gender Principles | 21 |
Formal Equivalents of the Gender Principles | 32 |
The First Tetralogy | 57 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
accept action All's Angelo Antony and Cleopatra attempt attitudes behavior Bertram Caliban Cassio challenge characters chaste constancy chastity claims Claudius Comedy of Errors Cordelia Coriolanus Cressida critics culture Cymbeline death Desdemona desire disguise divine dominant Duke elements emotional evil experience father feeling female figure gender principles Gloucester Goneril Hamlet harmony Helena Henry Henry VI Hero heroines human Iago Iago's ideal illegitimate imagery Imogen incest inconstancy inlaw feminine principle Isabel justice kill King L. C. Knights language Lear Lear's legitimate Leontes Lucio M. C. Bradbrook Macbeth male legitimacy marriage masculine principle Measure for Measure moral murder nature Othello outlaw feminine principle Parolles Pericles plot political possession Posthumus power-in-the-world problem comedies problem plays Prospero qualities Richard romances says scene seems seen sense sexual Shakespeare society speech structure subordination suggests tetralogy theme thing Timon tion tragedy transcendence Troilus Troilus and Cressida values Venice wife woman women words
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