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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... sense . They will , it is hoped , offer a platform for the work of the liveliest younger scholars and teachers at their most outspoken and provocative . Committed and contentious , they will be reporting from the forefront of current ...
... sense . They will , it is hoped , offer a platform for the work of the liveliest younger scholars and teachers at their most outspoken and provocative . Committed and contentious , they will be reporting from the forefront of current ...
Page 3
... sense of moral shame of every driver , showing on cinema and TV screens footage of a small child mown down in his own backyard . Perhaps more often than not our culture seems morally shameless , yet the amoral shame of loss of status ...
... sense of moral shame of every driver , showing on cinema and TV screens footage of a small child mown down in his own backyard . Perhaps more often than not our culture seems morally shameless , yet the amoral shame of loss of status ...
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... sense of inadequacy and unbeing . Whereas the Kristevan subject is shamed by the chaotic body , in Lacan the subject is shamed by the body's superior coherence . According to a traditional model of shame with which we will become well ...
... sense of inadequacy and unbeing . Whereas the Kristevan subject is shamed by the chaotic body , in Lacan the subject is shamed by the body's superior coherence . According to a traditional model of shame with which we will become well ...
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... sense , the Levinasian subject is responsibility . I am I in the sole measure that I am responsible , a non- interchangeable I. I can substitute myself for everyone , but no one can substitute himself for me . Such is my inalien- able ...
... sense , the Levinasian subject is responsibility . I am I in the sole measure that I am responsible , a non- interchangeable I. I can substitute myself for everyone , but no one can substitute himself for me . Such is my inalien- able ...
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... sense of exposure , producing an urgent desire to be concealed and hidden . It generates the wish not to be what one is or has become , which in extreme cases may lead to suicide , but may also motivate reformation and rebirth . A sense ...
... sense of exposure , producing an urgent desire to be concealed and hidden . It generates the wish not to be what one is or has become , which in extreme cases may lead to suicide , but may also motivate reformation and rebirth . A sense ...
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