The Love Story in Shakespearean ComedyUniversity Press of Kentucky, 2014/10/17 - 248 ページ In this fascinating study, Anthony J. Lewis argues that it is the hero himself, rejecting a woman he apprehends as a threat, who is love's own worst enemy. Drawing upon classical and Renaissance drama, iconography, and a wide range of traditional and feminist criticism, Lewis demonstrates that in Shakespeare the actions and reactions of hero and heroine are contingent upon social setting—father-son relations, patriarchal restrictions on women, and cultural assumptions about gender-appropriate behavior. This compelling analysis shows how Shakespeare deepened the familiar love stores he inherited from New Comedy and Greek romance. Beginning with a penetrating analysis of the hero's contradictory response to sexual attraction, Lewis's discussion traces the heroine's reaction to abandonment and slander, and the lover's subsequent parallel descents into versions of bastardy and death. In arguing that comedy's happy ending is the product of the gender role reversals brought on by their evolving relationship itself, Lewis shows in meticulous detail how sexual stereotypes influence attitudes and restrict behavior. This perceptive discussion of male response to family and of female response to rejection will appeal to Shakespeare scholars and students, as well as to the theater community. Lewis's persuasive argument, that Shakespeare's heroes and heroines are, from the first, three-dimensional figures far removed from the stock types of Plautus, Terence, and his continental sources, will prove a valuable contribution to the ongoing feminist reappraisal of Shakespeare. |
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... Elizabethan drama and occasionally adopt, quite self-consciously, views Jenny Teichman describes as typical of the “ideologically illegitimate” in literature, 10 reducing themselves by thinking male friends faithless and women whores ...
... Elizabethan status quo is a return only in general terms. The nature of the trials the woman has undergone, the loyalty and strength she has demonstrated, make it virtually impossible for these plays to end without ceding to her a large ...
... Elizabethan drama (and on medieval and Renaissance critical theory), had a particular fondness for describing and analyzing father/son relationships. 3 Phormio begins with Geta's lament to his fellow slave Davus, that the young man of ...
... Elizabethan drama and in continental Renaissance comedy, as well as in the nondramatic literature of the period, though it is the death of the father that most often separates his son from him in Shakespearean comedy. “Antonio, my ...
... Elizabethan and Jacobean stages, Shakespeare focused more often not on the profligacy of sons perse but rather on the profligacy of their emotions after their fathers deaths.12 Shakespearean heroes more typically express their ...
目次
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11 | |
2 We Cannot Fight for Love | 31 |
3 Any Bar Any Cross Any Impediment | 48 |
4 We Are All Bastards | 73 |
5 Patience on a Monument | 104 |