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首页> 外文学位 >'Becomes a woman best': Female prophetic figures in Shakespeare's plays.
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'Becomes a woman best': Female prophetic figures in Shakespeare's plays.

机译：“最好成为女人”：莎士比亚戏剧中的女性预言家。

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摘要

This dissertation argues that female characters in Shakespeare's The Winter's Tale, Henry VIII, Richard III, Macbeth, and 1 Henry VI function as prophets in the style of the Old Testament. In a culture that venerates Holy Writ but also devalues women, a dramatic exemplar wrapped in the mantle of a biblical prophet becomes a potential model for playgoers as well as an embodied critique. Paulina, Katherine of Aragon, and Margaret of Anjou condemn injustice, uphold the cause of the vulnerable, challenge the abuse of royal and spiritual authority, and frequently echo aspects of biblical figures such as Moses, Isaiah, and Amos. In so doing, these women and the plays of which they are a part highlight the ability of women to point out the misuse of political power as well as women's vulnerability to marital wrongdoing---and their capacity to resist it. However, the plays also demonstrate that women, like men, are subject to the temptation to use force and power wrongfully; in yielding to that temptation, they compromise their ability to speak out credibly. In addition to female prophetic figures who "speak truth to power," Shakespeare also creates characters who act as "false prophets"---Lady Macbeth, the Weird Sisters, and Joan Puzel promote the veneration of ambition and press the cause of political upheaval. Aside from clarifying the possibility of greater female agency and pointing out its potential pitfalls, this reading of the plays also underlines the complex picture of Catholicism that emerges on Shakespeare's stage. Although 1 Henry VI and Macbeth echo fears of "popery" as a theological and political threat to an officially Protestant England, Henry VIII presents a positive view of a Catholic and Spanish-born queen, and Joan Puzel is a French antagonist capable of engending respect. This study thus enlarges academia's understanding of the intersection of stage and Scripture, contributing to scholarship on women and religion in the early modern world.
机译：本文认为莎士比亚的《冬天的故事》，亨利八世，理查三世，麦克白和亨利六世中的女性角色都扮演着旧约时代的先知角色。在一种崇高圣旨但又贬低女性的文化中，包裹在圣经先知披风中的戏剧性典范成为游乐者的潜在典范和具体的批判。宝琳娜（Paulina），阿拉贡（Aragon）的凯瑟琳（Katherine）和安茹（Anjou）的玛格丽特（Margaret）谴责不公正现象，维护弱势群体的事业，挑战滥用皇家和精神权威的行为，并经常回响圣经人物的各个方面，例如摩西，以赛亚和阿莫斯。通过这样做，这些妇女及其所扮演的角色突出了妇女指出政治权力的滥用以及妇女对婚姻不法行为的脆弱性的能力，以及她们抵抗这种行为的能力。然而，这些戏剧还表明，妇女与男子一样，也容易受到错误使用武力的诱惑。在屈服于这种诱惑时，他们损害了他们可信地说出来的能力。莎士比亚除了“说真话”的女性预言家之外，还创造了扮演“假先知”的角色-麦克白夫人，怪异姐妹和琼·普泽尔促进了野心的崇敬并推动了政治动荡的起因。 。除了阐明可能增加女性代理人的可能性并指出其潜在的陷阱外，对剧本的解读还突显出莎士比亚舞台上出现的复杂的天主教现象。尽管1亨利六世和麦克白回应了人们对“教皇”作为对正式新教英格兰的神学和政治威胁的恐惧，但亨利八世对天主教和西班牙出生的女王表示了积极的看法，琼·普泽尔是法国人，能够赢得尊重。因此，这项研究扩大了学术界对舞台与圣经交集的理解，有助于在早期现代世界中开展有关妇女与宗教的学术研究。

著录项

  • 作者

    Cochrum, Alan Morris.;

  • 作者单位

    The University of Texas at Arlington.;

  • 授予单位 The University of Texas at Arlington.;
  • 学科 English literature.;Womens studies.;Theater.
  • 学位 Ph.D.
  • 年度 2015
  • 页码 311 p.
  • 总页数 311
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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