Rewriting Canonical Portrayals of Women
In her collection of short stories, Good Bones (O. W. Toad, 1992), Margaret Atwood (1939 - ) has included Gertrude Talks Back, a piece that rewrites the famous closet scene in Shakespeare´s Hamlet. The character of Hamlet´s mother has posed problems of interpretation to readers, critics and performers, past and present, and has been variously or simultaneosly appraised as a symbol of female wantonness, the object of Hamlet´s Oedipus complex, and an example of female submissiveness to the male principle (Hamlet´s as much as Claudius´s). Like other revisionist rewritings produced by women writers in the last few decades, Margaret Atwood´s short story challenges received concepts of the female, and particularly the "Frailty, thy name is woman" notion that has marked so much canonical literature.
Recent developments in the humanities, usually grouped under the common label of "post-structuralist theory," have contributed to making us sensitive to the politics of culture, in general, and of literature, in particular. Much thought has been given in the last few decades to how the literary canon emerges and holds its ground, and to the relations between canonical and non-canonical, between the centre and the margins. Post-colonial theorist Edward Said reminds us that "[t]he power to narrate, or to block other narratives from forming and emerging, is very important to culture and imperialism, and constitutes one of the main connections between them" (xiii). Here as in other respects, the political agendas of feminism and post-colonialism overlap; both aim at challenging the canon and at inscribing the experiences of the marginal subject (female and/or post-colonial).
Revisionist rewritings are one of the strategies that can serve that purpose; I need not mention the by now many rewritings of such canonical texts as The Tempest or Robinson Crusoe. As regards the author I am concerned with here, Margaret Atwood, extensive attention has been paid to a recurrent feature of her fiction: her repeated reworking of fairy tales, most importantly the different versions of Bluebeard´s Egg, a re-shaping which culminates in her novel The Robber Bride (1993). I would also point out how what is perhaps her most popular novel to date, The Handmaid´s Tale (1985), thematizes the politics of reading and writing or, as Hutcheon has aptly put it, "the opposition between product and process" (139).
Similar concerns are apparent in the compilation of her short stories under the title Good Bones (1992). If the constructions of womanhood and manhood occupy her in The Female Body and Making a Man, in other stories (There Was Once, Unpopular Gals, etc) it is the literary construction of womanhood that is foregrounded.
The eugenics movement started in the early 1900s and was adopted by doctors and the general public during the 1920s. The movement aimed to create a better society through the monitoring of genetic traits through selective heredity. Over time, eugenics took on two different views. Supporters of positive eugenics believed in promoting childbearing by a class who was “genetically superior.” On the contrary, proponents of negative eugenics tried to monitor society’s flaws through the sterilization of the “inferior.”
Ann-Marie MacDonald’s Goodnight Desdemona (Good morningJuliet) uses intertextuality to unveil the complete Shakespearean characters of Juliet and Desdemona to reveal the feminist narrative lurking between lines of Shakespeare’s plays. Only through the intertextual re-examination of the Shakespearean text itself via the interjection of genre and the reassigning of dialogue, within the metatheatre, is the true feminist representation of the female Shakespearian characters unveiled from behind the patriarchal preconceptions. From this understanding we may read Goodnight Desdemona (Good Morning Juliet) to be true feminist reworking of Shakespeare. Therefore the metatheatre’s intertextuality reinforces and supports the traits of the feminine. MacDonald’s main Character, Constance Ledbelly is searching for the missing link in Shakespeare’s Othello and Romeo and Juliet, the missing link from the original source works of his plays. Just as Constance explores from studying the Gustav manuscript that something is missing from Shakespere’s plays, we the reader can complete the information with Constance’s exploration to uncover the feminist narrative hidden within Shakespeare’s plays. MacDonald uses intertextuality and meta-theatre to dive into the mystery that is the source works of Shakespeare. The opening dumb show introduces us to the three different worlds that we are about to explore. This introduction to the meta-theatre, showing the ‘new’ narrative and play, that is the story of Constance, and the two familiar plays of Othello and Romeo and Juliet, invites the reader/viewer into the exploration of the inner workings of the texts. Constance is thrust into each play, creating the play within the play which is then manipulated by Con...
Shakespeare’s Hamlet is set in the late middle ages, in Denmark. A time in history when women were not respected and thought of as the inferior sex. There are two women characters in Hamlet; Gertrude, Hamlet’s mother, and Ophelia, Hamlet’s love interest. Magda Romanska the writer of “Ontology and Eroticism: Two Bodies Of Ophelia”, argues that Ophelia represents the typical idea of women in the nineteenth century. I agree with this, but argue that it is not the only aspect of Ophelia’s character. Ophelia becomes the bearer of Hamlet’s hatred toward the world, and is also the character of lowest status because she is an average women. Ophelia surrenders herself to the cruelty of those around her, and sacrifices her sanctity to please and conform
In my readings of Hamlet, sexism was a immense element in the story. It is not fairly unambiguous where the incest comes in and who is involved, but the unorthodox relationships that have taken place shows how things were during the Elizabethan Age, or were they? My goal in this paper is to research the gender roles between the males and females in the story and to prove how women were treated during these times, and to determine who was involved in incest and sexism. The characters in focus will be Hamlet, Prince of Denmark, and son of the deceased King Hamlet; Polonius, counselor to Claudius; Laertes, Polonius’ son who has returned home due to King Hamlet’s death; Gertrude, Hamlet’s mother and Queen of Denmark; and Ophelia, daughter of Polonius and the sister of Laertes, also Hamlet’s girlfriend.
Leverenz, David. 1980. 'The Woman in Hamlet: An Interpersonal View.' In Representing Shakespeare: New Psychoanalytic Essays, edited by Coppelia Kahn and Murray M. Schwarz. Baltimore and London: The Johns Hopkins Press, 110-128.
Ouditt, Sharon. "Explaining Woman's Frailty: Feminist Readings of Gertrude." Hamlet. Ed. Peter J. Smith and Nigel Wood. Theory in Practice. Buckingham: Open UP, 1996. 83-107.
In the second decade of the twentieth century, the U.S. birth control movement became an important topic among Americans. It was at this time that Margaret Sanger, the eventual founder of Planned Parenthood, became involved in the radical movement for voluntary motherhood and the distribution of contraceptives (Hartmann). As a nurse she assisted poor women in giving birth, and saw the effect of having too many children on the welfare of these women. She also saw the suffering, pain, and death of many women who obtained unsafe, backdoor abortions to escape having more children (Shaw, Lee).
In William Shakespeare’s Hamlet, women are oversexualized, and are given no role other than to be the item of a man’s desire. The promiscuity of the only two women in the play, Gertrude and Ophelia, detracts from their power and integrity, and allows Hamlet a certain amount of control over them. Gertrude’s sexual lifestyle is often mentioned by her son, Hamlet, and Hamlet uses his knowledge of Gertrude’s sexuality as a means to criticize her. Ophelia’s sexuality initially appears to be controlled by Laertes and Polonius, and Hamlet takes advantage of the naive image that she is required to keep. However, in her later madness, Ophelia taints this image by revealing that her innocence is feigned. By exposing the sexual natures of both Gertrude and Ophelia, Hamlet strips these women of any influence they may have had, and damages their once-honourable names.
Through the use of insanity as a metaphor, authors such as William Shakespeare, Edgar Allen Poe, William Blake, and Charlotte Perkins Gilman, have utilized the extreme feelings of fear, love, hate, anger, and revenge to illustrate: the creation of a weakened psychological state that renders the victim susceptible to bouts of madness; the internalization of stimuli that has permeated the human psyche resulting in the chasm between rational and irrational thought; and the consequences of the effects of the psychological stress of external stimuli demonstrated through the actions of their characters.
With particular reference to Hamlet, feminist critics might explore the characters of Ophelia and Gertrude and how they challenge—or fail to challenge — the domination of male characters. Feminist critics would also be interested in exploring how the play expresses ideas about femininity that were common in Shakespeare's lifetime and how complicit Shakespeare is in Hamlet's personal misogyny. … Elaine Showalter's essay "Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism" explores the difficulties, even embarrassments, that feminist critics have had in approaching Ophelia. The problem is that Ophelia has tended to be overshadowed by Hamlet, even by feminist critics, who then feel the need to liberate Ophelia from obscurity. However, even liberated Ophelia is problematic for she suggests some potentially troubling connections between femininity, female sexuality, and madness.
Throughout time in history, women have continued to play minor roles in society, although with heavy contributions, as depicted in William Shakespeare’s tragic revenge, Hamlet. This unfortunate truth is reflected through the actions of Queen Gertrude, and Ophelia, as they are the true source of all conflict, seen as weak and characterless personnel, and incredibly dependant on the men in their lives. Thus labeled as the true driving factors of other characters actions, and as a result, receiving abusive treatment.
Parpart, Jane and Marchand M. (1995) “Part one: Exploding the canon: an Introduction/Conclusion”, in Marchand, Marianne and Parpart, Jane (eds) Feminism Postmodernism Devlopment, London; New York: Routledge: 1-23.
Compared to Shakespeare’s Hamlet, Almereyda’s adaptation creates a new reading and highlights various elements more directly through a change in the characterization of Gertrude, Hamlet’s mother. The movie advances her position as a woman, making her a commanding and prominent figure throughout. This new reading of Gertrude from the movie reflects the changes in societal views regarding women, due to varying time periods, progressing the position of Gertrude as a woman, and exploiting ideas of incest, misogyny, and
When one contemplates the concept of eugenics, few think of modern contraception and abortion when in reality they are one in the same. The American Eugenics Society, founded in 1923, proudly proclaimed that men with incurable “conditions” should be sterilized. However these conditions were often none that could be helped, such as, one’s intelligence, race, and social class (Schweikart and Allen 529-532). The purpose of the society was to create the perfect class of men; elite in all ways. Likewise, Margaret Sanger’s feminist, contraceptive movement was not originally founded with this purpose. It was marketed as a way to control the population and be merciful to those yet to be born, again determined also by race and intelligence. The similarities in purpose actually brought the two organizations together to form a “liberating movement” to “aid women” known today as Planned Parenthood (Schweikart and Allen 529-532). The name may sound harmless, but the movement hid a darker purpose, to wean out the lower and less educated in order to create a perfect class.
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.