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dc.contributor.authorMackenzie, Anna
dc.date.accessioned2022-12-15T15:29:44Z
dc.date.available2022-12-15T15:29:44Z
dc.date.issued2011
dc.identifier.issn0084-4446
dc.identifier.urihttp://hdl.handle.net/11089/44682
dc.description.abstractPerformativity, as defined by Judith Butler, is a means of analysis that focuses on the dynamic constitution of a subject, rather than focusing on the end result alone. The postperformative rut, into which criticism of drama has fallen, is best illustrated through critics reliance upon the unwieldy concept of genre which results in the unnecessary anaesthetising of dramatic works. This article sets out to demonstrate how, through engaging with Butlers framework of performativity, Shakespeares plays can be liberated from the theoretical stranglehold of genre. Through specific analysis of The Taming of the Shrew, The Merchant of Venice, and King Lear, this article interrogates the dominant critical uses of marriage as a generic feature, illustrating how simplistic notions of generic categorisation actually inhibit and restrict the plays development and inherent performativity. The relevance of applying the principles of performativity to the study of dramatic works results in a process of analysis centring more on characterisation and dramatic dynamism rather than on archaic notions of dramatic genres. Keywords: William Shakespeare; gender; dramatic genres; performativity; Judith Butler; The Merchant of Venice; The Taming of the Shrew; King Lear; taxonomies.pl_PL
dc.language.isoenpl_PL
dc.publisherŁódzkie Towarzystwo Naukowepl_PL
dc.relation.ispartofseriesZagadnienia Rodzajów Literackich;1
dc.subjectJudith Butlerpl_PL
dc.subjectWilliam Shakespearepl_PL
dc.subjectdramatic genrepl_PL
dc.title"Identity politics": dramatic genres, Shakespeare's plays, and the Butlerian frameworkpl_PL
dc.typeArticlepl_PL
dc.page.number5-24pl_PL
dc.identifier.eissn2451-0335
dc.referencesShakespeare, William, A Pleasant Conceited Historie, called The Taming of a Shrew, ed. by Graham Holderness and Bryan Loughrey (Lanham, MD: Barnes and Noble, 1992).pl_PL
dc.referencesShakespeare, William, All's Well that Ends Well, ed. by Susan Snyder (Oxford: OUP, 2008).pl_PL
dc.referencesShakespeare, William, King Lear, in Complete Works, ed. by Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2007).pl_PL
dc.referencesShakespeare, William, The Merchant of Venice, in Complete Works, ed. by Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2007).pl_PL
dc.referencesShakespeare, William, The Taming of the Shrew, in Complete Works, ed. by Jonathan Bate and Eric Rasmussen (Basingstoke: Macmillan, 2007).pl_PL
dc.referencesBecker-Leckrone, Megan, Julia Kristeva and Literary Theory (Basingstoke: Macmillan, 2005).pl_PL
dc.referencesButler, Judith, Gender Trouble (London: Routledge, 1999).pl_PL
dc.referencesButler, Judith, 'Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, Theatre Journal, 40.4 (1998), 519-581.pl_PL
dc.referencesDanson, Lawrence, Shakespeares Dramatic Genres (Oxford: OUP, 2000).pl_PL
dc.referencesDavis, Philip, Shakespeare Thinking (London: Continuum, 2007).pl_PL
dc.referencesDe Beauvoir, Simone, The Second Sex, trans. by H.M. Parshley (Colchester: Vintage, 1989).pl_PL
dc.referencesFelman, Shoshana (ed.), Literature and Psychoanalysis: The Question oj Reading - Otherwise (Baltimore: Johns Hopkins UP, 1982).pl_PL
dc.referencesFoucault, Michel, The Order of Things (London: Tavistock, 1970).pl_PL
dc.referencesColie, Rosalie, Resources of Kind: Genre Theory in the Renaissance (Berkeley, CA: U of California P, 1973).pl_PL
dc.referencesHopkins, Lisa, Marriage as Comic Closure, in Shakespeare's Comedies, ed. by Emma Smith (London: Blackwell, 2004), pp. 36-53.pl_PL
dc.referencesKristeva, Julia, Powers of Horror: An Essay on Abjection (New York: Columbia University Press, 1982).pl_PL
dc.referencesStott, Andrew, Comedy (London: Routledge, 2005).pl_PL
dc.relation.volume54pl_PL
dc.disciplineliteraturoznawstwopl_PL


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