This paper takes a look at Shakespeare's use of the crossdressing heroine over the course of his ... more This paper takes a look at Shakespeare's use of the crossdressing heroine over the course of his published works in an attempt to determine his constantly transforming view of gender, in particular, the role of women. Taking into consideration the visual nature of both plays and society during the Renaissance, the limitations of medical science, and the complexities of a crossdressing woman played by a man, Shakespeare's works show a clear evolution from thinking of women as lesser men to seeing the two genders as indistinct from one another without societal regulations.
Evadne enacts a terrific revenge unto the King, saying: "I do not mean, sir, / To part so fairly ... more Evadne enacts a terrific revenge unto the King, saying: "I do not mean, sir, / To part so fairly with you. We must change / More of these love tricks yet" (5.1.102-4). This line, I argue, resonates with a century"s worth of work of giving power to women in art. Evadne"s words and actions mimic and revise the King"s sexual mistreatment of her. But The Maid's Tragedy was not the only medium through which women restored their sexual identities. While this play was being written in London in 1610-11, an artist by the name of Artemisia Gentileschi was depicting a similar subject matter close to her own circumstance in Italy. Judith Slaying Holofernes was painted between 1611 and 1612, just months after Artemisia was sexually assaulted by her painting tutor (Spear 184). Taken from the Book of Judith, a catholic addition to the Old Testament which centers around the widow Judith and her actions against the Assyrian invaders, the subject was not new to the art world, but, much like the King"s murder, is portrayed as stark and brutal, as well as with a purpose of mind not found in other painter"s incarnations.
An examination of the ways cinema is able to transform the locations of Shakespeare's plays and m... more An examination of the ways cinema is able to transform the locations of Shakespeare's plays and manipulate the spaces surrounding the tragic heroes.
Why does the reconstructed Globe Theatre present itself as an authentic space? This paper argues ... more Why does the reconstructed Globe Theatre present itself as an authentic space? This paper argues that the Globe has become a dramatist's Mecca, a place to become inspired by the spirit that infuses it. Dramatists crave the original to the point that the New Globe Theatre has become authentic in its own right, despite it being copy.
An argument for the inclusion of Shakespeare's comedies as an alternative to staples like "Julius... more An argument for the inclusion of Shakespeare's comedies as an alternative to staples like "Julius Caesar" and "Romeo and Juliet" to encourage interest and participation with the author's writing methodologies.
This paper takes a look at Shakespeare's use of the crossdressing heroine over the course of his ... more This paper takes a look at Shakespeare's use of the crossdressing heroine over the course of his published works in an attempt to determine his constantly transforming view of gender, in particular, the role of women. Taking into consideration the visual nature of both plays and society during the Renaissance, the limitations of medical science, and the complexities of a crossdressing woman played by a man, Shakespeare's works show a clear evolution from thinking of women as lesser men to seeing the two genders as indistinct from one another without societal regulations.
Evadne enacts a terrific revenge unto the King, saying: "I do not mean, sir, / To part so fairly ... more Evadne enacts a terrific revenge unto the King, saying: "I do not mean, sir, / To part so fairly with you. We must change / More of these love tricks yet" (5.1.102-4). This line, I argue, resonates with a century"s worth of work of giving power to women in art. Evadne"s words and actions mimic and revise the King"s sexual mistreatment of her. But The Maid's Tragedy was not the only medium through which women restored their sexual identities. While this play was being written in London in 1610-11, an artist by the name of Artemisia Gentileschi was depicting a similar subject matter close to her own circumstance in Italy. Judith Slaying Holofernes was painted between 1611 and 1612, just months after Artemisia was sexually assaulted by her painting tutor (Spear 184). Taken from the Book of Judith, a catholic addition to the Old Testament which centers around the widow Judith and her actions against the Assyrian invaders, the subject was not new to the art world, but, much like the King"s murder, is portrayed as stark and brutal, as well as with a purpose of mind not found in other painter"s incarnations.
An examination of the ways cinema is able to transform the locations of Shakespeare's plays and m... more An examination of the ways cinema is able to transform the locations of Shakespeare's plays and manipulate the spaces surrounding the tragic heroes.
Why does the reconstructed Globe Theatre present itself as an authentic space? This paper argues ... more Why does the reconstructed Globe Theatre present itself as an authentic space? This paper argues that the Globe has become a dramatist's Mecca, a place to become inspired by the spirit that infuses it. Dramatists crave the original to the point that the New Globe Theatre has become authentic in its own right, despite it being copy.
An argument for the inclusion of Shakespeare's comedies as an alternative to staples like "Julius... more An argument for the inclusion of Shakespeare's comedies as an alternative to staples like "Julius Caesar" and "Romeo and Juliet" to encourage interest and participation with the author's writing methodologies.
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