Titlebook: Shakespeare‘s Culture of Violence; Derek Cohen Book 1993 Palgrave Macmillan, a division of Macmillan Publishers Limited 1993 Macbeth.Shake

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inherent feature and form of patriarchy and that its production and control is one of the dominant motives of the political system. Shakespeare‘s plays supply examples of the way in which the patriarchy of his plays - and hence, perhaps, of modern Western culture - absorbs, naturalizes, and legitimi

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Introduction,nd the spontaneous uses to which violence is put in public and personal life and to understand the ways in which violence, however passionately it is used, is always a cultural sign, part of an inescapably complex system of codes of expression. Acts of violence belong to patriarchy as surely as fath

artless

The Containment of Monarchy: ,litical system that remains intact. The personal and political upheavals of the drama, superficially managed and controlled by rigorously formal verse, ultimately reproduce the structure of authority which created the usurpation in the first place. The play explores a power struggle in society’s upp

THROB

The Legitimation of Violence in ,tant political purpose. The violence of the tavern serves to remind the audiences, readers, and spectators, who are also citizens and subjects, that unlawful violence must be contained and subject to lawful violence, which is the instrument of authority. The violence of the court, of the rich and po

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insidious

Monopolizing Violence: , thus a culmination of the fractious disordered violence in the previous plays of the tetralogy where it is a generalized implement in the quest for power. It is a truism of that world of civil disharmony that control of the means of violence is synonymous with the control of the monarchy. As the mo

Conflict

The Rape of Lavinia,d; in . Cordelia is killed by a soldier. While the killing of Cordelia is represented as a cruelly unmotivated murder, Lavinia and Desdemona are killed precisely in order to sustain masculine ideals of honour which each woman is represented as having challenged or exposed. The death of Desdemona fol

chalice

The Killing of Cordelia,ot tried to answer these questions. Literature and history abound with answers — answers theological, dramaturgical, philosophical, political, psychological. Lear knows, as readers and writers know, there is no answer to be got from asking the question. And yet the question of Cordelia’s death arise

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