Shakespeare and the grammar of forgiveness:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Ithaca, NY [u.a.]
Cornell Univ. Press
2011
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XI, 228 S. |
| ISBN: | 9780801449789 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804147982582415360 |
|---|---|
| adam_text | Contents
Acknowledgments
ix
List of Abbreviations
xiii
introduction: Promising, Forgiving
1
Part One: Penance to Repentance
1.
The Mind s Retreat from the Face
15
2.
Rites of Forgiveness
34
Part Two: Promising
3.
Repairs in the Dark: Measure for Measure and the End of Comedy
59
Part Three: Forgiving
4.
The Recovery of Voice in Shakespeare s Pericles
85
5.
Acknowledgment and Confession in Cymbelme
104
6.
Shakespeare s Resurrections: The Winter s Tale
127
7.
Making Good in The Tempest
147
viti
Contents
Notes
173
Bibliography
203
Index
219
SHAKESPEARE
AND THE GRAMMAR OF FORGIVENESS
SARAH BEGKWITH
Shakespeare lived at a time when England was
undergoing the revolution in ritual theory
and practice we know as the English Ref¬
ormation. With it came an unprecedented
transformation in the language of religious
life. Whereas priests had once acted as media¬
tors between God and men through sacra¬
mental rites, Reformed theology declared the
priesthood of all believers. What ensued was
not the tidy replacement of one doctrine by
another but a long and messy conversation
about the conventions of religious life and
practice. In this brilliant and strikingly origi¬
nal book, Sarah Beckwith traces the fortunes
of this conversation in Shakespeare s theater.
Beckwith focuses on the sacrament of
penance, which in the Middle Ages stood as
the very basis of Christian community and
human relations. With the elimination of
this sacrament, the words of penance and
repentance
—
confess,
forgive,
absolve
—
no longer meant (no longer could mean) what
they once did. In tracing the changing speech
patterns of confession and absolution, both
in Shakespeare s work and Elizabethan and
Jacobean culture more broadly, Beckwith
reveals Shakespeare s profound understand¬
ing of the importance of language as the
fragile basis of our relations with others. In
particular, she shows that the post-tragic
plays, especially Pericles, Cymbeline, The Winter s
Tale, and The Tempest, are explorations of the
new regimes and communities of forgiveness.
Drawing on the work of J. L. Austin,
Ludwig
Wittgenstein, and Stanley Cavell, Beckwith
enables us to see these plays in an entirely new
light, skillfully guiding us through some of
the deepest questions that Shakespeare poses
to his audiences.
Γ
SARAH BECKWITH is Professor of English and
Theater Studies at Duke University. She is the
author of Christ s Body: Identity, Culture and Society in
Late Medieval Wirings and Signifying God: Social Rela¬
tion and Symbolic Act in the
Tork
Corpus
Christi Plays
and
editor of Catholicism and Catholicity:
Eucharistie
Com¬
munities in Historical and Contemporary Perspectives.
Jacket illustration:
Anselm
Kiefer (194-5- ).
Bohemia
Lies by the
Seo
, 1996.
Oil, emulsion, shellac, charcoal,
and powdered paint on burlap. Overall: H.
75-1/4·
W.
221
in.
(191.
ι χ
561.3
cm); Two panels, each:
H.
75-1/4,
W.
iio-1
/г
in.
(191.
1 x
280.7
cm). The
Metropolitan Museum of Art,
Lila
Acheson Wallace
Gift and Joseph H.
Hazen
Foundation Purchase Fund,
!997
(1997.
4ab). Copyright
©
Anselm
Kiefer,
Courtesy
of Gagosian Gallery. Photo Credit: Image copyright
©The Metropolitan Museum of Art
/
Source: Art
Resource, NY.
Jacket design: Scott
Levine.
|
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| dewey-full | 822.3/3 |
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| dewey-ones | 822 - English drama |
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| dewey-tens | 820 - English & Old English literatures |
| discipline | Anglistik / Amerikanistik |
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