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 3
... eyes and hands . ( Nietzsche 1963 : 213 ; quoted in Schneider 1992 : 13 ) Roger Shattuck has written a luminous and best - selling book arguing for the reinstatement of the concept of ' forbidden knowledge ' ( Shattuck 1997 ) ; Roger ...
... eyes and hands . ( Nietzsche 1963 : 213 ; quoted in Schneider 1992 : 13 ) Roger Shattuck has written a luminous and best - selling book arguing for the reinstatement of the concept of ' forbidden knowledge ' ( Shattuck 1997 ) ; Roger ...
Page 7
... eyes ' , she writes , we do not necessarily see what confronts us . We are anxiety - ridden animals . Our minds are continually active , fabricating an anxious , usually self - preoccupied , often falsi- fying veil which partially ...
... eyes ' , she writes , we do not necessarily see what confronts us . We are anxiety - ridden animals . Our minds are continually active , fabricating an anxious , usually self - preoccupied , often falsi- fying veil which partially ...
Page 10
... eyes , and holding an open pair of scissors . Such nightmare images give a good idea of the quality of shame . Helen Merrell Lynd describes it as ' a crumpling or failure of the whole self ' ( Lynd 1958 : 52 ) . Sartre calls it ' an ...
... eyes , and holding an open pair of scissors . Such nightmare images give a good idea of the quality of shame . Helen Merrell Lynd describes it as ' a crumpling or failure of the whole self ' ( Lynd 1958 : 52 ) . Sartre calls it ' an ...
Page 12
... eyes that turn one's own upon oneself , shame is paramountly shame in one's own eyes . This book aims to fill in the critical picture of shame itself , treating shaming as of secondary importance , rather than the other way about ...
... eyes that turn one's own upon oneself , shame is paramountly shame in one's own eyes . This book aims to fill in the critical picture of shame itself , treating shaming as of secondary importance , rather than the other way about ...
Page 16
... eyes of others but not in one's own eyes , shamed but not ashamed . If public disgrace does interfere with the subject's self - conception , it will be unable to relate to the world and will loathe its eyes upon it . Therefore , it is ...
... eyes of others but not in one's own eyes , shamed but not ashamed . If public disgrace does interfere with the subject's self - conception , it will be unable to relate to the world and will loathe its eyes upon it . Therefore , it is ...
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