Erotic Beasts and Social Monsters: Shakespeare, Jonson, and Comic AndrogynyUniversity of Delaware Press, 1995 - 237 páginas The voluminous contemporary critical work on English Renaissance androgyny/transvestism has not fully uncovered the ancient Greek and Roman roots of the gender controversy. This work argues that the variant Renaissance views on the androgyne's symbolism are, in fact, best understood with reference to classical representations of the double-sexed or gender-baffled figures, and with the classical merging of the figure with images of beasts and monsters. |
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... Greek and Roman roots of the gender controversy . Erotic Beasts and Social Monsters argues that the variant Renaissance views on the an- drogyne's symbolism are , in fact , best understood with reference to classical representations of ...
... Greek and Roman roots of the gender controversy . Erotic Beasts and Social Monsters argues that the variant Renaissance views on the an- drogyne's symbolism are , in fact , best understood with reference to classical representations of ...
Página 9
... Greek literature at the University of New Orleans — especially to Ed , Mary Fitzgerald , Richard Katrovas , and Mike Mooney . Without the opportunity to help teach and learn from that class , this book could not have been written . Last ...
... Greek literature at the University of New Orleans — especially to Ed , Mary Fitzgerald , Richard Katrovas , and Mike Mooney . Without the opportunity to help teach and learn from that class , this book could not have been written . Last ...
Página 12
... Greek and Roman literature , and as they were later adapted to Renaissance philosophies and literary forms . My ... Greeks called " eros . " Eros , according to the androgynous principle , is far more than sexual libido . It is a ...
... Greek and Roman literature , and as they were later adapted to Renaissance philosophies and literary forms . My ... Greeks called " eros . " Eros , according to the androgynous principle , is far more than sexual libido . It is a ...
Página 16
... Greek classical myth — the essential inclination of the separated sexes toward union . Rackin's inversion of this well - known symbol of heterosexual parity to support her prior vision of " androcentric " Renaissance cul- ture ...
... Greek classical myth — the essential inclination of the separated sexes toward union . Rackin's inversion of this well - known symbol of heterosexual parity to support her prior vision of " androcentric " Renaissance cul- ture ...
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... Greek verse : I saw them , caught them in the act . They could not slake , though lip was fixed on feverish lip in fury , Their tyrannous thirst . They longed each to invade the other's heart . Exchanging clothes , they eased the ache ...
... Greek verse : I saw them , caught them in the act . They could not slake , though lip was fixed on feverish lip in fury , Their tyrannous thirst . They longed each to invade the other's heart . Exchanging clothes , they eased the ache ...
Contenido
23 | |
Mazes Water Dolphins Beasts The Shakespearean Androgynes Defiance of Closure | 68 |
Jonson Satire and the Empty Hermaphrodite | 105 |
Experimental Androgynes Falstaff Ursula and The New Inn | 136 |
That Reason Wonder May Diminish The Androgyne and the Theater Wars | 170 |
Epilogue | 198 |
Notes | 203 |
Bibliography | 224 |
Index | 233 |
Otras ediciones - Ver todas
Erotic Beasts and Social Monsters: Shakespeare, Jonson, and Comic Androgyny Grace Tiffany Vista de fragmentos - 1995 |
Términos y frases comunes
amorous androg androgynous principle anti-androgynous antitheatrical argues Aristophanes association audience Barish Bartholomew Fair Ben Jonson chapter characters classical comic conflates creative cross-dressed Cynthia's Revels demonstrates dialectical dialogue Dionysus dramatic Dream edited effeminate Epicoene Epicoene's eros erotic erotic beast Falstaff female feminine feminized Ford Gallathea gender Greek Haec-Vir hermaphroditic horse human humors comedy Jaques Jaques's Jonson Jonson's satiric Jonsonian satire language lines linked literary London lovers Lyly's Macilente Macilente's male marriage Marston masculine Merry Wives metaphor misogynistic misogyny Mistress mock monster monstrous moral myth mythic androgyne mythic comedy Orlando Out's Ovidian paradoxically Petrarchan Petruchio Plato's play play's playwrights Rackin recall relationship Renaissance Richmond Lattimore role romantic Rosalind satiric satirists scene sexual Shake Shakespeare Shakespearean comedy Shrew social stage suggests symbol Symposium theater theatrical Thomas Dekker tion trans transformation transvestism transvestite Troilus Truewit Twelfth Night University Press Ursula verbal Viola Volpone Wives of Windsor woman women York
Pasajes populares
Página 170 - I loved the man, and do honour his memory, on this side idolatry, as much as any. He was (indeed) honest, and of an open and free nature; had an excellent phantasy, brave notions, and gentle expressions...
Página 129 - The third requisite in our poet, or maker, is imitation, to be able to convert the substance or riches of another poet to his own use, to make choice of one excellent man above the rest, and so to follow him till he grow very he, or so like him as the copy may be mistaken for the principal...
Página 142 - By the Lord, I knew ye as well as he that made ye. Why, hear you, my masters: was it for me to kill the heir-apparent ? should I turn upon the true prince? why, thou knowest I am as valiant as Hercules: but beware instinct; the lion will not touch the true prince. Instinct is a great matter; I was now a coward on instinct.
Página 58 - The woman shall not wear that which pertaineth unto a man, neither shall a man put on a woman's garment: for all that do so are abomination unto the LORD thy God.
Página 170 - Shakespeare puts them all down, aye, and Ben Jonson too. O that Ben Jonson is a pestilent fellow, he brought up Horace giving the Poets a pill, but our fellow Shakespeare hath given him a purge that made him...
Página 172 - Few of the university pen plays well; they smell too much of that writer Ovid and that writer Metamorphosis, and talk too much of Proserpina and Jupiter. Why, here's our fellow Shakespeare puts them all down, aye, and Ben Jonson too.
Página 114 - Whence should this flood of passion, trow, take head ? ha ! Best dream no longer of this running humour, For fear I sink; the violence of the stream Already hath transported me so far, That I can feel no ground at all: but soft—- Oh, 'tis our water-bearer: somewhat has crost him now.
Página 216 - he had many quarrels with Marston, beat him and took his pistol from him, wrote his Poetaster on him ; the beginning of them were that Marston represented him on the stage in his youth given to venery.
Página 71 - Have with our needles created both one flower, Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key; As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together, Like to a double cherry, seeming parted, But yet a union in partition, Two lovely berries moulded on one stem: So, with two seeming bodies, but one heart; Two of the first, like coats in heraldry, Due but to one, and crowned with one crest.