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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... describes Darwinism.6 Though we have recently come to appreciate the seriousness and complexity of Shakespeare's comedies (paralleling the rise in critical attention given comedy in general), it is clear that they effect their happy ...
... describes the ways in which lovers part; and in Chapters 4 and 5, I discuss the psychosocial effects of that separation, again treating each sex independently. Chapter 6 examines the varieties of communication between separated lovers ...
... describes as typical of the “ideologically illegitimate” in literature, 10 reducing themselves by thinking male friends faithless and women whores. In their separation from father, their self-righteous misogyny, and their ...
... describes himself as a son struggling to become the kind of man he believes his father to have been. He constantly invokes his father's “spirit” as the cause of his rebellion against Oliver, and his remarks are underscored by Adam who ...
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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 |