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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... kind permission of Oxford University Press . I am also grateful to Professor Werner Gundersheimer for permission to quote from his ( currently unpublished ) translation of Pocaterra's Due dialogi della vergogna . Colin Manlove suggested ...
... kind permission of Oxford University Press . I am also grateful to Professor Werner Gundersheimer for permission to quote from his ( currently unpublished ) translation of Pocaterra's Due dialogi della vergogna . Colin Manlove suggested ...
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... kind of picture of shame we will subsequently find in Shakespeare . This introduction concludes with some observations on shame and literature , particularly tragedy . Since shame in literature is by and large a critical terra incognita ...
... kind of picture of shame we will subsequently find in Shakespeare . This introduction concludes with some observations on shame and literature , particularly tragedy . Since shame in literature is by and large a critical terra incognita ...
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... kind of happiness of which we are capable , the happiness of an unselfish life . The great Russian philosopher of the nineteenth century , Vladimir Soloviev , declares that shame is the ' true spiritual root of all human good and the ...
... kind of happiness of which we are capable , the happiness of an unselfish life . The great Russian philosopher of the nineteenth century , Vladimir Soloviev , declares that shame is the ' true spiritual root of all human good and the ...
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... kind of shame - afflicted personality ; to that extent it is a wholly understandable perver- sion . But it is a perversion nonetheless - and of shame as well as love and sex . The contrasting truthfulness of tragedy is explicit in the ...
... kind of shame - afflicted personality ; to that extent it is a wholly understandable perver- sion . But it is a perversion nonetheless - and of shame as well as love and sex . The contrasting truthfulness of tragedy is explicit in the ...
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... kind : perhaps the most memorable vindication of sexual shame in literature , and one alluded to by Shakespeare in Venus and Adonis and Antony and Cleopatra.1 For Aristotle , who particularly influenced thinking about shame in the ...
... kind : perhaps the most memorable vindication of sexual shame in literature , and one alluded to by Shakespeare in Venus and Adonis and Antony and Cleopatra.1 For Aristotle , who particularly influenced thinking about shame in the ...
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