A Feminist Perspective of Paulina in The Winter's Tale
Feminist criticism explores gender themes in literature, assesses the worth of female characters, promotes unknown women writers, and interprets the canon from a politically-charged perspective. Shakespeare has proven more difficult to categorize than other white male masters of the written word, precisely because of the humanity of his female characters. Critic Kathleen McLuskie urges feminists to "assert the power of resistance, subverting rather than co-opting the domination of the patriarchal Bard" (McLuskie 106). Yet many feminists find strength in Shakespeare. Irene Dash, for instance, proclaims that "Shakespeare's women characters testify to his genius .... they learn the meaning of self sovereignty for a woman in a patriarchal society" (Dash 1). Paulina of The Winter's Tale provides support for Dash's argument. With courage and passion, Paulina defends Hermione against chauvinistic paranoia and enshrines female virtue.
Perhaps the best testimony to Paulina's power is the historical reaction of male critics. In 1733, editor Lewis Theobald condemned Paulina as "too gross and blunt" for daring to call the King "downright a Fool" (Dash 135). In 1863, scholar Charles Cowden Clarke whined that Pauline was excessive: "... she does play the tattoo upon his skull with amazing vivacity and after he is down, too .... Paulina cannot forego the gratification of punching him in his maundering distress" (Clarke 356). In 1969, Fitzroy Pyle acknowledged Paulina's "goodness" but applied the label "militant" (Pyle 41).
With a similar sentiment but more blatantly hostile language, the fictional King Leontes abuses his adversary Paulina with sexist insults...
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...ti. Webster's First New Intergalactic Wickedary of the English Language. Boston: Beacon Press, 1987
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Neeley, Carol Thomas. "The Winter's Tale: Women and Issue" (1985). Reprinted in the Signet Classic Edition of The Winter's Tale. New York: Penguin, 1988.
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Schweickart, Patrocinio. "Reading Ourselves." Speaking of Gender. Elaine Showalter, editor. New York: Routledge, Chapman and Hall, 1989.
Ekici, Sara (2009). Feminist Criticism: Female Characters in Shakespeare's Plays Othello and Hamlet. Munich: GRIN Publishing.
In this research paper I will be writing about Cleopatra VII. Her early life, family and her relationships’. Cleopatra VII was born around 69 BC and was the daughter of Ptolemy XII Auletes and Cleopatra V of Egypt. Her parents got married in the year 79 BC. Her father Ptolemy XII Auletes was the king of Egypt during 80-58 B.C. and 55-51 B.C. He was born in 117 BC and was also known as the “Piper” because he played the flute. He died in 51 BC, Alexandria, Egypt from being exiled. Her mother Cleopatra V was the queen of Egypt, born in 95 BC. She vanished around the time of Cleopatra’s birth in 69 BC then died in 57 BC. Some people believe she was either murdered or that she may have died while giving birth. (“Cleopatras Family”)
Callaghan, Dympna. Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage. New York, Routledge. 2000
Dash, Irene G. "Wooing, Wedding, and Power: Women in Shakespeare Plays". The Critical Perspective Volume 2. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 825-833.
Cleopatra, born in 69 B.C., was an Egyptian Queen and the last pharaoh of Ancient Egypt. She was from Greek descent and a member of the Ptolemies, who ruled Egypt for nearly 300 years. In just her early twenties, Cleopatra became Queen of Egypt following the death of her father and the defeat of her siblings. Popularly, she is remembered because of her physical beauty, love affairs, and the tragedy of her life. But more importantly she should be celebrated as a commanding female leader who used her intellect to exercise considerable power and influence in a male-dominated world.
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Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.” Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116-134.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
The first reason video games are an issue is that many video games made today possess content that many people would consider to be obscene. The term obscene covers violence, profanity, and sexual images (obviously). Such videogames are usually branded with the M (mature audiences only) rating on the front of the videogame cover. This means that only players seventeen or older should be playing such games. However, many children around the ages of twelve and under are acquiring these video games as gifts or are purchasing the games themselves. Therefore, it can be assumed that the parents are purchasing M-rated games for their children, and that stores are willingly selling these young children M-rated games. As Paul Keegan says, parents are not following these ratings and stores are not enforcing them, thus allowing young children to view content that is considered obscene (6). Thus, if parents understand and follow the various video game rating labels, and if stores enforce the videogame rating system, then young children will not be as easily able to view mature material.
Cleopatra was immediately established from the second she burst out of the womb as a member of the royal family of the Ptolemy's; the family which had controlled the Egyptian throne since the rule of Ptolemy I which began in 323 BC. She was born the daughter of Ptolemy XII, King of Egypt, in 69 BC, her full name being Cleopatra VII, or "Thea Philopator" in Greek: a name, which literally translates to "a goddess loving her father." She did most definitely loved her father, so dearly, in fact, that he granted the throne to Cleopatra upon his death in 51 BC. From the moment she set foot on the throne, co-ruling Egypt with her brother and obligatory husband Ptolemy XIII, she was intent upon coercing her, and only her, influence upon all of Egypt. More specifically, she wished to possess a less influential bridegroom so that she could impose more of her ideas and policies upon Egypt. It is for this reason that Cleopatra initiated one of the most notorious and controversial relationships of all time with one of the most prominent figures in history; Julius Caesar. Caesar fell in love with Cleopatra from the moment he saw her. Even though she was not known to be exceptionally beautiful, it is derived from many accounts that she was the definition of a wicked temptress, the defining characteristic that obviously won Caesar's heart. Naturally, Caesar aided Cleopatra after Ptolemy XIII's advisors had driven her from the throne, and declared war upon Ptolemy XIII. Caesar and Cleopatra were victorious and Cleopatra returned safely to the throne. Shortly after the coup, Cleopatra was noticeably pregnant. The product of this pregnancy was a son, named Caesarion, who is widely believed to belong to Caesar.
This essay will discuss how Shakespeare depicts women in his works including Twelfth Night, Romeo and Juliet and The Merchant of Venice. As Shakespeare produced his work during the Renaissance period, this essay will also talk about how Shakespeare’s plays were written during the reign of Queen Elizabeth I and how Shakespeare’s work may have paralleled the same view that society had of women and their role. Writing techniques used by Shakespeare such as the use of language in dialogue and cross-dressing will be considered in this essay, to show how women were perceived in his work and the controversy it caused to the society.
Smith, Rebecca. The Woman’s Part: Feminist Criticism of Shakespeare. Champaign, IL: U of Illinois P, 1983
Around 69 B.C, one of the most famous female rulers ever known was born, she was Cleopatra. She was the descendent of the Egyptian ruler, Ptolemy XII, and she would eventually became the queen of ancient Egypt herself. She was known for being extremely intelligent and very charming, and because of this many romans feared her and viewed her as a threat. When her father died the throne of Egypt was left to her and her brother, Ptolemy XIII, and rivalry formed between the two, making her even more determined to become the sole ruler of Egypt. Cleopatra had trained all her life to be the successor of Egypt and she hungered for power. Like her father, she tried to have peace with Rome and maybe even have power over them. She would gain her power by having Caesar one and only son, Caesarion, the loyalty of Marc Antony, a well-known general who was popular among the troops in Rome, and of course by using her intelligence and Egypt’s resources. Cleopatra was a successful ruler because she had a thirst for power.
Garner, Shirley Nelson, and Madelon Sprengnether, eds. Shakespearean Tragedy and Gender. Bloomington, Indianapolis: Indian U, 1996.
Novy, Marianne. Love's Argument: Gender Relations in Shakespeare. Chapel Hill: The University of North Carolina Press, 1984