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
... feminine was a strategy of empowerment , a celebration of femininity : comedy ' glorifies as never before the image of the bright young girl'.28 There was , however , an attendant tendency to assume that there was something ...
... feminine was a strategy of empowerment , a celebration of femininity : comedy ' glorifies as never before the image of the bright young girl'.28 There was , however , an attendant tendency to assume that there was something ...
Page 58
... feminine in this analysis is displaced from the female tragic character onto the transcendent as a category . Spiritual elevation of the hero is now placed , quite categorically , beyond the play and beyond the feminine , Here tragic ...
... feminine in this analysis is displaced from the female tragic character onto the transcendent as a category . Spiritual elevation of the hero is now placed , quite categorically , beyond the play and beyond the feminine , Here tragic ...
Page 90
... Feminine Endings or Dead Centres Henry Jackson saw Othello at Oxford in 1610 and wrote of it to a friend : They also had tragedies , which they acted with propriety and fitness . In which ( tragedies ) , not only through speaking but ...
... Feminine Endings or Dead Centres Henry Jackson saw Othello at Oxford in 1610 and wrote of it to a friend : They also had tragedies , which they acted with propriety and fitness . In which ( tragedies ) , not only through speaking but ...
Contents
Introduction | 1 |
The Centrality of Gender | 7 |
Feminism and Tragedy | 9 |
Copyright | |
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Common terms and phrases
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