Shame in ShakespeareRoutledge, 2012 M09 10 - 288 pages One of the most intense and painful of our human passions, shame is typically seen in contemporary culture as a disability or a disease to be cured. Shakespeare's ultimately positive portrayal of the emotion challenges this view. Drawing on philosophers and theorists of shame, Shame in Shakespeare analyses the shame and humiliation suffered by the tragic hero, providing not only a new approach to Shakespeare but a committed and provocative argument for reclaiming shame. The volume provides: · an account of previous traditions of shame and of the Renaissance context · a thematic map of the rich manifestations of both masculine and feminine shame in Shakespeare · detailed readings of Hamlet, Othello, and King Lear · an analysis of the limitations of Roman shame in Antony and Cleopatra and Coriolanus · a polemical discussion of the fortunes of shame in modern literature after Shakespeare. The book presents a Shakespearean vision of shame as the way to the world outside the self. It establishes the continued vitality and relevance of Shakespeare and offers a fresh and exciting way of seeing his tragedies. |
From inside the book
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Page 2
... art is often brazenly sensa- tionalist , to the point that a recent high - profile exhibition was simply entitled ' Sensation ' . Disgraced politicians , most notably in recent years President Clinton , will not resign . 2 Introduction.
... art is often brazenly sensa- tionalist , to the point that a recent high - profile exhibition was simply entitled ' Sensation ' . Disgraced politicians , most notably in recent years President Clinton , will not resign . 2 Introduction.
Page 3
... Disgrace , winner of the 1999 Booker Prize . It is also becoming apparent that , although it is denied and derided as oppression or inhibition , shame has not been eradi- cated . The tabloids make sufficiently plain a lust for the ...
... Disgrace , winner of the 1999 Booker Prize . It is also becoming apparent that , although it is denied and derided as oppression or inhibition , shame has not been eradi- cated . The tabloids make sufficiently plain a lust for the ...
Page 11
... disgrace but less concerned with what it is that is disgraceful , mortified by exposure but unrepentant . As the inventors of the stocks and the pillory well knew , the actual presence , the gaze , of a hostile or accusing audience is a ...
... disgrace but less concerned with what it is that is disgraceful , mortified by exposure but unrepentant . As the inventors of the stocks and the pillory well knew , the actual presence , the gaze , of a hostile or accusing audience is a ...
Page 12
... disgrace of one's own parent , spouse or child is especially grievous . The subject may feel shame as a part of a group . Or it may feel shame vicariously , on the part of another or of others . There is also a broad gender difference ...
... disgrace of one's own parent , spouse or child is especially grievous . The subject may feel shame as a part of a group . Or it may feel shame vicariously , on the part of another or of others . There is also a broad gender difference ...
Page 13
... disgrace and shame upside down , reconceiving low status and lack of power as positive , as a blessed state for men as much as women . To the Christian , only wickedness and impiety are shameful . In human experience and conduct there ...
... disgrace and shame upside down , reconceiving low status and lack of power as positive , as a blessed state for men as much as women . To the Christian , only wickedness and impiety are shameful . In human experience and conduct there ...
Contents
1 | |
24 | |
Shame in the Renaissance | 41 |
Shame in Shakespeare | 74 |
Hamlet | 109 |
Othello | 136 |
King Lear | 173 |
Antony and Cleopatra and Coriolanus | 208 |
Conclusion | 224 |
Notes | 247 |
References | 255 |
Index | 265 |
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Common terms and phrases
accept action already Antony audience becomes beginning blush body calls Cassio chapter Christian classical Cleopatra Cordelia Coriolanus corruption critics culture daughter death deformity degradation Desdemona desire disgrace effect ethical example experience exposed exposure expression eyes face fall father fear feels figure finds Fool gives guilt Hamlet hand heart hero honour human Iago identity killing kind King Lear later Lear's less lines literature live look lost Measure moral mother nature never notes once original Othello pain particular partly perhaps person play presents puts reading reason recognises religious Renaissance René Girard represents revealed revenge Richard says scene seems seen sense sense of shame sexual Shakespeare shame shamelessness Sonnet soul speak spiritual stage suffering suggests takes tells theatre thing thou thought tion tragedy true truth turn ultimately wife worldly writes