Kegan Paul: Routledge. Rose, M. Rubenberg, C. Boulder: Lynne Rienner Publishers. Rutter, C. London: Routledg.
Salgado, G. Honigmann, E. Shakespeare, William, Othello. Walton-on-Thames: Thomas Nelson and Sons. Stallybrass, P. Ferguson, M. Quilligan and N. Stanton, K. Callaghan Ed. Oxford: Blackwell. Stockholder, K. Swetnam, J. Henderson and B. McManus Eds. Wall, J. Woodbridge, L. Wayne, V. Wayne Ed. You may require to add the 'aiac. Otherwise, you may check your 'Spam mail' or 'junk mail' folders. About The Author Bilal M. User Username Password Remember me. Font Size. Notifications View Subscribe.
Article Tools Print this article. Indexing metadata. How to cite item. Email this article Login required. Email the author Login required. Journal Help. Abstract This paper follows the critical lines of feminism and psychoanalysis to argue that Othello is a conflict between female characters' moral voices and male figures' treacherous voices. Full Text: PDF. References Adelman, J. Aronson, A. Psyche and Symbol in Shakespeare.
Bloomington: Indiana University Press. Beginning Theory. Basingstoke: Palgrave Macmillan Breitenberg, M. Findlay, A. Women in Shakespeare: A Dictionary. A: Sorry, this feature is not available yet. Q: What if the email associated with eGift is not for my regular Great Course account? A: Please please email customer service at customerservice thegreatcourses. They have the ability to update the email address so you can put in your correct account.
Q: When purchasing a gift for someone, why do I have to create an account? A: This is done for two reasons. Q: Can I return or Exchange a gift after I purchase it? A: Because the gift is sent immediately, it cannot be returned or exchanged by the person giving the gift. Existing Customer Sign in Sign In to access your account information and digital media. Email Address. Forgot Password? Remember Me. I am a New Customer — Create an Account. Looking for The Great Courses Plus subscription service?
- Fighting Chess with Magnus Carlsen (Progress in Chess).
- Boeing 707 and AWACS in detail and scale?
- Protein Localization by Fluorescence Microscopy: A Practical Approach (Practical Approach Series).
- Global Mobile: Computing without Walls, without Wires, without Borders.
Click here to login. Password Assistance Please enter your e-mail address associated with your Great Courses account. Send Email. Create Your Account Email Address. Please enter a password that is between 5 and 20 characters long. Enter Your Email Address. Cancel Submit. Look for exclusive offer emails and new course releases from The Great Courses! Please visit My Account to manage email preferences.
Priority Code Enter Priority Code. Cancel Apply. Apply a new Code? The Great Courses. Sign In. Cart 0.
- Shakespeare Quarterly.
- Acoustic Pressures in Case of Soap Bubbles!
- Priority Code;
Your cart is empty. Wish list 0. Your Wish List is empty. Existing Customer Sign In Email. Create Your Account Already have an Account? Create Account. Shakespeare's Tragedies. Course No. Professor Clare R. Share This Course. Choose a Format. Streaming Included Free. His artistry is as evident in moments of insensate rage, as when King Lear dares Nature to do her worst— Blow, winds, and crack your cheeks!
One more, one more. Questions and Dilemmas of Tragedy Experienced students of Shakespeare, those new to his work, and those who may be returning after many years away, will all find it makes an optimal addition to their libraries of books and of other Teaching Company literature courses. A Theatrical Reality Far Different from Today's With theaters closed only on church holidays, in bad weather, or in time of plague, theater companies had to have enormous repertories, and a very long run lasted only 10 days. Average 30 minutes each. This lecture explores the persistent popularity of tragic drama.
It includes discussions of Shakespeare's interest in the complicated relationships among protagonists, family and community, and the particular challenges and satisfactions offered by his language and idiom. After introducing performance conditions and attitudes toward the theater in Shakespeare's England, this lecture explores two contexts for thinking about Shakespearean tragedy: earlier 16th-century experiments in tragic writing, and the preoccupations and anxieties of the playwright's own historical time.
Hamlet begins with a sentry's command to "Stand and unfold [identify, disclose] yourself. This lecture discusses the multiple perspectives Hamlet offers on the figure of the revenger and analyzes the play's complex exploration of the morality of revenge. It also discusses Shakespeare's interest in the relationship between "heroic" action and acting-as-performance. Hamlet is capable of extraordinary emotional violence against his mother and the young woman he claims to have loved. This lecture explores his confrontations with Gertrude and Ophelia and discusses why—although the "transgressions" of the women trigger so much of the action of the play—it is difficult to think of them as being tragic protagonists in their own right.
Hamlet is at once a sprawling and encyclopedic play, but it is also filled with silences and mysteries. We look at the difficulty of determining what lies at its center and the near impossibility of ever containing its multifarious events within a single interpretation.
It analyzes in detail Othello's and Desdemona's defense of their love, Shakespeare's highly nuanced treatment of Desdemona's "errant" marriage, and Othello's uneasy negotiation of his double identity as warrior and lover. We look at the character Iago, his plots against Othello, and the longstanding mystery of his "motiveless malignity," including his capacity to manipulate other characters through his skillful use of loaded language and his exploitation of the unexamined assumptions and biases of their culture. What aspects of Othello's psyche lead him to choose an unholy alliance with Iago over a resolute belief in his wife's fidelity?
We look at the gender dynamics of this play and also analyze Shakespeare's finely nuanced representation of Othello's poisoned sight and corrupted imagination. This lecture focuses on the play's final act, beginning with a close reading of the soliloquy in which Othello contemplates the murder of his sleeping wife and positions himself as both her judge and her executioner. The lecture goes on to examine his subsequent horrified enlightenment.
We begin our study of King Lear by discussing the love test Lear devises to divide his kingdom among his daughters, moving on to address the implications of the protagonist's double identity as king and father, and of the play's entanglement of political action with family strife in its interweaving of the "Lear Plot" with the "Gloucester Plot. This lecture focuses on Shakespeare's interest in the stripping and refashioning of identities in act 3, exploring the idiosyncratic dramatic juxtapositions and oppositions out of which Shakespeare creates his new society of fools and madmen.
We continue to follow the physical and metaphysical journeys taken by Lear and Gloucester, including Gloucester's journey to Dover with his disowned son Edgar, Edgar's thwarting of his father's suicide, and an analysis of the encounter between blind Gloucester and mad Lear on Dover Beach. We discuss the heartbreaking reunion between Lear and his banished daughter, along with the almost immediate shattering of Lear's newfound peace and his subsequent regression into madness.
What kinds of catharsis or consolation might an audience find in the play's apocalyptic ending? After offering some contexts for Macbeth within early 17th-century English political history, we explore the play's preoccupation with the workings of ambiguous and duplicitous language and the equivocal nature of protagonist Macbeth's own language and desires. This lecture turns its focus to Lady Macbeth, the first female character we have encountered who might be called a tragic protagonist.
A consideration of her strategies in manipulating her husband leads to a larger meditation on what manhood might mean in the world of Macbeth. Children are at once both utterly vulnerable and supremely powerful in the world of Macbeth. This lecture explores the link between the children real and metaphorical of this play and a future that Macbeth cannot ultimately control.
The protagonists of Antony and Cleopatra are power brokers enmeshed in the complexities of imperial history. We look at the historical context in which the play's events unfold, discuss the Romans' fascination with Cleopatra, and consider how the play's leisurely beginning suggests darker things to come.
We look at Antony's crisis of identity as he tries to reconcile his notion of "Roman" honor with his "Egyptian" appetites, and propose that the stoic and martial Roman ideal that Antony is perpetually called on to represent is not as clearly differentiated from "Egyptian" flux and cunning as Rome would believe.
We continue our discussion of the staging of identity in Antony and Cleopatra, focusing on the protagonists' highly performative suicides, the ironies that complicate Antony's bungled attempt to die a stoic Roman death, and Cleopatra's resurrection of the "heroic Antony" in her eulogy for her lover.
Shakespeare's Tragedies: Violation and Identity - Alexander Leggatt - Google книги
Coriolanus focuses on the public life of republican Rome, with most of its major scenes unfolding in the marketplace. We begin by looking at its protagonist's troubled relationship with the social contracts underpinning the relationship among Rome's patricians, plebeians, and tribunes.
In this lecture, we begin by examining the implications of the protagonist's horror at accommodating himself to his society's public rituals before analyzing the clash between Coriolanus's absolutism and the politically expedient and theatrical dissimulation preached by his mother. This lecture looks more closely at the relationship between Coriolanus and his mother, examining their traumatic final encounter as it relates to the destructive contradictions that lie within the system of values she nurtured in him.
In this final lecture, we address the elusiveness of Shakespearean tragedy as a descriptive category, and discuss Shakespeare's most striking preoccupations as a tragic dramatist, concluding with an account of what happens when our playwright moves beyond tragedy in the final works of his career. Clone Content from Your Professor tab. What Does Each Format Include? Course Guidebook Details: page printed course guidebook Suggested readings Questions to consider Timeline. Standard carrier data rates may apply in areas that do not have wifi connections pursuant to your carrier contract.
About Your Professor Clare R. Clare R. She earned her B. Under a Paul W. Mellon Fellowship, she attended Yale University, where she earned her Ph. In Professor Kinney was the recipient of a Cordelia is looking after him, and her husband has vanished. In the Quarto the King of France lands briefly in Britain and then returns; in the Folio he is simply not there.
Is this one reason why Lear comes to accept his happiness so slowly? Either it is too good to be true, or he realizes what was unnatural in that fantasy and no longer wants it, is even afraid of it. Perhaps he is trying to ground this new experience in reality, as Cordelia in the first scene tried to ground love in reality. The Lear—Cordelia reunion is shot through with memories of the old trouble it tries to resolve.
This makes it difficult, for Lear especially; but it also makes it moving and convincing simply because it is difficult. When he responds to their defeat and capture by imagining a new life for them together, Lear seems to have forgotten the difficulty. There is a new confidence, a fierce possessiveness, in his cry,. Have I caught thee? That only some force from heaven can part them suggests he thinks of this as a marriage. He fantasizes that in prison they will have a happy, playful life together, just the two of them, looking with amused detachment at the world.
The difficulty of their reunion, in which Lear acknowledged her separateness and was shy about claiming anything from her, was a saving difficulty. His confidence restored and his inhibitions gone, he is regressing to something like the unnatural demands of the first scene, though his manner has changed from overbearing authority to easy self-assurance. Once again he needs Cordelia to bring him back to reality. As she did when she reminded him of her husband, she is trying to make him think of other people, other relationships. He brushes all this aside in favor of his own view of a happy ending.
But the play has shown that relationships are at their fullest when they acknowledge trouble; and we are on the brink of a series of endings—the doing of justice, the re-tying of severed bonds, the recovery of identity—in which the trouble will be overwhelming. King Lear has an unsettled ending. The trouble Lear began when he severed his bond with Cordelia has never quite been dispelled; it returns in his attempt to construct a fantasy life with her, an attempt that takes us back to the first scene. Lear and Cordelia seem at first withdrawn from that ending; there is so much business to do that does not concern them.
But they withdraw only to return with devastating force. The chaos of the play began with them, and returns to them. That was succeeded in the first scene by another fantasy: he wanted her annihilated. Lear wanted to crawl unburdened towards death. Physically, it is the closest relationship they have had. Her body is the dominant presence in the scene, the thing we have to look at whether we can face it or not. In her first scene she alternated speech and silence; now her silence is more eloquent than speech.
Lear wanted her to nurse him. Now he is nursing her, tending her, trying to bring her out of the grave. But more immediately what he wants is words, even breath. Those are his last words; language kills. His fantasy of a private world to share with Cordelia alone, in which no one else matters, has in a terrible way come true.
Language has emptied out. He has asked for more than life, and death, can offer.
Quiara Alegría Hudes Rewrites the American Landscape
He is punished for demanding love and punished for loving, not by any regulating gods but by the conditions of life itself, the separateness of one person from another, the finality of death. The brutal power of King Lear has always seemed to center on the death of Cordelia—its shocking unexpectedness, its lack of justice. Yet this ending is latent in the play from the beginning. Lear tries to resist the loss of his identity when that loss stems from attacks on him by Goneril and Regan. Yet when Cordelia tries to give his identity back, he refuses to take it.
Touched with healing—music, fresh garments, a restoring kiss—he reacts as though he is being tortured, bound upon a wheel of fire. To take identity away is violation; but to give it back is also violation. And when he eventually accepts the new life Cordelia has to offer, Lear sets up the conditions for his final agony, in which his initial curse comes true, and kills him by killing her. It was in relationship that he had hoped for happiness; it is relationship that kills him. To say that life is our punishment for being born is not, for this play, just a large generalization.
King Lear shows death latent in birth, as the wheel comes full circle when Lear enters carrying a dead body as though it were a newborn child. In King Lear, hurt and healing are so twisted together that they cannot be separated. Alexander Leggatt, King Lear. King Lear. Joshua Reynolds, Study for King Lear, c. Vasili Ivanovich Surikov, Head of a Fool,
Related Shakespeares Tragedies: Violation and Identity
Copyright 2019 - All Right Reserved