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Wyświetlanie 1-3 z 3
Tytuł:
“Lawes of the Forrest”: Mapping Violence on the Female Bodyscape in Titus Andronicus
Autorzy:
Kowalcze-Pawlik, Anna
Powiązania:
https://bibliotekanauki.pl/articles/639119.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
bodyscape, law, Titus Andronicus, violence
Opis:
This paper discusses the definition of the forest as a space regulated by the repetitive act of appropriation on the part of the royal authority as well as the correspondences between the rhetoric of forest possession and the construction of another locus communis for the political use of nature, i.e. female body. Spatialization/naturalization of the female body in William Shakespeare’s Titus Andronicus is introduced with the use of the interlocking imaginary topographies of “feminized” topography of Rome and that of the forest as a whore. It is between these two that the politicized female bodies of Lavinia and Tamora oscillate, mapped in language as bodyscapes, onto which violence of “lawes of the forrest” is inscribed.
Źródło:
Wielogłos; 2014, 4(22)
2084-395X
Pojawia się w:
Wielogłos
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rich Ornaments and Delightful Engines: The Poetics of Failed Festivity and Figural Automation in William Shakespeare’s Titus Andronicus
Autorzy:
Żukowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/2049069.pdf
Data publikacji:
2021-10-06
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
Titus Andronicus
Lavinia
automaton
sculpture
automatic waterwork
Joyous Entry
Opis:
The present study focuses on the poetics of failed festivity in William Shakespeare’s Titus Andronicus, tracing analogies between early modern festival culture, in particular the Joyous Entry of the Renaissance prince into the city, and the machinery of the play, which is set in motion by Titus. The principal element of this machinery is the figure of Lavinia, who can be seen as the inverted version of such wonders of occa- sional architecture and civic pageantry as the automaton, the breathing sculpture and the automatic waterwork. One of the major problems explored is the confrontation of reality and fiction, or human flesh and art, in the manifestly echoic universe of the play, where the objectified automaton-like figure responds to the actions of its animators with its own stirring.
Źródło:
Anglica. An International Journal of English Studies; 2021, 30(1); 79-95
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare’s Exceptional Violence: Reading Titus Andronicus with Hannah Arendt and Giorgio Agamben
Autorzy:
Porcelli, Stefania
Powiązania:
https://bibliotekanauki.pl/articles/653537.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Titus Andronicus
violence and power
biopolitics
Giorgio Agamben
Hannah Arendt
Opis:
In this paper I explore the multifaceted relationship between violence, speech and power in the most graphic of Shakespeare’s plays, Titus Andronicus. I take my cue from Hannah Arendt’s reflections on violence as opposed to power, and as something “incapable of speech,” but I read the play through the lens of Giorgio Agamben’s notion of sovereignty as the suspension of the law. I consider the dichotomy speech/muteness as an example not only of the dichotomy power/violence (Arendt) but also of the opposition between bios and zoe, that is the difference between a life worth to be included in the political realm and a life understood as the mere condition of being alive, a condition common to human beings and beasts (according to classical philosophy). In Titus Andronicus, these distinctions are blurred, and zoe becomes fully exposed to the sovereign decision. While the image of a mutilated and mute body cannot match Arendt’s idea of politics as the combination of speech and action bereft of violence, Agamben has developed the notion of a politics that renders life disposable, mute, bare, and can still be called politics or power, and precisely biopower. From this perspective, I argue, Lavinia and the other characters of Titus Andronicus are the embodiment of the concept of “bare life” as developed by Agamben, and Shakespeare’s Rome is a State of exception and of exceptional violence.
Źródło:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2016, 4, 1
2353-6098
Pojawia się w:
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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