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
... exposure in Love's Labour's Lost , Richard II shattering his mirror - image into ' an hundred shivers ' ( Richard II , 4.1.287-90 ) in a paroxysm of self - disgust ; and Antony wistfully comparing the evanescent formations of the clouds ...
... exposure in Love's Labour's Lost , Richard II shattering his mirror - image into ' an hundred shivers ' ( Richard II , 4.1.287-90 ) in a paroxysm of self - disgust ; and Antony wistfully comparing the evanescent formations of the clouds ...
Page 9
... exposure , producing an urgent desire to be concealed and hidden . It generates the wish not to be what one is or has become , which in extreme cases may lead to suicide , but may also motivate reformation and rebirth . A sense of shame ...
... exposure , producing an urgent desire to be concealed and hidden . It generates the wish not to be what one is or has become , which in extreme cases may lead to suicide , but may also motivate reformation and rebirth . A sense of shame ...
Page 10
... exposure , exposure of peculiarly sensitive , intimate , vulnerable aspects of the self . The exposure may be to others but , whether others are or are not involved , it is always ... exposure to one's own eyes . ( Lynd 1958 : 27-8 ) ...
... exposure , exposure of peculiarly sensitive , intimate , vulnerable aspects of the self . The exposure may be to others but , whether others are or are not involved , it is always ... exposure to one's own eyes . ( Lynd 1958 : 27-8 ) ...
Page 11
... 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 strong stimulus to shame ; public scorn is known as shaming . Shame as a ...
... 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 strong stimulus to shame ; public scorn is known as shaming . Shame as a ...
Page 12
... exposure , I shall argue that the public aspect of shame has been exaggerated . As Lynd asserts , though it may indeed be a pair or a multitude of other eyes that turn one's own upon oneself , shame is paramountly shame in one's own ...
... exposure , I shall argue that the public aspect of shame has been exaggerated . As Lynd asserts , though it may indeed be a pair or a multitude of other eyes that turn one's own upon oneself , shame is paramountly shame in one's own ...
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