Relevant bibliographies by topics / Women characters – Shakespeare

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Women characters – Shakespeare'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Women characters – Shakespeare"

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Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (January 15, 2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s concept of distributed personhood offered by S. Greenblatt is very suitable for analysing modern Lithuanian literature that seeks a creative relationship with Shakespeare’s works. The concept maintains that characters of particular dramas can break loose from the defined interpretative framework. Lithuanian exodus drama reinterprets Shakespeare’s works and characters. The plays by Ostrauskas and Algirdas Landsbergis explore the variety of human existence and language, the absurd character of the artist, meaningless human existence and the critique of totalitarianism. Modern Lithuanian poetry interprets Shakespeare‘s works so that they serve as a way to contemplate the theme of modern writing, meaningless human existence, the tragic destiny of an individual and Lithuania, miserable human nature, the playful nature of literature, the clownish mask of the poet, the existential silence of childhood, the topic of life as a theatrical performance, the everyday experience of modern women in theatre. The most frequently interpreted dramas are Hamlet, King Lear and Macbeth – Lithuanian literary imagination inscribed them into the field of existentialist and absurd literature.
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Keinänen, Nely. "Female multilingualism in William Shakespeare and George Peele." English Text Construction 6, no. 1 (April 5, 2013): 89–111. http://dx.doi.org/10.1075/etc.6.1.05kei.

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While there is overlap in the ways that Peele and Shakespeare make use of female multilingualism in their plays, Peele’s repertoire is wider than Shakespeare’s, and he also seems to trust his audience will understand more complex code-switches from foreign languages. Shakespeare includes women who are resolutely monolingual in a multilingual context, highlighting the importance of English for personal and political identity. Both authors include characters who are shown understanding but not using foreign languages, perhaps reflecting cultural anxiety about educated women. In Peele, a wider range of women are shown code-switching, and Peele uses extended foreign language code-switches to highlight moments of high emotion, with Italian suggesting dangerous female sexuality and Latin evoking purity. Keywords: William Shakespeare; George Peele; female code-switching; women’s language
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Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 11, 2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important. Besides, Shakespeare’s women characters, mostly assigned minor roles, create niche in our heart. Ophelia, Cordelia, Desdemona and Lady Macbeth have their own place. Nobody will forget them. In fact, they bring spice to the development of the plot and so do Horatio Ophelia, Lady Macbeth, Banquo, Macduff, Earl of Gloster , Edgar, Cassio and Emilia in tragedies.
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Yar Khan, Shahab. "Women as Heroes in Shakespearean Drama." MAP Education and Humanities 1, no. 1 (August 20, 2021): 1–6. http://dx.doi.org/10.53880/2744-2373.2021.1.1.1.

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Shakespeare studies Nature in the context of human behaviour. His drama deals with transformations and he displays these changes on both social and personal levels through alternating the graphic images from characters to situation. In an authoritarian society where lives of women were governed by a belief system which resulted out of Nature’s disposition of preordained roles in society, the portrayal of dominating female voices would have bothered many. Shakespearean drama is a protest against the society which is always dominated by the destructive forces of male paranoia, egocentrism, patriarchal instinct of exploitation of the weak, male sexual anxiety and corrupt abuse of rules of justice by the powerful. A study of the female mind presented in Shakespearean drama is seen at its best in The Winter’s Tale. The following article is an attempt to explore some of the aspects of Womanhood in Shakespearean art.
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Amiri, Mehdi, and Sara Khoshkam. "Gender Identity and Gender Performativity in Shakespeare’s Selected Plays: Macbeth, Hamlet and Merry Wives of Windsor." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 1. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.1.

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The main argument of this article is focused on three plays by William Shakespeare, Macbeth, Hamlet and Merry Wives of Windsor. There are several points in these plays which deal with woman and their rights. This article deals with Shakespeare’s plays in relation to feminism, which pays more attention to the rights of women and their true identity. In all societies women are defined in terms of their relations to men as the center of power to which women have limited or no access. Judith Butler's performativity is significance on understandings of gender identity. Butler believes that gender is produced in society; also it can be changed in society. Feminism should aim to create a society in which, one's sexual anatomy is irrelevant to who one is, and what one does. Shakespeare’s view of a woman is shown through his representation of female characters in his plays specifically in Macbeth, Hamlet and Merry Wives of Windsor.
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Ferdous, Mafruha. "The Values of Masculinity in William Shakespeare’s Macbeth." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 22. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.22.

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The theme of gender plays a vital role in William Shakespeare’s famous political play Macbeth. From the very beginning of the play the dramatist focuses on the importance of masculinity in gaining power and authority. Lady Macbeth along with the three witches are as important characters as Macbeth. Because they influence Macbeth profoundly. And Shakespeare very carefully draws the character of Lady Macbeth who being a female sometimes exhibits more masculinity than Macbeth. Similarly is the case of the three witches. Though they look like women they are also bearded which prove the presence of masculinity in their nature. Throughout the play several times the exposition of masculinity is demanded from the character of Macbeth. So the value of masculinity plays an important part in the drama.
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Mahfouz, Safi M. "Challenging Hegemonic Patriarchy." Critical Survey 32, no. 4 (December 1, 2020): 3–20. http://dx.doi.org/10.3167/cs.2020.320402.

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Drawing on feminist theory, this article offers a feminist reading of some Arab Hamlet appropriations to demonstrate whether or not such plays qualify as feminist Shakespeare re-visions. It shows how some female characters in these plays have been, unlike their Shakespearean counterparts, empowered to challenge the hegemonic patriarchal structures of their societies while others remain oppressed and submissive. The discussed Arab Shakespeare renditions constitute only illustrative samples of heroic and oppressed women in the Arab Shakespeare canon which has been known for producing political satires. The featured plays include Ahmad Shawqī’s Masra‘ Kileopatrā (The Fall of Cleopatra), Egypt, 1946; Nabyl Lahlou’s Ophelia Is Not Dead, Morocco, 1968; Mamdūh Al-ʻUdwān’s Hamlet Wakes Up Late, Syria, 1976; Yūsuf Al-Sāyyegh’s Desdemona, Iraq, 1989; Jawād Al-Assadī’s Forget Hamlet, Iraq, 1994; and A Midsummer Night’s Dream, Palestine, 2011.
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Mazzola, Elizabeth. "Suffocated mothers, stabbed sisters, drowned daughters: when women choose death on Shakespeare's stage." Sederi, no. 29 (2019): 109–33. http://dx.doi.org/10.34136/sederi.2019.5.

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Women who choose death on Shakespeare’s stage often overturn ideas about tragedy as well as challenge the politics which establish which lives are worth sacrificing and which ones are not. Radically altering the relation between bios and zoe, female suicides collapse the divisions between things that grow, breathe, and love, and those things that block such living. In this essay, I draw on thinking about biopolitics along with feminist readings of Shakespeare in order to explore how characters like Goneril, Gertrude, and Juliet refuse the rules which determine how women’s blood must flow or be shed.
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Werner, Sarah. "Performing Shakespeare: Voice Training and the Feminist Actor." New Theatre Quarterly 12, no. 47 (August 1996): 249–58. http://dx.doi.org/10.1017/s0266464x00010241.

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Although voice work presents itself as a neutral set of tools that can help actors in performing a text, an analysis of the cultural biases behind voice training reveals that both the underlying ideology and the methods of reading and acting it produces limit the possibilities for feminist performances of Shakespeare. By naturalizing the language and rhythms of the text, by focusing attention on the characters' need for the words as opposed to the dramatist's, voice training denies actors ways of questioning the politics of the playscripts. Sarah Werner has just received her PhD in English from the University of Pennsylvania for her dissertation entitled ‘Acting Shakespeare's Women: Toward a Feminist Methodology’. She has presented papers at a number of conferences, including the Shakespeare Association of America and the International Conference on Medieval Studies, and is currently a lecturer at the University of Pennsylvania.
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Ekmekçioğlu, Neslihan. "The Uncontrollable Mnemonic Fragments within Consciousness Reflecting Ophelia’s and Lady Macbeth’s Disturbed Minds." Gender Studies 14, no. 1 (December 1, 2015): 33–47. http://dx.doi.org/10.1515/genst-2016-0003.

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Abstract Memory plays an important role in most of Shakespeare’s plays. Shakespeare delves into the dark realms of human consciousness to reflect the disturbed minds and gnawing consciences of his characters with a profound psychological insight into the human psyche. Time, memory, madness and death seem to be the basic issues dealt with in his canon. My paper will address the uncontrollable mnemonic fragments within the human consciousness which reflect past traumas, fears and disturbances and will examine the cases of Ophelia and Lady Macbeth from a feminist reading of women.
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Dissertations / Theses on the topic "Women characters – Shakespeare"

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Mackenzie, Anna F. "Troubling women, troubling genre : Shakespeare's unruly characters." Thesis, University of Chester, 2015. http://hdl.handle.net/10034/613740.

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This thesis brings the performativity of William Shakespeare’s plays into focus; in presenting an alternative approach to his works, I show how literary criticism can be reinvigorated. Dramatic works demonstrate that, in their theatrical world, everything is mutable, and capable of evolving and changing, negating stability or reliability. Why, then, should what I term monogeneric approaches (forms of analysis that allocate one genre to plays, adopting a priori ideas as opposed to recognising processes of dramatic construction) to criticism remain prevalent in Shakespearean scholarship? Performativity, as defined by Judith Butler, is a concept that focuses on the dynamic constitution of a subject, rather than on the end result alone (whether ‘female’ for gender, or, for example, ‘comedy’ for plays). In establishing an analogical relationship between the performativity of gender and the performance of dramatic works, I offer new, interpretive possibilities for dramatic works, moving away from monogeneric methods. Constructing a method of analysis based on performativity allows an approach that recognises and privileges dramatic dynamism and characterisation. The role of female characters is vital in Shakespeare’s works: we see defiant, submissive, calculating, principled and overwhelmingly multifaceted performances from these characters who, I argue, influence the courses that plays take. This thesis joins a conversation that began in 335BCE with Aristotle’s Poetics. In acknowledging and interrogating previous scholarship on genre in Shakespeare’s works, I trace monogeneric themes in analysis from Aristotle, through A.C. Bradley, through to later twentieth- and twenty-first-century critics. I challenge the practice of allocating genre based on plot features, including weddings and deaths; such actions are not conclusively representative of one genre alone. To enable this interrogation, I establish relationships between theories such as Nicolas Bourriaud’s work on artistic exchange; Jacques Derrida’s hypothesis on participation and belonging; and feminist research by scholars including Luce Irigaray and Julia Kristeva. Performance analysis is a vital component of this thesis, alongside textual analysis. In a number of cases, multiple performances of a dramatic work are considered to illustrate the fascinating variety with which the text is translated from page to stage and the impact of different directorial decisions. I use the term ‘textual analysis’ to include the varying editions of Shakespeare’s plays, and to consider that every Complete Works publication is not, in fact, complete. The existence of quarto texts makes clear an important process of dramatic evolution, particularly when dramatic works and their allocated genres shift between quarto and Folio versions. Such textual instability highlights the difficulties inherent in applying singular identities to dynamic works. In locating performativity at the core of dramatic works and emphasising the key role of female characters, this thesis brings performance to the fore and presents an alternative ‘lens of interpretation’ for readers, watchers, teachers and scholars of Shakespeare.
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Siu, Wai-ching, and 蕭惠貞. "Women characters in Shakespeare comedies: a feminist perspective." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B3195005X.

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Mngomezulu, Thulisile Fortunate. "Central women characters and their influence in Shakespeare, with particular reference to the Merchant of Venice, Macbeth, Julius Caesar and Antony and Cleopatra." Thesis, University of Zululand, 2009. http://hdl.handle.net/10530/1114.

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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Arts in the Department of English at the University of Zululand, South Africa, 2009.
Shakespeare portrayed women in his plays as people who should be valued. This is an opinion I held in the past, and one I still hold after intense reading of his works and that of authors such as Marlowe, Webster, Thomas Kyd and others. Shakespeare created his female characters out of a mixture of good and evil. When they interact with others, either the best or the worst in them is brought out: extreme evil in some cases and perfect goodness in others. I hope the reader will enjoy this study as much as I did, and that it will enhance their reading of Shakespeare‟s works and cultivate their interest in him. This study is intended to motivate other people to change their view that Shakespeare‟s works are inaccessible. Those who hold this view will come to know that anyone anywhere can read, understand and appreciate the works of this the greatest writer of all times. In his study Shakespeare’s World, Johanyak says, “I wrote [it] to help students appreciate the depth and breadth of Shakespeare‟s global awareness. Shakespeare was not only a London playwright, but a man of the world who dramatized his perceptions to create a lasting legacy of his times” (2004: ix).
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Tuerk, Cynthia M. ""Harmless delight but useful and instructive" : the woman's voice in Restoration adaptations of Shakespeare." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14895.

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The changes and upheaval in English society and in English ideas which took place during the seventeenth century had a profound effect upon public and private perceptions of women and of women's various roles in society. A study of the drama of this period provides the means to examine the development of these new views through the popular medium of the stage. In particular, the study of adaptations of early drama offer the opportunity to compare the stage perceptions of women which were prevalent during the late sixteenth and early seventeenth century with attitudes towards women which emerged during the Restoration and early eighteenth century; such an examination of these differing perceptions of women has not yet been undertaken. The adaptation of Shakespearean plays provide the most profitable study in this area; Shakespeare was not only a highly influential playwright, but was also one of the most adapted of all the early dramatists during the years of the Restoration. In order to facilitate this survey, I have selected plays which span the entire Restoration era, beginning with William Davenant's The Law Against Lovers and Macbeth as well as John Lacy's Sauny the Scot from the 1660's, through the late 1670's and early 1680's with Edward Ravenscroft's Titus Andronicus and Nahum Tate's The Ingratitude of a Common-Wealth, and finally into the reign of Anne Stuart with William Burnaby's Love Betray'd. The study of these plays offers the best opportunity for the examination, through the medium of the theatre, of the changes which occurred in the perception of women and their changing identity with the rapidly evolving society of Renaissance and Restoration English society.
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Olchowy, Rozeboom Gloria. "Bearing men : a cultural history of motherhood from the cycle plays to Shakespeare." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56598.pdf.

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Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.

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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Templeman, Sally Jane. "Cooks, cooking, and food on the early modern stage." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/9824.

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This project aims to take the investigation of food in early modern drama, in itself a relatively new field, in a new direction. It does this by shifting the critical focus from food-based metaphors to food-based properties and food-producing cook characters. This shift reveals exciting, unexpected, and hitherto unnoticed contexts. In The Taming of the Shrew and Titus Andronicus, which were written during William Shakespeare’s inn-yard playhouse period, the playwright exploits these exceptionally aromatic venues in order to trigger site-specific responses to food-based scenes in these plays. Ben Jonson’s Bartholomew Fair brings fair-appropriate gingerbread properties onstage. When we look beneath the surface of this food effect to its bread and wine ingredients, however, it reveals a subtext that satirizes the theory of transubstantiation. Jonson expands on this theme by using Ursula’s cooking fire (a property staged in Jonson’s representation of Smithfield’s Bartholomew Fair) to engage with the prison narrative of Anne Askew, who was burned to death in front of Bartholomew Priory on the historic Smithfield for denying the doctrine of transubstantiation. This thesis also investigates water, which, for early moderns, was a complex and quasi-mystical liquid: it was a primary element, it washed sin from the world during the Great Flood, it was a marker of status, it was a medicine, and it was a cookery ingredient. Christopher Marlowe not only uses dirty water to humiliate his doomed monarch in Edward II, but he also uses it to apportion blame to the king for his own downfall. In Timon of Athens, Shakespeare draws on the theory of the elements to cast Timon as a man of water, who, Jesus-like, breaks up and divides (or splashes around) his body at his “last” supper. Fully-fledged cook characters were a relative rarity on the early modern stage. This project looks at two exceptions: Furnace in Philip Massinger’s A New Way to Pay Old Debts and the unnamed master cook in John Fletcher’s The Tragedy of Rollo, Duke of Normandy. Both playwrights use their respective gastronomic geniuses to demonstrate the danger that lower-order expertise poses to the upper classes when society is in flux. Finally, this project demonstrates that a link existed between ornate domestic food effects and alchemy. It shows how Philip Massinger’s The Great Duke of Florence and Thomas Middleton’s Women, Beware Women use food properties associated with alchemy to satirize notions of perfection in their play-worlds.
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Park, Yoon-hee. "Rewriting Woman Evil?: Antifeminism and its Hermeneutic Problems in Four Criseida Stories." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278387/.

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Since Benoit de Sainte-Maure's creation of the Briseida story, Criseida has evolved as one of the most infamous heroines in European literature, an inconstant femme fatale. This study analyzes four different receptions of the Criseida story with a special emphasis on the antifeminist tradition. An interesting pattern arises from the ways in which four British writers render Criseida: Geoffrey Chaucer's Troilus and Crisevde is a response to the antifeminist tradition of the story (particularly to Giovanni Boccaccio's II Filostrato); Robert Henryson's Testament of Cresseid is a direct response to Chaucer's poem; William Shakespeare's Troilus and Cressida aligns itself with the antifeminist tradition, but in a different way; and John Dryden's Troilus and Cressida or Truth Found Too Late is a straight rewriting of Shakespeare's play. These works themselves form an interesting canon within the whole tradition. All four writers are not only readers of the continually evolving story of Criseida but also critics, writers, and literary historians in the Jaussian sense. They critique their predecessors' works, write what they have conceived from the tradition of the story, and reinterpret the old works in that historical context.
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Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.

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Chou, Chin-Mei, and 周金玫. "Frailty, the Name Is Not Women: Women Characters in Shakespeare's Plays--The Merchant of Venice, As You Like It, Twelfth Night, All's Well THat Ends Well, Romeo & JUliet, Hamlet, Othello, and Macbeth." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/68457195733893240299.

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Books on the topic "Women characters – Shakespeare"

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Shakespeare and women. Oxford [England]: Oxford University Press, 2005.

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Hamer, Mary. William Shakespeare, Julius Caesar. Plymouth, U.K: Northcote House in association with the British Council, 1998.

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Oppen, Alice Arnott. Shakespeare: Listening to the women. Henley Beach, S. Aust: Seaview Press, 1999.

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Women in the age of Shakespeare. Santa Barbara, Calif: Greenwood Press, 2010.

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Shakespeare and the nature of women. 3rd ed. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2003.

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Juliet, Dusinberre. Shakespeare and the nature of women. 2nd ed. New York: St. Martin's Press, 1996.

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Women and revenge in Shakespeare: Gender, genre, and ethics. Selinsgrove, PA: Susquehanna University Press, 2011.

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1960-, Dolan Frances E., and Roberts Jeanne Addison, eds. Shakespeare's unruly women. Washington, D.C: Folger Shakespeare Library, 1997.

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Shakespeare, William. The sweet silvery sayings of Shakespeare on the softer sex. Cambridge: Cambridge university press, 2009.

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Dusinberre, Juliet. Shakespeare and the nature of women. 2nd ed. New York: St. Martin's Press, 1996.

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Book chapters on the topic "Women characters – Shakespeare"

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White, R. S. "Comedy of disguise and mistaken identity." In Shakespeare's Cinema of Love. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719099748.003.0006.

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Conscious disguise and mistaken identity run through most of Shakespeare’s comedies as a theme, and they are central defining aspects of his romantic comedy. Underlying the pattern is a version of love which sees through superficialities to an inner compatibility between characters. It also raises questions of role-playing and its significance in love relationships. All these elements, in some shape or another, also occur regularly in Hollywood romantic comedy, and the disguises may involve not so much gender as in Shakespeare, but social and professional status. The rich impersonate poverty to test love, the poor play roles of higher social status to attract love, but the basic metaphor is as in Shakespeare’s disguised women in As You Like It and Twelfth Night.
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Shimizu, Akihiko. "The Face as Rhetorical Self in Ben Jonson’s Literature." In Face-to-Face in Shakespearean Drama, 210–31. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.003.0010.

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In this essay, Akihiko Shimizu reconsiders the most widely accepted critical views on Jonson’s “flat” characters versus Shakespeare’s “round” ones. He argues that the Jonsonian concept of character—underpinned by classical rhetorical theories of Quintilian and Plutarch—should be understood as an effect of interaction and exchange and not as a manifestation of consciousness. Jonson’s characters are the effect of a simultaneous process of rhetorical self-enhancement and self-exposure. As these men and women attempt to depict their own worth by affecting humours, their interlocutors use rhetorical conjecture to expose what lies beneath this verbal disguise. Both Jonson’s and Shakespeare’s literature share an interest in performativity, acknowledging the impersonated character as inter-subjective, and prompting the audience to participate in deciphering the character from outward appearance and face.
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Tassi, Marguerite A. "The Avenging Daughter in King Lear." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 111–21. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0006.

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This chapter addresses the scarcity of avenging daughters in early modern texts, arguing that Shakespeare’s Cordelia in King Lear provides an exception to this paradigm. In scripting such an unexpected part for a female character, Shakespeare subverts the traditionally male gendered role of the avenger son and reconfigures earlier versions of the legend (such as those found in accounts by Geoffrey of Monmouth, Holinshed, and John Higgins and the anonymous King Leir). The chapter demonstrates the play’s structural affinities with the revenge genre, arguing that King Lear offers ethically contrasting forms of requital that are also gendered: while Goneril and Regan correspond to negative stereotypes about vengeful women, Shakespeare’s Cordelia (particularly in the 1623 folio), resembles the ‘male-like’ Cordelia depicted in the historical chronicles. Finally, the chapter asks what commentary on injustice, filial duty, and revenge Shakespeare’s harrowing, unsentimental dramatization of the Lear legend offered its early seventeenth-century audiences.
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"Character Criticism and its Discontents in Periodicals for Women." In Shakespeare in the Victorian Periodicals, 72–90. Routledge, 2011. http://dx.doi.org/10.4324/9780203928004-9.

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Coodin, Sara. "Rebellious Daughters on the Yiddish Stage." In Is Shylock Jewish? Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474418386.003.0005.

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Chapter 4 expands on the previous chapter’s discussion of Jessica, exploring how her character was interpreted by Yiddish writers in the nineteenth and twentieth centuries. This chapter addresses the ways in which Jewish writers used the biblical Dinah and Rachel inter-texts to develop Jessica’s character within Yiddish-language translations and adaptations of The Merchant of Venice, including Meyer Freid’s 1898 novella Der koyfmann fun Venedig, and Maurice Schwartz’s 1947 play Shayloks tochter. Through appeals to these biblical stories, Yiddish-language writers produced distinctively Judaic re-workings of Shakespeare’s comedy that emphasised Jessica’s unique subjectivity and relocated her – and the experience of young Jewish women situated at the margins of their communities -- at the play’s vital centre. This chapter discusses how these writers’ creative revisions to Jessica’s character echoed a series of concerns shared by nineteenth and twentieth-century Jewish writers, including Sholem Aleichem and Philip Roth, about the changing role and place of women within modern Jewish life.
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"WHY DO SHAKESPEARE’S WOMEN HAVE ‘CHARACTERS’? Error, credit and sex in The Comedy of." In The Usurer's Daughter, 198–233. Routledge, 2002. http://dx.doi.org/10.4324/9780203215609-12.

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7

Uman, Deborah. "“Let Rome in Tiber melt”: Hermaphroditic Transformation in Antonius and Antony and Cleopatra." In Ovid and Adaptation in Early Modern English Theatre, 75–92. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.003.0005.

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This essay uses Ovid’s tale of Salmacis and Hermaphroditus as a vehicle for considering the connections between the theme of gender fluidity and the practice of literary transformations in Shakespeare’s Antony and Cleopatra and Mary Sidney Herbert’s translation of Robert Garnier’s Antonius. The characters in both versions demonstrate the desire for and resistance to transformation, presenting a worldview that parallels Hermaphroditus’s own contradictory hatred of his disempowering metamorphosis and his prayer for anyone who bathes in Salmacis’s fountain to be similarly changed. This contradictory interpretation of the union of opposites serves as a lens through which to understand both plays, which fluctuate between anxieties over female power and recognition of the loss of clear markers distinguishing men and women, Rome and Egypt, conqueror and conquered, original and imitation. The two plays finally reject notions of masculine rigidity in favor of a more flexible view of gender and artistic creativity.
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