Dympna Callaghan's A Feminist Companion to Shakespeare PDF

By Dympna Callaghan

ISBN-10: 1118501268

ISBN-13: 9781118501269

The query isn't even if Shakespeare experiences wishes feminism, yet even if feminism wishes Shakespeare. this can be the explicitly political strategy taken within the dynamic and newly up-to-date version of A Feminist significant other to Shakespeare.

  • Provides the definitive feminist assertion on Shakespeare for the twenty first century
  • Updates tackle a few of the most up-to-date theatrical andcreative engagements with Shakespeare, delivering clean insights into Shakespeare’s performs and poems, and gender dynamics in early sleek England
  • Contributors come from around the feminist generations and from a variety of phases of their careers to deal with what's new within the box by way of old and textual discovery
  • Explores matters important to feminist inquiry, together with race, sexuality, the physique, queer politics, social economies, faith, and capitalism
  • In addition to highlighting alterations, it attracts realization to the robust continuities of scholarship during this box over the process the heritage of feminist feedback of Shakespeare
  • The prior version was once a recipient of a decision extraordinary educational name award; this moment version keeps its assurance and diversity, and bringsthe scholarship correct as much as the current day

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Extra resources for A Feminist Companion to Shakespeare

Sample text

The famous bear that marks the genre division of the play is connected with the repeated use of the word “bear” in relation to women’s labor in childbirth. At the same time, “defunct” femininity in the figure of the aging and ostensibly postmenopausal Hermione is allied to the old wives, who are traditionally the tellers of tales, of implausible fables (such as that of the play itself), and to the time of year in which the tales are told, which also coincides with the seasonal attrition of life in winter.

In this way, biologically nonreproductive, “dead” femininity enters the realm of art. In “Monarchs Who Cry: The Gendered Politics of Weeping in the English History Play,” Jean Howard asks what range of meanings can be ascribed to a display of emotion that is traditionally associated with women, despite the monumental historical exception of Christ’s tears in anticipation of his passion: “Et lacrimatus est Jesus” (“And Jesus wept,” John 11:35). As “the man of sorrows,” a god who participated fully in human anguish, Christ was the paradigm of male weeping.

It is the argument of this essay that if the extravagancies that Barrie attributes to “The Ladies’ Shakespeare” have been legible within woman‐centered criticism of Shakespeare, they have been equally legible within a more general appreciation of Shakespeare as that has been developed both within and beyond the academy. I am suggesting that in “The Ladies’ Shakespeare,” and in subsequent attacks on feminist approaches to the plays, scholars and others attempt to distance themselves from the undesired consequences of some of 24 Juliet Fleming their own readings of Shakespeare by projecting them onto women.

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A Feminist Companion to Shakespeare by Dympna Callaghan


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