Asset Details
Do you wish to reserve the book?
Shapes of hatred and violence in Shakespeare
Hey, we have placed the reservation for you!
By the way, why not check out events that you can attend while you pick your title.
Oops! Something went wrong.
Looks like we were not able to place the reservation. Kindly try again later.
Are you sure you want to remove the book from the shelf?
Shapes of hatred and violence in Shakespeare
Do you wish to request the book?
Shapes of hatred and violence in Shakespeare
Please be aware that the book you have requested cannot be checked out. If you would like to checkout this book, you can reserve another copy
We have requested the book for you!
Your request is successful and it will be processed during the Library working hours. Please check the status of your request in My Requests.
Oops! Something went wrong.
Looks like we were not able to place your request. Kindly try again later.
Journal Article
Shapes of hatred and violence in Shakespeare
2024
Overview
I use five Shakespearean plays to discuss how the meaning of the shapes of hatred and violence depend on individual character traits. In this sense, hatred and violence can either make comic characters meet some sort of reconciliation or self-destruction in the case of tragic characters. In The Comedy of Errors, the Dromio brothers, who are subject to violence from their master’s part, are the ones who can find redemption nonetheless. In The Merchant of Venice, the structural hatred between Shylock and Antonio seems to configure a form of meaning to them. In King Henry V, the enablement of violence during war time seems to suggest that the capacity for violence is inherent to every human being. This suggestion is carried over through Titus Andronicus, in which Shakespeare explores the traumatic effects of violence within a mythical realm. Finally, in Macbeth, we see how the protagonist, who is accustomed to the violence of war, can have his own nature changed when he is forced to unwillingly commit a murder outside the context of war. Neste artigo, abordo cinco peças de Shakespeare para discutir como o significado de formas de ódio e violência dependem de traços individuais de personagens. Nesse sentido, ódio e violência podem fazer com que personagens cômicos consigam alcançar alguma forma de reconciliação ou autodestruição no caso de personagens trágicos. N’A Comédia dos Erros, os irmãos Dromio, que são submetidos a violência por parte de seus donos, são os que encontram redenção apesar do sofrimento. N’O Mercador de Veneza, o ódio estrutural entre Antônio e Shylock parece configurar uma forma de sentido para eles. Em Henrique V, a habilitação de violência durante um período de guerra parece sugerir que a capacidade para violência é inerente ao ser humano. Essa sugestão é observada também em Tito Andrônico, em que Shakespeare explora os efeitos traumáticos da violência em uma esfera mítica. Finalmente, em Macbeth, vemos como um personagem acostumado com a violência da guerra pode ter sua própria natureza mudada quando é forçado a involuntariamente cometer um assassinato fora do contexto de guerra.
