Presentation is loading. Please wait.

Presentation is loading. Please wait.

Tis Pity She’s A Whore Cassie Burton Alyssa Riley.

Similar presentations


Presentation on theme: "Tis Pity She’s A Whore Cassie Burton Alyssa Riley."— Presentation transcript:

1 Tis Pity She’s A Whore Cassie Burton Alyssa Riley

2 Publication Information John Ford (his first?)John Ford (his first?) Comes from Tamburlaine, Dr. Faustus, Romeo and Juliet, Othello, and Duchess of MalfiComes from Tamburlaine, Dr. Faustus, Romeo and Juliet, Othello, and Duchess of Malfi Incest was seen as a scandal but socially constructedIncest was seen as a scandal but socially constructed 1 st that was not “Wholly wicked” (Roper pg. 4)1 st that was not “Wholly wicked” (Roper pg. 4) Characters are sympathized withCharacters are sympathized with Ford did not support the ideas from the play (rebellion or incest)Ford did not support the ideas from the play (rebellion or incest)

3 Reasons for Giovanni’s Love for Annabella “These conflicting viewpoints all have a kernel of truth to them, and if any of them err, the error is one of emphasis, not of orientation” (Boehrer 357). Mental Illness (pg. 357)Mental Illness (pg. 357) This is how the Friar sees himThis is how the Friar sees him “foolish madman!” (I.I.23)“foolish madman!” (I.I.23) There is something wrong with him causing him to feel this way.There is something wrong with him causing him to feel this way. OtherOther Social classSocial class Natural Fit (pg. 357)Natural Fit (pg. 357) This is Giovanni’s excuse/reasoning for his loveThis is Giovanni’s excuse/reasoning for his love “Say that we had one father…are we not therefore each to other bound / So much the more by nature?” (I.I.28-31)“Say that we had one father…are we not therefore each to other bound / So much the more by nature?” (I.I.28-31)

4 Reasons for incest Finke: Incest “underscores the narcissistic root of Giovanni’s idealization of Annabella and of all such idealizations…[he] self-consciously attempts to achieve a union with himself” by annihilating his sister’s autonomy.Finke: Incest “underscores the narcissistic root of Giovanni’s idealization of Annabella and of all such idealizations…[he] self-consciously attempts to achieve a union with himself” by annihilating his sister’s autonomy. Annabella looks like him.Annabella looks like him. Giovanni can “create himself as a god and worship the reflection of his own beauty.”Giovanni can “create himself as a god and worship the reflection of his own beauty.” No threat to masculinity or identity.No threat to masculinity or identity.

5 Nature and Christian Thought In the subject of incest, the play “presuppose[s] conflict between the rule of nature and the rule of Christian law” (Boehrer 359). “It is right to love Annabella because it is natural to do so, and what is natural is right” (Boehrer 358).“It is right to love Annabella because it is natural to do so, and what is natural is right” (Boehrer 358). “Incest is evil because [it is] forbidden by scripture, and what is forbidden by scripture is evil” (Boehrer 359).“Incest is evil because [it is] forbidden by scripture, and what is forbidden by scripture is evil” (Boehrer 359). There is no governing ruler in the play. Therefore, the audience and the characters themselves must decide what is justice and moral.

6 Audience feels Sympathetic Ford controls the audience’s reactionsFord controls the audience’s reactions Morality vs. sympathyMorality vs. sympathy Kyd’s HeironimoKyd’s Heironimo Annabella’s other suitors are horrible, so we find Giovanni as the best fit for her.Annabella’s other suitors are horrible, so we find Giovanni as the best fit for her. We also sympathize with him because we see that he tries but cannot help but love AnnabellaWe also sympathize with him because we see that he tries but cannot help but love Annabella The line is blurred (no more black and white)The line is blurred (no more black and white)

7 Audience Influence “Universal Governing eye” (Boehrer 126)“Universal Governing eye” (Boehrer 126) There is no King or God in the play telling the characters was is right and what is wrong, so it is up to the audience as to what they think. They will embody the standards of the government and morality.There is no King or God in the play telling the characters was is right and what is wrong, so it is up to the audience as to what they think. They will embody the standards of the government and morality. The audience believes Annabella must choose someone, so most of the time the audience thinks it should be Giovanni.The audience believes Annabella must choose someone, so most of the time the audience thinks it should be Giovanni.

8 Spectacle of incest Play is different because it explores incestuous passion, consequences, and emphasizing its visibility. (Martinez 172)Play is different because it explores incestuous passion, consequences, and emphasizing its visibility. (Martinez 172) “That visibility becomes an obstacle to the audience’s understanding of Giovanni’s desire.” (Martinez 198).“That visibility becomes an obstacle to the audience’s understanding of Giovanni’s desire.” (Martinez 198). Annabella’s womb, blood and heart as “symbolic, emblematic meanings” is too unintelligible.Annabella’s womb, blood and heart as “symbolic, emblematic meanings” is too unintelligible. Giovanni’s act of describing how he and Annbella are bound by blood and heart seems logical to him.Giovanni’s act of describing how he and Annbella are bound by blood and heart seems logical to him. Audiences than can watch the spectacle of incest, evaluate it morally, but cannot “understand or explain what Gioanni can see in his sister’s blood and heart.” (Martinez )Audiences than can watch the spectacle of incest, evaluate it morally, but cannot “understand or explain what Gioanni can see in his sister’s blood and heart.” (Martinez )

9 Women’s bodies In Jacobean tragedies, “heroines are caught between male fantasies of idealization and exploitation.” (Finke 364)In Jacobean tragedies, “heroines are caught between male fantasies of idealization and exploitation.” (Finke 364) Victims of “man painting woman as a lifeless, dismembered object…and woman painting herself to conform…to the tragically double image men have.” (Finke 364).Victims of “man painting woman as a lifeless, dismembered object…and woman painting herself to conform…to the tragically double image men have.” (Finke 364). Giovanni forces Annabella to try to be a faithful sister, lover, and a dutiful wife and daughter, roles that conflict. She can’t.Giovanni forces Annabella to try to be a faithful sister, lover, and a dutiful wife and daughter, roles that conflict. She can’t. Giovanni does this through her heart. Heart: “serves as powerful representation of the masculine attempt to control life and death, to thwart or coopt the feminine power of reproduction” (Finke 369).Giovanni does this through her heart. Heart: “serves as powerful representation of the masculine attempt to control life and death, to thwart or coopt the feminine power of reproduction” (Finke 369). “Economy of hearts” (Silverstone 82).“Economy of hearts” (Silverstone 82). Giovanni using Annabella’s heart as “unit of exchange graphically illustrates the lack of autonomy” Annabella has over her own desires. (Silverstone 82)Giovanni using Annabella’s heart as “unit of exchange graphically illustrates the lack of autonomy” Annabella has over her own desires. (Silverstone 82)

10 Women’s Bodies cont. Heart: also vehicle of truth. Soranzo wants to rip up her heart to find her lover’s name written (Silverstone 82). He accuses her of burying him alive, associating her sexual betrayal “with his fear of death and loss of immortality.” (Finke 369)Heart: also vehicle of truth. Soranzo wants to rip up her heart to find her lover’s name written (Silverstone 82). He accuses her of burying him alive, associating her sexual betrayal “with his fear of death and loss of immortality.” (Finke 369) Heart is way to possess her. Giovanni shows her heart at play’s end, showing how he posses her, his desire. (Luis-Martinez 210)Heart is way to possess her. Giovanni shows her heart at play’s end, showing how he posses her, his desire. (Luis-Martinez 210) In reality: physical representation of heart means death of physical body. Giovanni shows her heart but he has to describe who’s heart it is – showing that when disassociated from the body, the heart does not literally express one’s “desire.” (Silverstone 83-84)In reality: physical representation of heart means death of physical body. Giovanni shows her heart but he has to describe who’s heart it is – showing that when disassociated from the body, the heart does not literally express one’s “desire.” (Silverstone 83-84) Hinted at in Act I when Annabella and Giovanni say they will love each other or die, exposure of one’s desire (heart) leads to death. (Silverstone )Hinted at in Act I when Annabella and Giovanni say they will love each other or die, exposure of one’s desire (heart) leads to death. (Silverstone )


Download ppt "Tis Pity She’s A Whore Cassie Burton Alyssa Riley."

Similar presentations


Ads by Google