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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... husband, Jim Trecker, for countless favors, not least of which include allowing me to turn their house into a second office. It is fitting that an author who reads comedy's happy ending as a product of familial forces should owe his ...
... husband, undergoes her own remarkable journey, and that progress I examine in CHAPTER 5. Instead of biding her time, waiting for a man to come to his senses and accept her, the heroine acts in precipitous ways, ultimately saving a man ...
... husbands a second chance as the play ends. Understanding flows from women to men and is largely about women, sexuality, and the nature of marriage. Its effect is to clear the hero's eyes, so to speak, to help him see women more ...
... husband and wife. By what stretch of the imagination can we apprehend the profligate and ambivalent Bassanio as Portia's “lord, her governor, her king” (III.ii.165) or Navarre and his lords as the equals of the intelligent and clear ...
... husband.” By virtue of his name alone Posthumus Leonatus in Cymbeline is defined by his father's death; Orlando tells us in the first speech in As You Like It, indeed, in the first sentence of the play, that his father is dead; and ...
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 |