By Coppélia Kahn
ISBN-10: 0203409892
ISBN-13: 9780203409893
ISBN-10: 0415054508
ISBN-13: 9780415054508
ISBN-10: 0415054516
ISBN-13: 9780415054515
Within the first full-length learn of Shakespeare's Roman performs, Copp?lia Kahn brings to those texts a startling, severe point of view which interrogates the gender ideologies lurking at the back of 'Roman virtue'. performs featured contain: * Titus Andronicus * Julius Caesar * Antony and Cleopatra * Coriolanus * Cymbeline atmosphere the Roman works within the twin context of the preferred theatre and Renaissance humanism, the writer identifies new assets which she analyzes from a historicised feminist point of view. Roman Shakespeare is written in an obtainable type and should attract students and scholars of Shakespeare and people attracted to feminist conception, in addition to classicists.
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Additional info for Roman Shakespeare: Warriors, Wounds, and Women (Feminist Readings of Shakespeare)
Sample text
Miles (1989) believes “Shakespeare’s distinctive interest in the inner life of his characters” to be at odds with Plutarch’s essentially Roman conception of character as expressed and defined by public action (279), but slights the degree to which Renaissance notions of place and reputation also constructed individuals through public action. For a superb interpretation of clocks in Julius Caesar as signifying that Brutus has “failed to “take account of the time and the temper of the people,” and thus “is guilty of an anachronism,” see Burckhardt (1968:9).
Finally he summarizes the whole, from Tarquin’s point of view: What could he see but mightily he noted? What did he note but strongly he desired? What he beheld, on that he firmly doted, And in his will his wilful eye he tired, With more than admiration he admired Her azure veins, her alabaster skin, Her coral lips, her snow-white dimpled chin. (414–20) The sleeping Lucrece is both figuratively and literally unconscious of Tarquin’s gaze “mightily” taking possession of her. Laura Mulvey’s analysis of the male gaze in Hollywood films illuminates a connection between his gaze and his power over her: According to the principle of the ruling ideology and the psychical structures that back it up, the male figure cannot bear the burden of sexual objectification…Hence the split between spectacle and narrative supports the man’s role as the active one of forwarding the story, making things happen…The power of the male 31 LUCRECE protagonist as he controls events coincides with the active power of the erotic look, both giving a satisfying sense of omnipotence.
21. The heroes of three of Shakespeare’s Roman plays are renowned exemplars of Roman history, and the fourth (Titus) is modelled on them; the heroine of his Roman poem, Lucrece, is an exemplar of chastity. Plutarch’s Parallel Lives of the Greeks and Romans was a treasury of exemplars. Hunter as “a set of virtues, thought of as characterizing Roman civilization—soldierly, severe, self-controlled, self-disciplined…transmitted to the Tudors, as to the rest of Europe, and for century after century, in a series of images of virtue held up as models or secular mirabilia” (Hunter 1977:94).