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1
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.
2
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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Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.
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In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discussed. The author suggests that so far their importance has been underestimated and that Shakespeare left some of them open to different interpretations. Hamlet is definitely one of the most popular Shakespeare's plays in Slovenia and in addition to "classical" interpretations of this drama we have seen during the past two decades a number of experimental productions, done by both Slovene and foreign theatrical companies. In Appendix (1) the title of this paper is briefly discussed and the author' a work on Shakespeare is sketched; Appendix (2) presents a rap song on Hamlet written in English by a Slovene author. The song was used in the Glej Eperimental Theatre production (Hamlett/Packard, Ljubljana, 1992).
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de Gay, Jane. "Playing (with) Shakespeare: Bryony Lavery's ‘Ophelia’ and Jane Prendergast's ‘I, Hamlet’." New Theatre Quarterly 14, no. 54 (May 1998): 125–38. http://dx.doi.org/10.1017/s0266464x00011945.
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This article considers ways in which contemporary feminist theatre-makers respond to Shakespeare by reviewing the performance and production histories of two recent theatre pieces – a new play by Bryony Lavery, and an innovative staging of Hamlet by Jane Prendergast. Drawing on interviews with participants and observation of rehearsals for Ophelia, Jane de Gay looks at the practical issues faced by performers and directors as they explored issues of gender in Shakespeare's plays and characters. She also builds on her own research interest in intertextuality to look at the issues which arise when women writers attempt to ‘rewrite’ Shakespeare, whether by adapting his plays for performance or by writing new texts which allude and respond to them. Jane de Gay is Researcher with the Open University ‘Gender, Politics, and Performance’ Research Project, with whose chair, Lizbeth Goodman, she has edited The Routledge Reader in Gender and Performance (1998). She was also a major contributor to Feminist Stages, edited by Goodman, a collection of interviews with women in contemporary British theatre, published by Harwood in 1996.
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Winarti, Winarti, and Ana Hening Kusuma. "WOMEN STRUGGLE IN 'A MIDSUMMER NIGHT'S DREAM' : DE BEAUVOIR'S FEMINISM PERSPECTIVE." LEKSEMA: Jurnal Bahasa dan Sastra 2, no. 2 (November 15, 2017): 113. http://dx.doi.org/10.22515/ljbs.v2i2.929.
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A Midsummer Night’s Dream is one of Shakespeare’s comedies assumed to be written between 1590- 1597. It can be regarded as one of the comedies because it is full of silly funny things and also has a happy ending although there is seriousness within the work for instance the representation of patriarchal society. This paper aims at describing the women's struggles in the play based on the theory of Simon de Beauvoir regarding the situation of married woman to see the phenomenon found in the work better. As the result of the analysis, it can be concluded that there is a gender awareness which has been presented by Shakespeare in A Midsummer Night’s Dream. He shows that there is gender difference in the play presented by the male and female characters in a restricted patriarchal society of Athens.
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Brooks, Laken. "Kidnapped Amazonians, Severed Breasts, and Witches." Digital Literature Review 3 (January 13, 2016): 108–18. http://dx.doi.org/10.33043/dlr.3.0.108-118.
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Freak shows are physical and metaphorical,demonstrating a cultural perception of what and who is privileged. In Renaissance England, Shakespeare and Spenser both write of deviant women and perpetuate the stereotypes of foreign women, creating literary “freak shows” in their works Two Noble Kinsmen and The Bower of Bliss. Whether these characters are Amazonian women disinterested in heterosexual romance or promiscuous witches, they are set as spectacle in the confines of their respective texts.
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ZHAO, Meijiao. "Subaltern Writing in Hag-Seed." IRA International Journal of Education and Multidisciplinary Studies 17, no. 1 (March 26, 2021): 8. http://dx.doi.org/10.21013/jems.v17.n1.p2.
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<em>Hag-Seed</em> is a re-imagining story of Shakespeare's '<em>The Tempest</em>' written by Margaret Atwood, a famous Canadian writer. <em>Hag-seed</em> is a successful adaptation in The Hogarth Shakespeare Project organized by Hogarth Press. In this novel, Atwood adopts the form “play in play” to recur the whole scene of <em>The Tempest</em>. Through the depictions of minor characters in a prison, the novel presents the dilemma and struggle of marginalized protagonists in front of the power. In the novel, the play directed by Felix criticizes the power abuse and the social oppression suffered by the lower classes and women. Atwood's rewriting of The Tempest aims to reveal the loss of the humanistic concerns in modern society and advocate making “the other” acquire their rights to free speech.
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Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (December 1, 2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.
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This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against mimicking the Bard’s feminine models and offers a liberating space or a local ‘alternative wisdom and beauty’, in Ania Loomba’s expression, and a ‘challenge’, in Graham Holderness’s terminology, to Shakespeare. In Faqir’s novel, Shakespeare has been ‘Arabized’, in Ferial Ghazoul’s words, to revise and redefine new roles of the Arab Jordanian woman.
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Doko, Fatbardha. "FATHER FIGURES IN SELECTED SHAKESPEARE’S WORKS." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1717–22. http://dx.doi.org/10.35120/kij31061717d.
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Shakespeare and his works are widely analyzed and studied, however, you can always find something to discuss about or study, since Shakespeare’s works are always challenging and attractive. This time my focus is on the father figures that appear in some of his greatest works, like King Hamlet and Polonius in Hamlet, Barbantio in Othello, Lord Capulet in Romeo and Juliet, King Lear and Gloucester in King Lear, Leonato in Much Ado About Nothing, Shylock in The Merchant of Venice, etc. Actually, this paper aims to give an insight and compare the major characters as fathers. It covers an analysis of father-son relationship and the father-daughter relationship, fathers’ attitude towards their children, the influence they have in the life of their children, their love and authority, expectations, their image in the eyes of their children and so on. Each and every one of these characters has a specific relationship with their child; they are all authoritative, some more and some less, they are proud and they influence their children’s lives by accepting their decisions or not, by requesting very important and delicate tasks from them, by deciding themselves for their children, etc. Focusing on the issue of authority, power and ownership, the article aims at showing how stereotypical social and gender roles resonate with various political and social contexts of power. However, the paper will also analyze the dreams, duty, as well as defiance children have, show or express towards their fathers. A special importance in this paper is given to the relationships between fathers and daughters, having in mind the social position women had at that time, the role they had in their families etc. In these relationships, it is clearly that there is more likely to find a tyrannical possessiveness in excess of normal parental affection in the father's behaviour—or, as the case may be, a capriciousness, coldness, or disloyalty unwarranted by the daughter's exemplary conduct, which in fact results in the creation or not of a father figure in these plays. Namely, it is clear that Shakespeare depicted the struggle and entanglement of a father character who realizes the lonely emptiness he has to face after fulfilling the happiness of his child. As I mentioned, no matter the uniqueness of these relationships that are presented between parents and children, we can find some similarities as well, as many of the plays depict the same situations but with similar circumstances. Consequently, I hope that this paper will be just a small contribution in the field of literature and that future scholars will find it useful in their further studies and analysis of Shakespeare’s works, which is really a never-ending ‘struggle.’
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Sreemany, Tithi. "RACIAL DISCRIMINATION AND GENDER INEQUALITY IN “THE TEMPEST”." International Journal of English Learning & Teaching Skills 3, no. 4 (July 1, 2021): 2450–73. http://dx.doi.org/10.15864/ijelts.3403.
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The Tempest is one of the most famous and widely popular plays written by renowned writer and playwright William Shakespeare. The play revolves around the main protagonist Prospero who emerges as an all-knowing, benevolent patriarch who acts as the puppet-master who determines the fate of all the other characters in the play by virtue of his magic. Until the advent of post-colonial criticism, Anglo-American critics frequently read The Tempest as an allegory about artistic creation and Prospero was perceived to be a representation of Shakespeare himself whose motives are beyond reproach.The Post-colonial readings of The Tempest, provides us a deeper and a more insightful perspective of the play. A close inspection of his masterpieces gives us a glimpse of various aspects of the prevailing social structures, gender and cast roles, political conditions, beliefs and superstitions. The prevailing gender discrimination becomes evident by Prospero’s treatment toward Caliban (a black slave) as opposed to his behavior toward Ariel (a white slave) and his depiction of Sycorax. Claribel wedding also provides a glimpse of racial prejudice and the discrimination based on colour.Another major concept that comes to the limelight with the Post-colonial readings of The Tempest is the gender discrimination. These patriarchal ideals are heavily noted in The Tempest, especially with the appearance of the single female character, Miranda. Claribel is yet another example of how women were expected to play a passive, submissive role in the society. This is further enhanced by the lack of any other female character in the entire play. Depiction of Sycorax also provides us a glimpse of the deep rooted misogyny in the patriarchal society.Shakespeare often used social issues as a way to explore the way society functioned, using the stage to present a microcosm that represented the larger macrocosm of the universe. Thus critical analysis of The Tempest provides us with an accurate depiction of the social constructs, gender bias and the racial discrimination prevalent in the Elizabethan Era.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v19i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v18i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Al-Shetawi, Mahmoud F. "Shakespeare’s Orientalism Revisited." Critical Survey 32, no. 4 (December 1, 2020): 21–35. http://dx.doi.org/10.3167/cs.2020.320403.
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This article attempts to document and examine the corpus of Arabic and Islamic allusions and references in Shakespeare’s drama and poetry in line with postcolonial discourse and theory. The works of Shakespeare incorporate a large body of Arabic/Islamic matters, which the Bard has gleaned from different sources, such as travel literature, narratives of pilgrims, history annals and common tales of the Crusaders. However, these matters are sporadic in Shakespeare’s works, woven into the fabric of various plays and poems. For example, Shakespeare has thematically used a set of allusions and references to the Arab world such as Arabian trees, the Prophet Mohammed, the Turk, Aleppo, Jerusalem, and many others. Shakespeare has also presented three Oriental characters in his plays: the Prince of Morocco, Shylock and Othello, each with distinctive ethnic and personal traits. A scrutiny of Arabic and Islamic matters in the works of Shakespeare from postcolonial critical perspectives reveals that Shakespeare has a vague idea about Arabs and the Orient at large. Therefore, Shakespeare represents the Orient as the other; his Orient is rather exotic and bizarre, posing as an impending menace to Europe.
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Atroch, Daniel Cavalcanti. "A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 100. http://dx.doi.org/10.17851/2358-9787.30.2.100-120.
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Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.
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Romanelli, Christina. "Sour Beer at the Boar’s Head: Salvaging Shakespeare’s Alewife, Mistress Quickly." Humanities 8, no. 1 (January 9, 2019): 6. http://dx.doi.org/10.3390/h8010006.
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Using William Shakespeare’s character Mistress Nell Quickly as an example, this article contends that familiarity with both the literary tradition of alewives and the historical conditions in which said literary tradition brewed aids in revising our interpretation of working-class women on the early modern stage. Mistress Quickly, the multi-faceted comic character in three history plays and a city-comedy, resembles closely those women with whom Shakespeare and his contemporaries would have lived and worked in their day-to-day lives. Rather than dismissing her role as minor or merely comic, as previous criticism largely has, scholarship can embrace this character type and her narrative as an example to complicate teleological progressions for women.
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Lopes, Sofia. ""A Document in Madness": A study on the insanity of Shakespeare's Ophelia." Palíndromo 12, no. 27 (May 1, 2020): 298–309. http://dx.doi.org/10.5965/2175234612272020298.
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The chief aim of this paper is to analyse the character of Ophelia, from William Shakespeare's Hamlet. By investigating the elements in the play that are most significant to her character, this study seeks to assess the factors that, woven together, culminated into her madness. The main aspects to be studied are the characters that are closest to her, such as Polonius, Laertes and Hamlet, the challenges of her role as a woman, a daughter and a potential lover, and the abiding influence of the late King Hamlet in the play’s events.
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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.
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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Gupta, Ankita, and Dr S. K. Tiwari. "Shakespeare’s women characters as a mirror of society." International Journal of English Literature and Social Sciences 2, no. 6 (2017): 92–93. http://dx.doi.org/10.24001/ijels.2.6.13.
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Vieira, Érika Viviane Costa. "RESISTING CLOSURE: THE REPRESENTATION OF OPHELIA ON PAINTING AND SCREEN." Em Tese 9 (December 31, 2005): 91. http://dx.doi.org/10.17851/1982-0739.9.0.91-98.
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Based on representations of the character of Ophelia invisual arts and in the readings of traditional literarycriticism of Shakespeare, this paper seeks to question aperverse aesthetics that conjoins women and death.
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Kahn, Lily. "The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 13–27. http://dx.doi.org/10.1515/mstap-2017-0016.
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This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenthcentury Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.
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Deenadhayalan, Silvia P. "A Reading of Shakespeare’s Three Female Characters – Hermione, Portia and Calpurnia." SMART MOVES JOURNAL IJELLH 8, no. 3 (March 28, 2020): 7. http://dx.doi.org/10.24113/ijellh.v8i3.10460.
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(A statement) is sexist if it contributes to, encourages or causes or results in the oppression of women. (Mills 83).
For many years, humanity has been ruled by a patriarchal society. In the male dominated society, women have been viewed as objects, marginals, subalterns or inferior human beings. Shakespeare’s tragedies are monolithic and the heroes occupy the centre and the women characters get a subordinated treatment. The heroes are given a free ‘voice’ but the women are simply their ‘echo’.
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Ranald, Margaret Loftus. "The Performance of Feminism in The Taming of the Shrew." Theatre Research International 19, no. 3 (1994): 214–25. http://dx.doi.org/10.1017/s0307883300006623.
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Performance is ideology! This is particularly true of Shakespeare's The Taming of the Shrew, one of his two comedies concerning the behaviour of husband and wife after the marriage ceremony—the other being The Comedy of Errors. Here he makes use of what may well be the longest-running English female stock character, the recalcitrant wife, who goes back to Mrs Noah, the disobedient woman of the mediaeval religious cycle plays. But at the same time he adapts the technique of classical farce to observation of human behaviour, by taking an impossible premise (that a wife can be tamed) and extending it logically to the utmost limits of absurdity. He also combines the Mrs Noah figure with the Judy puppet and the clever woman of the Interludes who outwits her husband, but with one distinctive omission: the physical violence commonly assumed essential to shrew-taming. I believe that here Shakespeare has forged a new dramatic mode by humanizing the intellectuality of rhetorically based classical farce and psychologizing the knockabout physicality of its Plautine offshoot.
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Carroll, Kathleen L. "The Americanization of Beatrice: Nineteenth-Century Style." Theatre Survey 31, no. 1 (May 1990): 67–84. http://dx.doi.org/10.1017/s0040557400000995.
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To nineteenth-century theatre managers, who believed in the play as a commercial venture rather than an aesthetic one, portrayal of the modern American woman presented a dilemma. Sophisticated theatregoers, familiar with the rhetoric of the women's suffrage movement, looked to female role models for direction on how to maintain a delicate balance between independence and subservience: to project strength of convictions without loss of femininity (traditionally measured by male desirability), and to remain dependent on the economic necessity of marriage (Ziff, 278–80). Speculative theatre managers found Shakespeare's comedies especially adaptable to modern audience's tastes because the plays lacked stage directions, required no royalty payments, were exempt from copyright laws, and centered on ambiguous female characters. American audiences, believing they were becoming cultured, supported Shakespearean revivals, and strongly applauded those plays Americanized by theatre managers. Two late nineteenth-century productions of Much Ado About Nothing, one in 1882 by Henry Irving, the other in 1896 by Augustin Daly, clearly demonstrate how each speculative manager, acting in the name of art, refashioned Shakespeare's text and interpreted Beatrice around his own ideal of femininity, an ideal each believed American audiences would endorse.
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임은정. "Sociology of Women: Female Characters in Shakespeare’s Four Major Tragedies." Journal of Classic and English Renaissance Literature 24, no. 1 (June 2015): 115–40. http://dx.doi.org/10.17259/jcerl.2015.24.1.115.
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Klimova, M. N. "Lady Macbeth in the Context of Russian Culture: From a Character to a Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.
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Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.
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Tillotson, Stephanie, and Stephanie A. Tillotson. "Fiona, Phyllida and the ‘F’-Word: the theatrical practice(s) of women playing the male roles in Shakespeare." Exchanges: The Interdisciplinary Research Journal 1, no. 2 (March 30, 2014): 260–78. http://dx.doi.org/10.31273/eirj.v1i2.92.
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This article discusses the theatrical practice of women performing traditionally male roles in Shakespeare. Whilst historically the phenomenon is nothing new, since the 1970s the practice has been particularly associated with the politics of feminism. This article proposes to examine this connection in order to explore how far the convention of casting women in the male roles of Shakespeare has been influenced by changing social, political, and cultural discourses. It will do so by considering two specific manifestations of the theatrical practice: firstly, the National Theatre’s 1995/6 Richard II directed by Deborah Warner, in which Fiona Shaw played the eponymous male character and secondly the 2012/13 all-female Julius Caesar, directed by Phyllida Lloyd for the Donmar Warehouse. Moreover, it will locate these two productions, separated by seventeen years and the turn of a century, within their specific historical, theatrical, and theoretical contexts. Through an analysis of the material conditions that gave rise to the contemporary receptions of these two productions, the objective of this article is to draw conclusions concerning the differing ways in which, through casting women in the male roles of Shakespeare, theatre practitioners have created particular theatrical conversations with their audiences.
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Mantoan, Lindsey. "The utopic vision of OSF’s Oklahoma!: Recuperative casting practices and queering early American history1." Studies in Musical Theatre 15, no. 1 (April 1, 2021): 41–56. http://dx.doi.org/10.1386/smt_00054_1.
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In the spring of 2018, the Oregon Shakespeare Festival (OSF) realized artistic director Bill Rauch’s decades-long dream: to produce a queer, interracial Oklahoma!. The production participates in a new practice of recasting history through musical theatre, and does so through an innovative approach to representation and character. OSF’s production reimagined Curly as a queer Black woman; the matriarch of the town, Aunt Eller, as a trans woman; and the secondary romantic couple, Will Parker and Ado Annie (here Ado Andy), as an interracial, gay male partnership. This alteration of the characters’ identities takes a bold new step in the trajectory of theatrical casting practices, challenging the entrenched white supremacy and patriarchy of the theatre industry. In this article, I situate OSF’s method of casting Oklahoma!, which I call ‘recuperative casting’, in the landscape of broader discourse related to casting and musicals that represent US history; I argue that this casting strategy seeks to remedy the whitewashing typical of productions of canonical musicals.
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Manning, Susan. "Did Human Character Change?: Representing Women and Fiction from Shakespeare to Virginia Woolf." Partial Answers: Journal of Literature and the History of Ideas 11, no. 1 (2013): 29–52. http://dx.doi.org/10.1353/pan.2013.0000.
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Elukin, Jonathan. "Shylock, the Devil and the Meaning of Deception in The Merchant of Venice." European Judaism 51, no. 2 (September 1, 2018): 44–51. http://dx.doi.org/10.3167/ej.2017.510208.
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The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.
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Elukin, Jonathan. "Shylock, the Devil and the Meaning of Deception in The Merchant of Venice." European Judaism 51, no. 2 (September 1, 2018): 44–51. http://dx.doi.org/10.3167/ej.2018.510208.
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Abstract The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.
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Abuzahra, Nimer, and Rami Salahat. "Analyzing Iago's Speech in Shakespeare's Othello." IJELTAL (Indonesian Journal of English Language Teaching and Applied Linguistics) 2, no. 2 (April 29, 2018): 185. http://dx.doi.org/10.21093/ijeltal.v2i2.109.
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This paper aims to reveal and analyze Iago's speech in Shakespeare's Othello. Iago's use of animal metaphors in Othello is analyzed through Conceptual Metaphor Theory (CMT). Moreover, Iago's words in the play are connected to race, gender and identity and analyzed through Critical Discourse Analysis (CDA). Finally, Iago's rhetorical discourse is analyzed through Rhetorical Theory to examine his use of rhetorical devices such as rhetorical questions. The findings of this study show that Iago's use of animal metaphors in the play is to dehumanize and degrade other characters. Further, Iago is able to alienate Othello because of his different identity and different color from the Venetian society. What's more, Iago has shown misogynistic attitudes toward women through the course of the play. In addition, Iago shows an exceptional ability in his rhetoric. He manipulates most of the characters in the play and was able to deceive all of them. It can be concluded, then, that Iago's use of animal metaphors is conceptualized and connected to his cognitive mind. Moreover, Iago's racist language in the play reflects the racist attitudes toward 'non-white' people in Shakespeare's time. Finally, Iago uses different rhetorical techniques such as rhetorical questions to manipulate other characters which shows how language can be exploited to achieve negative impact on others.
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Diamant, Cristina. "Hermia and the Dark Lady: From Perceived Others to Potential Erotic Objects." Linguaculture 2017, no. 2 (December 20, 2017): 85–105. http://dx.doi.org/10.1515/lincu-2017-0020.
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Abstract The present paper is focused on the figures of the Dark Lady of the sonnets and Hermia from A Midsummer Night‟s Dream as modes of writing against the Petrarchian ideal. The former is the most explicit of Shakespeare‘s suite of “dark ladies” (which includes Anne, Kate, Hero, Phoebe, Cleopatra, and Rosaline), while the latter is arguably his least individualised character, yet one that has benefitted from more public attention than most thanks to the generous circulation, continuous adaptation and re-contextualisation of the text. Two useful concepts for the discussion I propose are what Mikhail Bakhtin terms “re-accentuation” and “heteroglossia” as these texts allow different voices to dispute the place and worth of a dark-skinned woman, yet it is precisely by creating a space to voice them all that it creates a possibility to shake up the aesthetic, as well as the literary canon. The ontological status of the Dark Lady and Hermia is also of interest, so that a linguistic and stylistic analysis is carried out in order to highlight how conflicting ideologies attempt to appropriate their image, namely the hegemonic versus the inclusive understandings of what James Hughes calls the “personhood-based theory”. The revolutionary aspect brought to the table by Shakespeare is his choice for a transition from the hegemonic perspective to one which judges the two “dark ladies” on their own terms.
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Romero López, Alicia. "Controversia en torno a la figura de Kate en "The Taming of the Shrew" de William Shakespeare." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 25 (October 20, 2015): 325. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016251083.
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Este artículo pretende aportar una nueva mirada sobre el personaje de Katherina en la obra The Taming of the Shrew de William Shakespeare. Este personaje femenino es en gran manera controvertido por la violencia y la sumisión a la que se ve sometido. En este trabajo se analizará si realmente estamos ante una mujer sometida o si, más bien, el texto nos presenta a una mujer que se escapa a las constricciones sociales de la época. Para ello tendremos en cuenta no solo el contexto histórico en el que se enmarca la obra, si no que se hará una breve revisión de las representaciones más importantes de esta obra en España (1947-2008), para señalar cómo el personaje de Katherina, y lo que este representa, varía en función de la época y la representación.This article offers a new perspective on the William Shakespeare's Kate in the The Taming of the Shrew. This female figure has been the subject of much controversy because of the violence and degradation to which she is subjected. This article questions whether we are presented with an oppressed woman, or whether in fact the text shows a woman who escapes the social constraints of the period. As part of this discussion the article not only discusses the historical period in which the play takes place, but also makes a brief summary of the most important Spanish productions of this play during the period (1947-2008), in order to show that Kate's character and what she represents differs according to each production and its social context.
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Eriksen, Roy. "Kroppslighet og jomfrukur i Hans E. Kincks tragedie Den sidste Gjest (1910)." Nordlit 15, no. 1 (June 1, 2011): 55. http://dx.doi.org/10.7557/13.1805.
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In his play on Pietro Aretino (1492-1556), the Norwegian dramatist and novelist Hans E. Kinck (1865-1926) focuses on his character's relationship to the body and use of young women, in particular the young girl, Perina. A writer of great repute among his contemporaries Aretino is today known for his letters, plays, scandalous dialogues and pornographic sonnets in which grotesque images of the body are frequent. Kinck turns the Italian letterato both into a tragic victim of his own drives and a ruthless victimizer, although he in the process must avoid many aspects of Aretino's writing and character that it would be impossible to reproduce in print at the time, but in so doing he both rejects and redescripts metaphors for the body and writing we recognize from Rabelais, Shakespeare, and Nashe. Aretino's famed obesity and incessant appetite become metaphors for Aretino's struggle for fame and immortality, but are also signs of the fetishization and expenditure of young girls in Early Modern Venetian society, and in the Europe of Kinck's own time. This reading "against the grain" tries to ease out the actuality of the play and the reason for the different data Kinck gives for Perina's age in the play and in En Penneknegt (1911).
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Koman, Aleksandra. "Ofelia Pirandella: rozważania nad kobiecym szaleństwem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 150–58. http://dx.doi.org/10.24917/20811853.17.13.
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Ophelia of Pirandello: reflections around female madnessAbstractThe article is devoted to an analysis of Luigi Pirandello’s drama As You Desire Me which drawsinspiration from an actual event connected with questions on the identity of a person sufferingfrom amnesia. Unlike the real incident, the main character of Pirandello’s is a woman knownonly by her alias Stranger, as the main theme of the drama is establishing her true identity. Thepresent article aims at proving that Pirandello’s drama is not a criminal mystery, but rathera deep reflection on the notion of human personality which in the case of a woman receivesnew, interesting meanings. One of them is spotting the correspondence between Pirandelli’sStranger and Shakespeare’s Ophelia, as madness of both characters appears to have similarroots: female’s insanity seen through the prism of both dramas appears as defiance againstthe culture of patriarchy, but also stems from the conviction of one’s own emptiness andundefinedness. In this context, referring to studies on feminist criticism (E. Shawalter,K. Kłosińska, K. Woźniak), including studies on female hysteria is of relevance. Even thoughthe structure of drama appears to lead to a finale in which the truth about the character isuncovered, Pirandello does not reveal her true identity. However, questions on female identityand female madness are worth reflecting upon, even if they remain unanswered.Keywords: Luigi Pirandello, As you desire me, impersonality, Ophelia, tarantism, Jean-MartinCharcot, Aleksandra Mianowska, female madness, female identity, Elaine Showalter, feministliterary criticism
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Murphy, Sean, Dawn Archer, and Jane Demmen. "Mapping the links between gender, status and genre in Shakespeare’s plays." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 223–45. http://dx.doi.org/10.1177/0963947020949438.
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The Arts and Humanities Research Council-funded Encyclopedia of Shakespeare’s Language project has produced a resource allowing users to explore Shakespeare’s plays in a variety of (semi-automatic) ways, via a web-based corpus query processor interface hosted by Lancaster University. It enables users, for example, to interrogate a corpus of Shakespeare’s plays using queries restricted by dramatic genre, gender and/or social status of characters, and to target and explore the language of the plays not only at the word level but also at the grammatical and semantic levels (by querying part of speech or semantic categories). Using keyword techniques, we examine how female and male language varies in general, by social status (high or low) and by genre (comedy, history and tragedy). Among our findings, we note differences in the use of pronouns and references to male authority (female overuse of ‘I’ and ‘husband’ and male overuse of ‘we’ and ‘king’). We also observe that high-status males in comedies (as opposed to histories and tragedies) are characterised by polite requests (‘please you’) and sharp-minded ‘wit’. Despite many similarities between female and male usage of gendered forms of language (‘woman’), male characters alone use terms such as ‘womanish’ in a disparaging way.
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Daulay, Resneri. "AMBIGUITY OF GENDER IDENTITY IN SHAKESPEARE’S TWELFTH NIGHT." JURNAL BASIS 5, no. 2 (November 12, 2018): 1. http://dx.doi.org/10.33884/basis.v5i2.774.
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Gender is often identified with sex and gender, even though they have different concepts. It is associated with men and women who are socially and culturally formed. Understanding about masculine and feminine discourses are formed to identify gender identity which men must behave masculine and women must behave feminine. Taking William Shakespeare’s Twelfth Night play as its object, this study aims to see how gender identity displayed and describe the ambiguity of gender identity that is acted by character in the play. The data which were taken from the play were analyzed by relating them to the secondary data taken from references discussing the gender identity depicted in the play. The study concluded that sex, gender and sexual orientation are something that is fluid, not natural and changing and constructed by social conditions. Changes of the identity can be said changing with the form performativity shown, namely by disguise.
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Daulay, Resneri. "AMBIGUITY OF GENDER IDENTITY IN SHAKESPEARE’S TWELFTH NIGHT." JURNAL BASIS 5, no. 2 (November 12, 2018): 1. http://dx.doi.org/10.33884/basisupb.v5i2.774.
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Gender is often identified with sex and gender, even though they have different concepts. It is associated with men and women who are socially and culturally formed. Understanding about masculine and feminine discourses are formed to identify gender identity which men must behave masculine and women must behave feminine. Taking William Shakespeare’s Twelfth Night play as its object, this study aims to see how gender identity displayed and describe the ambiguity of gender identity that is acted by character in the play. The data which were taken from the play were analyzed by relating them to the secondary data taken from references discussing the gender identity depicted in the play. The study concluded that sex, gender and sexual orientation are something that is fluid, not natural and changing and constructed by social conditions. Changes of the identity can be said changing with the form performativity shown, namely by disguise.
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Pradeep Shinde, Pooja. "Portrayal of R.K. Narayan’s ‘The Man-Eater of Malgudi’ as an Allegorical Novel: An Overview." Shanlax International Journal of English 9, no. 1 (December 1, 2020): 13–15. http://dx.doi.org/10.34293/english.v9i1.3440.
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This article deals with R.K. Narayan’s The Man-Eater of Malgudi as an allegorical novel. An allegorical story tries to entertain the reader through theuse of extended metaphor in which characters, plot, abstract ideas represents not only moral lessons but also explains story hidden underneath. In R.K. Narayan’s The Man-Eater of Malgudi, the author has profoundly used allegorical element to explain the relationship between Natraj and Vasu. Natraj, a well- to- do printer of the town lives his life peacefully but he gets outraged with the arrival of Vasu. Vasu is just like Shakespeare’s Lago in Othello who is an embodiment of self-destruction. He has been called the Man-Eater of Malgudi who tries to suppress the innocent lives of Malgudi. The author has used the mythological term,‘Bhasmasura’ to explain the demonic attributes of Vasu. He kills innocent animals, seduces women, threatens people of Malgudi and seeks pleasure out of it. He considers himself as supreme figure which leads him to his doom. R.K. Narayan through Vasu’s character has highlighted that who are prideful will bring about their self-destruction. In allegorical view, the author has depicted the sad reality of modern society where people like Vasu try to squash the innocent people.
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Adamczyk, Magdalena. "'Better a witty fool than a foolish wit': on punning styles of Shakespeare's pedants and jesters." Journal of English Studies 11 (May 29, 2013): 7. http://dx.doi.org/10.18172/jes.2614.
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One of the hallmarks of Shakespeare’s stylistic uniqueness is undoubtedly his dexterous use of puns. Besides being skilfully woven into the dramatic texture of his plays, their great strength lies also in the fact that they are carefully tailored to cater for both dramatic and conversational needs of individual characters. The paper attempts to zoom in on two distinctive punning styles of Shakespeare’s dramatis personae, as developed by pedants (here represented by Holofernes from Love’s Labour’s Lost) and jesters (exemplified by Feste from Twelfth Night). By way of examining the peculiarities of their punning in terms of its amount, semantics, conversational dynamics and participant configuration, the study demonstrates that the two figures represent the opposite poles of the punning art. Whereas the jester proves a virtuoso punster trading witty repartees whenever opportunity offers, the pedant’s puns, being overly sophisticated and erudite, appear highly impenetrable and flat in effect.
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Saleh, Asmaa Mehdi. "When Juliet Turns Black: Social Scapegoating in Alice Childress’s Wedding Band." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 69. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.69.
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Since its production William Shakespeare’s Romeo and Juliet has been considered too modern for its time because of its portrayal of ill-fated characters whose tragedy is not triggered by any personal flaw of their own, but by family feuds and social scapegoating. In contemporary times, the playwrights still focus on similar stories of unattainable love and tragic romantic figures, who fall prey to the familial and social pressures. In her Wedding Band (1973), Alice Childress presents her black and white Romeo and Juliet who are modern victims of the omnipresent racism in their society. The play confirms that racism is not only practised by whites against blacks but also displayed by blacks against whites. In Wedding Band, Childress presents images of angry women united by their suffering and need of sisterly solidarity. Their anger is a positive rather than negative factor as it frees the heroine from the ties that make her an outcast in her own community. This paper discusses the destiny of two lovers who face refusal from their family and society and the subsequent anger of the female characters whether in favour or against this romantic relation.
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RADUCANU, ADRIANA. "The Ghost Tradition: Helen Of Troy In The Elizabethan Era." Gender Studies 13, no. 1 (December 1, 2014): 22–36. http://dx.doi.org/10.1515/genst-2015-0002.
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Abstract Reputedly the most beautiful woman who has ever lived, Helen of Troy (or Sparta) is less well known for her elusive, ghost-like dimension. Homer wrote that the greatest war of Western classical antiquity started because of Helen's adultery followed by her elopement to Troy. Other ancient writers and historians, among theme Aeschylus, Stesichorus, Hesiod, Pausanias, Aristophanes, Euripides and Gorgias of Leontini, challenged the Homeric version, in various ways and attempted to exonerate Helen either by focusing on her phantom/ ghost/ as the generic object of man's desire and scorn or by casting doubt on the mechanisms of the blaming process. This paper argues that the Elizabethans Christopher Marlowe and William Shakespeare adopted and adapted the anti-Homer version of the depiction of Helen, what I here call “the ancient Helen ghost tradition”; nevertheless, in so doing they further reinforced the character's demonic features and paradoxically achieved a return to the adulterous Homeric Helen.