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 37
Page 9
... gives her a feeling . Just like a blush , all over , hot , hot . But although her skin tingles and her cheeks burn it is only happening on the inside , nobody notices these internal blushes . That is strange also . It makes the feeling ...
... gives her a feeling . Just like a blush , all over , hot , hot . But although her skin tingles and her cheeks burn it is only happening on the inside , nobody notices these internal blushes . That is strange also . It makes the feeling ...
Page 17
... give a conception of one's ethical identity , in relation to which guilt can make sense . Shame can understand guilt , but guilt cannot understand itself . ( Williams 1993 : 93 ) Lynd likewise perceives that ' a sense of identity cannot ...
... give a conception of one's ethical identity , in relation to which guilt can make sense . Shame can understand guilt , but guilt cannot understand itself . ( Williams 1993 : 93 ) Lynd likewise perceives that ' a sense of identity cannot ...
Page 20
... give a sympathetic throb , as she passed near a venerable minister or magistrate , the model of piety and justice , to whom that age of antique reverence looked up , as to a mortal man in fellowship with angels . ' What evil thing is at ...
... give a sympathetic throb , as she passed near a venerable minister or magistrate , the model of piety and justice , to whom that age of antique reverence looked up , as to a mortal man in fellowship with angels . ' What evil thing is at ...
Page 25
... give himself occasion to feel it ( Aristotle 1988 : 169-70 ) . And for Cicero , a prescribed author for Elizabethans , the emphasis is similarly public : shame is ' the sense of decency which secures observance and firm authority for ...
... give himself occasion to feel it ( Aristotle 1988 : 169-70 ) . And for Cicero , a prescribed author for Elizabethans , the emphasis is similarly public : shame is ' the sense of decency which secures observance and firm authority for ...
Page 26
... gives way to a burning desire to eradicate shame : 2 he takes to the field furiously , securing victory for the Greeks . He pays back shame with shame by not only slaying Hector , but also stripping him , affixing his heels to his ...
... gives way to a burning desire to eradicate shame : 2 he takes to the field furiously , securing victory for the Greeks . He pays back shame with shame by not only slaying Hector , but also stripping him , affixing his heels to his ...
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