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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... woman (CYM, V.v.48), his wandering eye, and his consequent mistreatment of the woman he loves. One of the choices I ... women relate to one another in plays that are, in fact, love stories, and an appreciation for the variety of ways in ...
... woman. Indeed, in terms of their attitudes toward women very little separates the heroes of the earliest plays from those of the latest. The lover's illogical response to attraction, and the relative unimportance of external threats to ...
... women who journey like men and sacrifice like women. CHAPTER 6 suggests that it is gender role reversal on the part of males, too, that changes ambivalence to trust and leads to the reunions of act 5. Active heroines save marriages and ...
... women relinquish control, ceding authority to men, becoming more stereotypically feminine if only by changing into gender-appropriate clothing. But the play's return to the Elizabethan status quo is a return only in general terms. The ...
... women relate. What we tend to believe as a Shakespearean comedy ends is that a marriage between such partners will be skewed so that new outbursts by insecure men are much less likely to happen. Viewed in this way, Shakespearean comedy ...
目次
1 | |
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 |