Margaret Atwood's Hag-Seed: The Aesthetics of Retelling Shakespeare's The Tempest.
Comparing Hag-Seed with The Tempest, this article tries to disclose how Margaret Atwood shifts and extends perspectives in her novel by empowering the female voice in Hag-Seed. In contrast to Shakespeare's original and many of its postcolonial successors, the latter of which have sustainably promote...
| Publicado en: | University of Toronto Quarterly Vol. 92; no. 1; pp. 76 - 91 |
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| Formato: | Artículo |
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University of Toronto Press
Feb2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=162346848&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 162346848 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00420247 UTQ jtl: University of Toronto Quarterly issn: 00420247 maglogo: Y pubinfo: dt: Feb2023 vid: 92 iid: 1 pid: 678 pub: University of Toronto Press artinfo: ui: 162346848 10.3138/utq.92.1.04 ppf: 76 ppct: 15 formats: fmt: – @attributes: type: T – @attributes: type: P size: 514KB tig: atl: Margaret Atwood's Hag-Seed: The Aesthetics of Retelling Shakespeare's The Tempest. aug: au: Klooß, Wolfgang affil: English Department, University of Trier, Trier, Rheinland-Pfalz, Germany su: Tempest, The (Play : Shakespeare) Atwood, Margaret, 1939- Aesthetics Greenaway, Peter, 1942- Rhetoric sug: subj: Tempest, The (Play : Shakespeare) Atwood, Margaret, 1939- Aesthetics Greenaway, Peter, 1942- Rhetoric keyword: female voice Hag-Seed intertextuality political rhetoric The Tempest ab: Comparing Hag-Seed with The Tempest, this article tries to disclose how Margaret Atwood shifts and extends perspectives in her novel by empowering the female voice in Hag-Seed. In contrast to Shakespeare's original and many of its postcolonial successors, the latter of which have sustainably promoted a political reading of the Bard's play, Hag-Seed, for instance, offers a treatment of Miranda that reverses the role of Prospero's daughter from a passive to an influential "active" character who has a decisive say in many of her father's doings. In a similar vein, other female voices in the novel come to the fore. These observations are accompanied by brief intertextual references to a painting by William Hogarth, created circa 1736, and Peter Greenaway's film Prospero's Books, released in 1991. The article shows how aesthetic forms of expression and political rhetoric are interlinked, especially how aesthetic and (gender-)political values interplay. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of University of Toronto Quarterly is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: University of Toronto Quarterly holder: University of Toronto Press dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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