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 11
... later to the fact that shame in this passage , the speaker's loss of faith in himself , is also a loss of faith in all humankind . Shame ( as the brief examples above begin to show ) is a richly varied phenomenon , and there are many ...
... later to the fact that shame in this passage , the speaker's loss of faith in himself , is also a loss of faith in all humankind . Shame ( as the brief examples above begin to show ) is a richly varied phenomenon , and there are many ...
Page 16
... later writers . It may also be that the redundant antithesis could be salvaged to distinguish ( shame- ) cultures where morality centres on the self in the world and ( guilt- ) cultures where morality centres rather on the rela- tions ...
... later writers . It may also be that the redundant antithesis could be salvaged to distinguish ( shame- ) cultures where morality centres on the self in the world and ( guilt- ) cultures where morality centres rather on the rela- tions ...
Page 17
... later find that it has accepted under pressure a standard not really its own . Alternatively , it may decide that its sense of self is unreal- istic or impossible and so revise it . Here shame penetrates illusion and is a form of self ...
... later find that it has accepted under pressure a standard not really its own . Alternatively , it may decide that its sense of self is unreal- istic or impossible and so revise it . Here shame penetrates illusion and is a form of self ...
Page 18
... later did Scheler , that without shame we would be merely animals , without reason for it , gods or angels ( Huarte 1594 : 266 ; Emad 1972 : 369 ) . Shame defines our place in the universe : in Erich Heller's phrase it is ' a sine qua ...
... later did Scheler , that without shame we would be merely animals , without reason for it , gods or angels ( Huarte 1594 : 266 ; Emad 1972 : 369 ) . Shame defines our place in the universe : in Erich Heller's phrase it is ' a sine qua ...
Page 25
... later thinkers , including Dodds , when he urges , Do not say or do what is base , even when you are alone . Learn to feel shame in your own eyes much more than before others . ( Democritus 1948 : 113 ) Democritus's high regard for ...
... later thinkers , including Dodds , when he urges , Do not say or do what is base , even when you are alone . Learn to feel shame in your own eyes much more than before others . ( Democritus 1948 : 113 ) Democritus's high regard for ...
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