Paradigms Found: Feminist, Gay, and New Historicist Readings of Shakespeare

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Rodopi, 2001 - 162 Seiten
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Paradigms Found is an indispensable book for students and teachers of Shakespeare, and for anyone interested in the diverse ways in which his plays are read and taught at the start of the twenty-first century. It traces the paradigm shift in Shakespeare studies which, beginning in the 1970s, has foregrounded the playwright's embeddedness in the material practices and ideological constructs of his time, and focussed on the conflicts, gaps and faultlines in early modern society. The book concentrates on feminism and new historicism as the two critical schools that have brought about significant changes in Shakespeare studies, and devotes a chapter to issues in early modern culture and drama highlighted by gay scholars. Topics covered include: contrasting views on the position of Renaissance women, material feminist criticism, Renaissance attacks and defences of women, the maternal body, boy actors, myths of homosexual desire, theatrical transvestism, the role of anecdotes in new historicist practice, self-fashioning, subversion, anxiety and wonder. In tracking the shifting interests of feminist, gay and new historicist critics, Paradigms Found demonstrates the explanatory power of the new approaches, discusses their limitations and places them in the context of developments in society and the academy.

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Inhalt

Acknowledgements
5
Reading Shakespeare as Women
9
The Turn to History in Feminist Studies
23
Maternal Subtexts
43
Gay Interventions
53
The Critic as StoryTeller
71
The Pastoral of Power
83
Social Energy and Renaissance Drama
99
The Contest of Paradigms
127
Bibliography
145
Index
155
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Seite 90 - They say he is already in the forest of Arden, and a many merry men with him ; and there they live like the old Robin Hood of England. They say many young gentlemen flock to him every day, and fleet the time carelessly, as they did in the golden world.
Seite 16 - Twere now to be most happy, for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
Seite 69 - I'll have Italian masks by night, Sweet speeches, comedies, and pleasing shows; And in the day, when he shall walk abroad, Like sylvan nymphs my pages shall be clad; My men, like satyrs grazing on the lawns, Shall with their goat-feet dance an antic hay...
Seite 25 - Thy husband is thy lord, thy life, thy keeper, Thy head, thy sovereign; one that cares for thee, And for thy maintenance commits his body To painful labour both by sea and land, To watch the night in storms, the day in cold, Whilst thou liest warm at home, secure and safe; And craves no other tribute at thy hands But love, fair looks and true obedience ; Too little payment for so great a debt.
Seite 91 - Force should be right; or rather, right and wrong, Between whose endless jar justice resides, Should lose their names, and so should justice too. Then everything includes itself in power, Power into will, will into appetite; And appetite, an universal wolf, So doubly seconded with will and power, Must make perforce an universal prey, And last eat up himself.
Seite 46 - Lear. O, how this mother swells up toward my heart ! Hysterica passio ! — down, thou climbing sorrow, Thy element's below ! — Where is this daughter?
Seite 30 - In the confrontation between Sir Andrew Aguecheek and Viola, we are invited to laugh with mild contempt at the male coward and with affectionate indulgence at the female coward: cowardice violates his nature but is a natural expression of hers. Transvestite disguise in Shakespeare does not blur the distinction between the sexes but heightens it: case after case demonstrates that not even masculine attire can hide a woman's natural squeamishness and timidity.
Seite 89 - The ox hath therefore stretch'd his yoke in vain, The ploughman lost his sweat, and the green corn Hath rotted ere his youth attain'da beard : The fold stands empty in the drowned field, And crows are fatted with the murrain flock...
Seite 100 - If we are to attempt an answer to these questions, it would be well to begin with certain abjurations: 1 There can be no appeals to genius as the sole origin of the energies of great art. 2. There can be no motiveless creation. 3. There can be no transcendent or timeless or unchanging representation. 4. There can be no autonomous artifacts. 5. There can be no expression without an origin and an object, a from and a for.
Seite 74 - Self-fashioning is achieved in relation to something perceived as alien, strange, or hostile. This threatening Other — heretic, savage, witch, adulteress, traitor, Antichrist — must be discovered or invented in order to be attacked and destroyed.

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