ABSTRACT

In William Shakespeare’s Antony and Cleopatra, Antony is conceived of as a character acting in the context of a large-scale exposure to shame and shaming: by his Roman compatriots, enemies and friends alike, by his own estimate of his life in Egypt, and in the eyes of the audience who witness his failure to live up to a Roman code of military honour. Using examples from the critical reception dedicated to the issue of shame in Antony and Cleopatra, this essay argues that the play’s dramaturgy of placing this character in the field of shame increases the probability of readers and audiences accepting also the contents for which Antony is being shamed, contents based on a misogynistic, racialised, and homophobic understanding of masculinity. The play itself, however, offers some relief from these constructions in a second strand pursuing a dramaturgy not of shame but of attachment which opens the door to readings resistant to the dramaturgy of shame.

摘要

在威廉·莎士比亚（William Shakespeare）的《安东尼与克娄巴特拉》（Antony and Cleopatra）中，安东尼被认为是在大规模遭受羞辱和羞辱的背景下扮演的角色：他的罗马同胞，敌人和朋友，以及他自己对自己在埃及生活的估计，以及在观众眼中，他们见证了他未能遵守罗马军事荣誉守则。使用专门针对安东尼和克娄巴特拉的耻辱问题的批评接受的例子，这篇文章认为，将角色摆在耻辱领域的戏剧性戏剧性增加了读者和观众接受安东尼被羞辱的内容的可能性，这些内容基于对男性气质的厌恶，种族化和同性恋的理解。然而，剧本本身在第二种结构中追求了戏剧性，而不是羞耻性而是依附性，为这些构造提供了一些缓解，这为抗拒耻辱性的阅读打开了大门。