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The theme for Shakespeare Survey 53 is Shakespeare and Narrative.
"A highly satisfying book that will be of great interest both to psychoanalytic critics and to students of the English novel. . . . By taking the theme of father-daughter incest as a guiding thread, Jane Ford traces a pattern of indisputable importance in the works of Shakespeare and major English novelists."--Peter L. Rudnytsky, University of Florida Using Shakespeare's plots as a backdrop, Jane Ford traces the incest theme in novels by Charles Dickens, Henry James, Joseph Conrad, and James Joyce, exploring in particular the father-daughter-suitor triangle. As Ford demonstrates, three patterns predominate: the father eliminates the suitor and retains the daughter; the father submits to outside authority and relinquishes the daughter; or the father resolves the incest threat by choosing the daughter's suitor. Ford provides evidence that the fictive characters' incest conflicts often mirror the writer's own incest dilemmas, whether subliminal or not, and in readings that break with traditional criticism, she points to textual evidence for the occurrence of actual incest in The Golden Bowl and Ulysses. Ford maintains that each of the five writers wrote final works that seemed to return to a plot of retention of the daughter by the father. Ford's book offers a valuable amplification of Otto Rank's seminal work, The Incest Theme in Literature and Legend: Fundamentals of a Psychology of Literary Creation, and extends an important issue in 20th-century psychology into the study of major works of literature written in English. Jane M. Ford is a visiting scholar in the Department of Literature at the University of California, San Diego.
In this book, the first to explore the role of disability in the writings of James Joyce, contributors approach the subject both on a figurative level, as a symbol or metaphor in Joyce’s work, and also as a physical reality for many of Joyce’s characters. Contributors examine the varying ways in which Joyce’s texts represent disability and the environmental conditions of his time that stigmatized, isolated, and othered individuals with disabilities. The collection demonstrates the centrality of the body and embodiment in Joyce’s writings, from Dubliners and A Portrait of the Artist as a Young Man to Ulysses and Finnegans Wake. Essays address Joyce’s engagement with paralysis, masculinity, childhood violence, trauma, disorderly eating, blindness, nineteenth-century theories of degeneration, and the concept of “madness.” Together, the essays offer examples of Joyce’s interest in the complexities of human existence and in challenging assumptions about bodily and mental norms. Complete with an introduction that summarizes key disability studies concepts and the current state of research on the subject in Joyce studies, this volume is a valuable resource for disability scholars interested in modernist literature and an ideal starting point for any Joycean new to the study of disability. A volume in the Florida James Joyce Series, edited by Sebastian D. G. Knowles Contributors: Rafael Hernandez | Boriana Alexandrova | Casey Lawrence | Giovanna Vincenti | Jeremy Colangelo | Jennifer Marchisotto | Marion Quirici | John Morey | Kathleen Morrissey | Maren T. Linett 
This book explores the intersections of sexualized, gendered, and racialized traumas in five US novels about father-daughter incest from the 1990s. It examines how incest can be connected to wider past and present structural oppression and institutional abuse, and what fiction looks like that testifies against and references a historical background of slavery, poverty, settler colonialism, annexation, and immigration. Investigating the means of resistance used against attempts at silencing and denial in these texts, the book also shows how contemporary women’s novels can propose social change. Overall, this study uniquely argues that the individual trauma of incest in these texts must be understood in relation to histories of and present collective wounding against marginalized communities. By sitting at the intersections between trauma theory and US third world feminism, it allows for theory to meet literary activism.
A theme that obsessed Shakespeare in over 20 plays from Titus Andronicus to The Tempest was the relationship between a daughter and her father. This study traces chronologically the development of this theme, relating it to the little we know of his own two daughters, and sheds new light on his exploration of the family that so dominated his approach to drama. Drawing on a lifetime's experience of playing Shakespearean roles, Oliver Ford Davies, a former university lecturer and now an Honorary Associate Artist of the RSC and Olivier Award winner, has written an engaging and deeply researched study of a topic that has intrigued him from playing Capulet in 1967, King Lear in 2002, to Polonius in 2008.
The first major study to challenge the narrow definition of post traumatic stress disorder (PTSD) by rereading six American literary texts, this book argues for the importance of literature in representing not just circumscribed, singular traumatic events, as Cathy Caruth argued in the late nineties, but for giving voice to chronic and cumulative, or complex, traumatic experiences. This interdisciplinary study traces the development of father–daughter incest narratives published in the last hundred years, from male-authored fiction to female-authored memoir, bringing new readings to Fitzgerald’s Tender Is the Night, Ellison’s Invisible Man, and the Dylan Farrow-Woody Allen case. This study builds on the work of those ushering in a second-wave of trauma theory, which has argued that the difficulty of speaking about a traumatic experience is not necessarily caused by neurobiological changes that prevent victims from recalling details. Rather, it’s from social and political repercussions. In other words, they argue that many who experience trauma aren’t unable to deliver accounts; they fear the results. There is a significant gender component to trauma, whose implications, along with those of race and class, have largely gone unexamined in the first-wave of trauma theory. Exploring two additional questions about articulating trauma, this book asks what happens when the voice of trauma is crying out from what Toni Morrison has called the “most delicate,” “most vulnerable” member of society: a female child; and, second, what happens when the trauma is not just a time-limit event but chronic and cumulative experiences. Some traumatic experiences, namely father–daughter incest, are culturally reduced to the untellable, and yet accounts of paternal incest are readily available in American literature. This book is written in part as a response to the psychological community which failed to include complex PTSD in the latest edition of the DSM (DSM-5), denying victims, many of whom are father–daughter incest survivors, the validation and recognition they deserve and leaving many misdiagnosed and thereby mistreated.
Sheds new light on James Joyce's use of sexual motifs as cultural raw material for Ulysses and other works Joyce/Foucault: Sexual Confessions examines instances of sexual confession in works of James Joyce, with a special emphasis on Portrait of the Artist as a Young Man and Ulysses. Using Michel Foucault's historical analysis of Western sexuality as its theoretical underpinning, the book foregrounds the role of the Jesuit order in the spread of a confessional force, and finds this influence inscribed into Joyce's major texts. Wolfgang Streit goes on to argue that the tension between the texts' erotic passages and Joyce's criticism of even his own sexual writing energizes Joyce's narratives-and enables Joyce to develop the radical skepticism of power revealed in his work. Wolfgang Streit is Lecturer, Ludwig Maximilians University, Munich.
This study investigates the functions, meanings, and varieties of forms of address in Shakespeare’s dramatic work. New categories of Shakespearean vocatives are developed and the grammar of vocatives is investigated in, above, and below the clause, following morpho-syntactic, semantic, lexicographical, pragmatic, social and contextual criteria. Going beyond the conventional paradigm of power and solidarity and with recourse to Shakespearean drama as both text and performance, the study sees vocatives as foregrounded experiential, interpersonal and textual markers. Shakespeare’s vocatives construe, both quantitatively and qualitatively, habitus and identity. They illustrate relationships or messages. They reflect Early Modern, Shakespearean, and intra- or inter-textual contexts. Theoretically and methodologically, the study is interdisciplinary. It draws on approaches from (historical) pragmatics, stylistics, Hallidayean grammar, corpus linguistics, cognitive linguistics, socio-historical linguistics, sociology, and theatre semiotics. This study contributes, thus, not only to Shakespeare studies, but also to literary linguistics and literary criticism.
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The best conception of love, Marcus Nordlund contends, and hence the best framework for its literary analysis, must be a fusion of evolutionary, cultural, and historical explanation. It is within just such a bio-cultural nexus that Nordlund explores Shakespeare’s treatment of different forms of love. His approach leads to a valuable new perspective on Shakespearean love and, more broadly, on the interaction between our common humanity and our historical contingency as they are reflected, recast, transformed, or even suppressed in literary works. After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.