In the same way, it might be argued that severe sexuality is the compulsion of Romeo and Juliet. Considering the brevity of their relationship, which implies the absence of shared memories and the absence of mutual and intimate knowledge, one may deduce that all they really can share is bodies. And it may be precisely their bodies that drive the entire relationship and tragedy. In Woman’s Part, Paula S. Berggren r... ... middle of paper ... ...ergren, Paula S. “The Woman’s Part: Female Sexuality as Power in Shakespeare’s Plays.” The Woman’s Part: Feminist Criticism of Shakespeare. Ed.
(24-54). Leverenz, David. "The Inner Hamlet: An Interpersonal View". Schwartz, Murray M. and Coppelia Kahn, eds. Representing Shakespeare: New Psychoanalytic Essays.
Many literary critics have presented theories on the meaning of William Shakespeare's Hamlet, ranging from claims of Oedipal Complexes to insinuations of homosexuality. Though most such interpretations can be considered true at some level, there seems to be some basic theme - some driving force - that underlies all other interpretations. While most criticisms focus on individual characters, a more insightful criticism of the true nature of Hamlet can be drawn simply by analyzing the key relationships in play. These relationships - especially those dealing with women or issues of femininity - allow a level of interpretation that examines not merely the events of the play, but the true underlying significance of gender both to Shakespeare and to the characters he presents. In order to interpret the significance of the feminine within the relationships in the play, one must first understand precisely the nature of 'feminine.'
"Clue #4: Tragedy". Writing Assignment #7: The Question of Revenge in Shakespeare's Hamlet. By Hannusch, Brent. 1999. --.
In Act I Scene III, Ophelia receives advice from her father, Polonius, and her brother, Laertes. Similarly, Gertrude is confronted and advised by Hamlet in Act III Scene IV. The three most useful and engaging methods of interpreting these scenes include Feminist Criticism, which views literature from the perspective of women; New Historicism, which observes literature in terms of history and culture; and Marxist Criticism, which examines literature within the parameters of social structure and class hierarchy. These schools of criticism provide a unique understanding of the scenes; each one provides a different focus, offering maximum insight from the text. In both highlighted passages, the theme of feminine representation is explored.
The Moral Universe of Shakespeare's Problem Plays. London: Croom Helm, 1987. Wilders, John. "The Problem Comedies." In Wells, Stanley, ed.
These varyingly discuss Rosalind in relation to gender issues, romantic power, eroticism, specific performances of actresses portraying Rosalind as well as one piece which questions Rosalind's very existence. But the most cohesive and edifying critical writings delve the depths of the relationship between Rosalind and Celia. Most criticisms that include Celia, agree that Celia holds the power on the stage during Act I. In Clare Calvo's article she asks the question "Is it really Rosalind who moves the play" (95). She questions the long accepted opinion that Rosalind is the heroine not only in As You Like It, but is the epitome of all of Shakespeare's comic heroines (94).
The Character of Katharina in Taming of the Shrew In Shakespeare's Taming of the Shrew, the character that has caused much debate and discussion has been Katharina, the shrew. The topic has usually been whether she was tamed, liberated, or whether she was just a good enough actress to make everyone think she was tamed. In this essay, I will present arguments for and against each of these points, as well as discuss one television adaptation of Taming of the Shrew that presents Katharina not as the expected shrew, but as Petruchio's tamer. Katharina: The Whipped Shrew There is evidence that supports Katharina was tamed by Petruchio. For instance, in the opening of the play, Katharina is very vocal and aggressive.
Walter Cohen, Jean E. Howard, and Katharine Eiasman Maus eds. The Norton Shakespeare. New York: W.W. Norton and Company, 1997. Orgel, Stephen. Impersonations: The Performance of Gender In Shakespeare’s England.