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Essay from the year 2009 in the subject English - Literature, Works, grade: 1,0, Free University of Berlin (Englische Philologie), course: Seminar "Shakespeare and Women", language: English, abstract: In the Renaissance, the ideal of same-sex friendship between men was highly valued (cf. Kaplan 312). William Shakespeare referred to this theme in many of his literary works. In particular, his sonnets dedicated to the "Fair Lord" have provoked debates about the writer's own sexuality. But the idea of "the other I" presented in the sonnets and included in most of Shakespeare's plays is not limited to male friendship alone. Shakespearean drama offers many instances of affection or at least solidarity between women as well. " J]ust as Shakespeare seems to pull free of the strictly classical dramatic forms, so too does he free himself of the purely neo-Platonic expression and uses of friendship" (Longo 8). Feminist criticism perceives the women in Shakespeare's plays, in particular in the comedies, as powerful and dominant (cf. Berggren 18). Often cross-dressing appears to be the strategy that allows them to break with the traditional female role comprising the in the Renaissance still prevailing "virtues of silence, obedience and chastity" (McFeely 8) . "By obscuring their own sex, the heroines gain extraordinary access to the men they love..." (Berggren 22). But besides male disguise, relationships among women give strength to each other. All in all, nineteen of Shakespeare's plays include intimate talks between women which take place in private and refer to very personal issues (cf. McKewin 119). In the following, I will analyse the relationships that exist among the women in Shakespeare's problem play All's Well That Ends Well. They can be considered particularly important, as due to the complete absence of cross-dressing in the play, they play an exceptional role in empowering the heroine. Helena "breaks out of both the cultural (historical) and psychic (transhistor
Essay from the year 2009 in the subject Didactics for the subject English - Literature, Works, grade: 1,0, Free University of Berlin (Englische Philologie), course: Seminar "Shakespeare and Women", language: English, abstract: In the Renaissance, the ideal of same-sex friendship between men was highly valued (cf. Kaplan 312). William Shakespeare referred to this theme in many of his literary works. In particular, his sonnets dedicated to the “Fair Lord” have provoked debates about the writer’s own sexuality. But the idea of “the other I” presented in the sonnets and included in most of Shakespeare’s plays is not limited to male friendship alone. Shakespearean drama offers many instances of affection or at least solidarity between women as well. “[J]ust as Shakespeare seems to pull free of the strictly classical dramatic forms, so too does he free himself of the purely neo-Platonic expression and uses of friendship” (Longo 8). Feminist criticism perceives the women in Shakespeare’s plays, in particular in the comedies, as powerful and dominant (cf. Berggren 18). Often cross-dressing appears to be the strategy that allows them to break with the traditional female role comprising the in the Renaissance still prevailing “virtues of silence, obedience and chastity” (McFeely 8) . “By obscuring their own sex, the heroines gain extraordinary access to the men they love...” (Berggren 22). But besides male disguise, relationships among women give strength to each other. All in all, nineteen of Shakespeare’s plays include intimate talks between women which take place in private and refer to very personal issues (cf. McKewin 119). In the following, I will analyse the relationships that exist among the women in Shakespeare’s problem play All’s Well That Ends Well. They can be considered particularly important, as due to the complete absence of cross-dressing in the play, they play an exceptional role in empowering the heroine. Helena “breaks out of both the cultural (historical) and psychic (transhistorical) strictures applied to women ... by the assertion of desire” (Asp 75). Her determined way of wooing Bertram makes him an object and thus a reversal of traditional roles takes place. The audience experiences All’s Well That Ends Well from a female desiring perspective. That makes the play unique within Shakespeare’s canon (cf. Asp 74) and makes the careful consideration of the background allowing this changed perspective inevitable.
Described as one of Shakespeare’s most intriguing plays, All’s Well That Ends Well has only recently begun to receive the critical attention it deserves. Noted as a crucial point of development in Shakespeare’s career, this collection of new essays reflects the growing interest in the play and presents a broad range of approaches to it, including historical, feminist, performative and psychoanalytical criticisms. In addition to fourteen essays written by leading scholars, the editor’s introduction provides a substantial overview of the play’s critical history, with a strong focus on performance analysis and the impact that this has had on its reception and reputation. Demonstrating a variety of approaches to the play and furthering recent debates, this book makes a valuable contribution to Shakespeare criticism.
In this romantic reconciliation comedy, the sweetly mischievous Helena plots and plans her way to winning the aloof Bertram's hand in marriage. While the lovers are united by the close of the final act, Shakespeare pokes fun at the fantasy, wish fulfillment, and conventions of romantic comedy with the play's ambiguous resolution, which has intrigued scholars, readers, and theatergoers for centuries. This invaluable new study guide to one of Shakespeare's greatest plays contains a selection of the finest criticism through the centuries, plus an introduction by Harold Bloom, an accessible summary of the plot, a comprehensive list of characters, a biography of Shakespeare, and more.
From the author of Bunny, which Margaret Atwood hails as “genius,” comes a “wild, and exhilarating” (Lauren Groff) novel about a theater professor who is convinced staging Shakespeare’s most maligned play will remedy all that ails her—but at what cost? Miranda Fitch’s life is a waking nightmare. The accident that ended her burgeoning acting career left her with excruciating chronic back pain, a failed marriage, and a deepening dependence on painkillers. And now, she’s on the verge of losing her job as a college theater director. Determined to put on Shakespeare’s All’s Well That Ends Well, the play that promised and cost her everything, she faces a mutinous cast hellbent on staging Macbeth instead. Miranda sees her chance at redemption slip through her fingers. That’s when she meets three strange benefactors who have an eerie knowledge of Miranda’s past and a tantalizing promise for her future: one where the show goes on, her rebellious students get what’s coming to them, and the invisible doubted pain that’s kept her from the spotlight is made known. With prose Margaret Atwood has described as “no punches pulled, no hilarities dodged…genius,” Mona Awad has concocted her most potent, subversive novel yet. All’s Well is a “fabulous novel” (Mary Karr) about a woman at her breaking point and a formidable, piercingly funny indictment of our collective refusal to witness and believe female pain.
Usually classified as a "problem comedy," All's Well that Ends Well is a psychologically disturbing presentation of an aggressive, designing woman and a reluctant husband wooed by trickery. In her introduction Susan Snyder makes the play's clashing ideologies of class and gender newlyaccessible, and offers a fully reconsidered, annotated text for both readers and actors.
Providing a feminist interpretation of the plays that has been written, this work is aimed at feminists.
The Oxford Handbook of Shakespeare and Embodiment brings together 42 of the most important scholars writing on the subject today. They explore representations of gender in the context of race, ethnicity, sexuality, disability, and religion, and consider Shakespeare's life, contemporary editing practices, and the performance of his plays.
In All's Well That Ends Well, Helen, a lowly ward, risks her life to satisfy her boundless love for Bertram, a count and ward to the King of France. Following him to Paris, she concocts an endangering plan to win the King of France's favour and induce Bertram's hand in marriage. In the comprehensive introduction to this new, fully-illustrated Arden edition, Suzanne Gossett takes a transformative look at the play's critical and performance history by offering fresh perspectives on the conundrum of genre, sexuality and moral dilemmas with masculinity and the structures of family. The authoritative play text is amply annotated to clarify its language and allusions, and two appendices debate the play's authorship and review its casting. Offering students and scholars alike a wealth of insight and new research, this edition maintains the rigorous standards of the Arden Shakespeare.