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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... disguises or convent walls eventually wins that man by virtue of her own willingness to take extraordinary actions, to humiliate herself and sacrifice asure sense of her own identity. What is lost in any such analysis of similarities is ...
... heroes adopt disguises and pseudonyms, others work as servants or drudges or wander like vagabonds without a name or those tokens, jewelry and such, that would connect them to father and family history. All tend, Introduction 5.
... disguising herself as a man, but also in her revealing the psychosocial price such disguise and fictions about self necessarily demand. Shakespeare's heroines don male disguise and “conceal” themselves, to use Viola's word (TN, I.ii.53) ...
... disguised father, Polixenes, in a scene reminiscent of Prince Harry's removing King Henry's crown in 2 Henry IV. In asking Perdita's stepfather for her hand, Florizel declares, One being dead, I shall have more than you can dream of yet ...
... disguise. If these young men are like Claudius in their easy acceptance of nature's inevitable ways, they are nonetheless like Hamlet in venerating their fathers. The two attitudes are not contradictory, for the young man's estimate of ...
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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 |