Woman and Gender in Renaissance Tragedy: Study of King Lear, Othello the Duchess of Malfi and the White Devil |
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Page 37
... comedy becoming feminine and tragedy masculine . Gender became identified with genre , and gender characteristics themselves veered toward the universal.24 Interestingly , in the Renaissance , tragedy was privileged over comedy by the ...
... comedy becoming feminine and tragedy masculine . Gender became identified with genre , and gender characteristics themselves veered toward the universal.24 Interestingly , in the Renaissance , tragedy was privileged over comedy by the ...
Page 38
... comedy , we can , for example , examine its disruptions of sexual difference , 32 or engage in a historicised ... comedy is the preferred genre of feminist criticism.37 Linda Woodbridge , an optimistic though far from naive feminist who ...
... comedy , we can , for example , examine its disruptions of sexual difference , 32 or engage in a historicised ... comedy is the preferred genre of feminist criticism.37 Linda Woodbridge , an optimistic though far from naive feminist who ...
Page 39
... comedy as a more realistic portrayal of women than that provided by other genres is strikingly similar to that of a George Meredith , who was both aware of the question of gender and endeavouring to raise the status of comedy : But ...
... comedy as a more realistic portrayal of women than that provided by other genres is strikingly similar to that of a George Meredith , who was both aware of the question of gender and endeavouring to raise the status of comedy : But ...
Contents
Introduction | 1 |
The Centrality of Gender | 7 |
Feminism and Tragedy | 9 |
Copyright | |
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analogy appears argues authority becomes Belsey body Bosola category of woman central concept constitutes construction contradictions Cordelia course court criticism crucial cultural curse daughter death defined Desdemona desire difference differentiation discourse dominant dramatic Duchess of Malfi English example excess fact father fear female characters feminine feminist Flamineo Fool function gender Goneril hand head human Iago ideology important John language less London malcontent male marriage masculinity means misogynistic misogyny mother namely Nancy Vickers nature never Notes notion object once opposition Othello particularly patriarchal phallic phallus play political position problem produced Quoted regarded relation remains Renaissance seen sense serves sexual Shakespeare silence Similarly social speak speech status structure sword symbolic thou tragedy tragic transgression undermines University Press usually virtue Vittoria voice White Devil woman women York