The Subject of Tragedy (Routledge Revivals): Identity and Difference in Renaissance DramaFirst published in 1985, The Subject of Tragedy takes the drama of the sixteenth and seventeenth centuries as the starting point for an analysis of the differential identities of man and woman. Catherine Belsey charts, in a range of fictional and non-fictional texts, the production in the Renaissance of a meaning for subjectivity that is identifiably modern. The subject of liberal humanism – self-determining, free origin of language, choice and action – is highlighted as the product of a specific period in which man was the subject to which woman was related. |
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The Subject of Tragedy (Routledge Revivals): Identity and Difference in ... Catherine Belsey No preview available - 2015 |
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absolutism absolutist Alice’s Antony Antony and Cleopatra Arden Arden of Faversham audience authority autonomy become Bracciano Caesar Castle of Perseverance classic realism Cleopatra commonwealth confined conflict death defined definition Devil difference difficulty discourse discursive knowledge divorce Dod and Cleaver drama effect emblematic empirical knowledge enforced marriage Everyman evidence evil father Faustus fiction figure final finally find first freedom God’s Griselda Hamlet heaven hell hero Hieronimo humanist husband ibid identifies implies instance justice king liberal humanism Mankind Mariam marriage marry meaning monarch moral murder narrative nature obedience offers patriarchal play political present reflection Renaissance revenge revenge plays romantic love Sejanus sense seventeenth century sexuality signified signifying practice sixteenth social body soliloquy sovereign sovereignty Spanish Tragedy speak specific spectator speech stage struggle subject of liberal thou Tragedy Tragedy of Mariam tyranny unified Vice virtue Vittoria wife woman women worldly