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
Results 1-5 of 73
Page 1
... experience of dreadful metamor- phosis , and yet ultimately also a liberation from the illusions of pride into truth . Shakespearean shame turns out to be the way to relationship with the world outside the self . This positive ...
... experience of dreadful metamor- phosis , and yet ultimately also a liberation from the illusions of pride into truth . Shakespearean shame turns out to be the way to relationship with the world outside the self . This positive ...
Page 2
... experience , of which only the pathologi- cally shameless remain ignorant , and a much less hackneyed subject than , say , love or death . As a culture we are perhaps now remembering shame . This is partly because of the spiritual ...
... experience , of which only the pathologi- cally shameless remain ignorant , and a much less hackneyed subject than , say , love or death . As a culture we are perhaps now remembering shame . This is partly because of the spiritual ...
Page 4
... experience , literature has the power to generate a multiplicity of responses and interpretations . True criticism is a responsive but contingent conversation ; scientific objectivity is neither achievable nor desirable . Thus even the ...
... experience , literature has the power to generate a multiplicity of responses and interpretations . True criticism is a responsive but contingent conversation ; scientific objectivity is neither achievable nor desirable . Thus even the ...
Page 6
... experience of itself from inside as an unintegrated chaos of drives and desires ; observing its shapelessness thus collected into a unified image dooms it to a secret sense of inadequacy and unbeing . Whereas the Kristevan subject is ...
... experience of itself from inside as an unintegrated chaos of drives and desires ; observing its shapelessness thus collected into a unified image dooms it to a secret sense of inadequacy and unbeing . Whereas the Kristevan subject is ...
Page 8
... experience of personal degradation or corruption . Families , nations , races may suffer collective shame , but the ... experienced as debasement , defilement or disfigurement . The feeling of disfigurement or deformity seems best to ...
... experience of personal degradation or corruption . Families , nations , races may suffer collective shame , but the ... experienced as debasement , defilement or disfigurement . The feeling of disfigurement or deformity seems best to ...
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 |
Other editions - View all
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