The Early Modern Corpse and Shakespeare's TheatreEdinburgh University Press, 2005 - Всего страниц: 214 Within a theoretical framework that makes use of history, psychoanalysis and anthropology, The Early Modern Corpse and Shakespeare's Theatre explores the relationship of the public theatre to the question of what constituted the 'dead' in early modern English culture.Susan Zimmerman argues that concepts of the corpse as a semi-animate, generative and indeterminate entity were deeply rooted in medieval religious culture. Such concepts ran counter to early modern discourses that sought to harden categorical distinctions between body/spirit, animate/inanimate - in particular, the attacks of Reformists on the materiality of 'dead' idols, and the rationale of the new anatomy for publicly dissecting 'dead' bodies. Zimmerman contends that within this context, theatrical representations of the corpse or corpse/revenant - as seen here in the tragedies of Shakespeare and his contemporaries - uniquely showcased the theatre's own ideological and performative agency. Features*Original in its conjunction of critical theory (Bataille, Kristeva, Lacan, Benjamin) with an historical account of the shifting status of the corpse in late medieval and early modern England.*The first study to demonstrate connections between the meanings attached to the material body in early modern Protestantism, the practice of anatomical dissection, and the English public theatre.*Strong market appeal to scholars and graduate students with interests in the theatre of Shakespeare and his contemporaries, early modern religion and science, and literary theory. *Relevant to advanced undergraduates taking widely taught courses in Shakespeare and in Renaissance drama. |
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Стр. 104
... Lady and the Lady's spirit , dressed , respectively , in black and in white . Prior to her suicide , the Lady appears ' clad in black ' ( S.D. 1.1.111.1-2 ) to protest the usurpation of Govianus , so that the brilliant white of the ...
... Lady and the Lady's spirit , dressed , respectively , in black and in white . Prior to her suicide , the Lady appears ' clad in black ' ( S.D. 1.1.111.1-2 ) to protest the usurpation of Govianus , so that the brilliant white of the ...
Стр. 122
... Lady's father ( acting as pander for the Tyrant ) , and then faints in his effort to obey the Lady's command that he kill her . 32. Prior to this critical juncture , the Tyrant's erotic ministrations have gradually become more resolute ...
... Lady's father ( acting as pander for the Tyrant ) , and then faints in his effort to obey the Lady's command that he kill her . 32. Prior to this critical juncture , the Tyrant's erotic ministrations have gradually become more resolute ...
Стр. 176
... Lady Macbeth's system for denying psychic phenomena seems to depend on keeping her distance from the act of violence itself , despite her rhetoric to the contrary . Accordingly , after Lady Macbeth is forced to dip her hands in Duncan's ...
... Lady Macbeth's system for denying psychic phenomena seems to depend on keeping her distance from the act of violence itself , despite her rhetoric to the contrary . Accordingly , after Lady Macbeth is forced to dip her hands in Duncan's ...
Содержание
The Corpse as Idol | 24 |
The Corpse as Idol in The Second Maidens | 90 |
Shadow Lives in The Revengers Tragedy | 128 |
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