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 21
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... a charming editor . Private friends and family have also had a decisive input . Writing the book has been easier and more pleasurable for the intellectual help and friendship of particularly Harry Acton , Mark Acknowledgements.
... a charming editor . Private friends and family have also had a decisive input . Writing the book has been easier and more pleasurable for the intellectual help and friendship of particularly Harry Acton , Mark Acknowledgements.
Page
Ewan Fernie. intellectual help and friendship of particularly Harry Acton , Mark Cullum and Rana Haddad . Jeremy Newton has been one of my most valued advisers . I am grateful to my parents , Rab and Heather Fernie , and to my brother ...
Ewan Fernie. intellectual help and friendship of particularly Harry Acton , Mark Cullum and Rana Haddad . Jeremy Newton has been one of my most valued advisers . I am grateful to my parents , Rab and Heather Fernie , and to my brother ...
Page 8
... particularly tragedy . Since shame in literature is by and large a critical terra incognita , and it is difficult or impossible to understand or distin- guish Shakespearean shame without context , the following two chapters will briefly ...
... particularly tragedy . Since shame in literature is by and large a critical terra incognita , and it is difficult or impossible to understand or distin- guish Shakespearean shame without context , the following two chapters will briefly ...
Page 13
... particularly for a man : for instance , it may seem shamefully passive not to retaliate but morally shameful to strike back . And yet , in spite of all these variations and subtleties , and in spite of historical change ( with which we ...
... particularly for a man : for instance , it may seem shamefully passive not to retaliate but morally shameful to strike back . And yet , in spite of all these variations and subtleties , and in spite of historical change ( with which we ...
Page 25
... particularly influenced thinking about shame in the Middle Ages and the Renaissance , shame is , expectedly , a more prosaic affair : a feeling , not a virtue , defined as fear of ill - repute , which attends ill - action ; praiseworthy ...
... particularly influenced thinking about shame in the Middle Ages and the Renaissance , shame is , expectedly , a more prosaic affair : a feeling , not a virtue , defined as fear of ill - repute , which attends ill - action ; praiseworthy ...
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