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 7
... religious ideas of enlightenment and transcendence . The question now is how to achieve ' a clarity which does not belong to the self - centred rush of ordinary life ' ( Murdoch 1999 : 353 ) ; how to dissipate the fog of sentimental and ...
... religious ideas of enlightenment and transcendence . The question now is how to achieve ' a clarity which does not belong to the self - centred rush of ordinary life ' ( Murdoch 1999 : 353 ) ; how to dissipate the fog of sentimental and ...
Page 13
... religious authority . I shall suggest in the next chapter that Christianity , with its revolu- tionary programme of meekness , humility and love , turned manly disgrace and shame upside down , reconceiving low status and lack of power ...
... religious authority . I shall suggest in the next chapter that Christianity , with its revolu- tionary programme of meekness , humility and love , turned manly disgrace and shame upside down , reconceiving low status and lack of power ...
Page 20
... religious terms is called ' original sin ' , the infected root from which all other sins spring . Scheler writes , ' [ shame ] opens up the path to ourselves ' ( quoted in Schneider 1992 : xvii ) . Contemplating his mother's shameful ...
... religious terms is called ' original sin ' , the infected root from which all other sins spring . Scheler writes , ' [ shame ] opens up the path to ourselves ' ( quoted in Schneider 1992 : xvii ) . Contemplating his mother's shameful ...
Page 22
... religious experience , partly physical as well as intensely inward , and also as a vicarious spectacle , it is especially apt for drama , the most physical , primitive , social and ritualistic of all the forms of literature , because ...
... religious experience , partly physical as well as intensely inward , and also as a vicarious spectacle , it is especially apt for drama , the most physical , primitive , social and ritualistic of all the forms of literature , because ...
Page 30
... religious experience , the classical shame we have discussed here is more of a curse than a revelation . The shame ... religion and 30 Shame before Shakespeare.
... religious experience , the classical shame we have discussed here is more of a curse than a revelation . The shame ... religion and 30 Shame before Shakespeare.
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