The Negotiation Of Genre In The Representation Of Women In Twenty-21st Century Shakespeare Analysis
Genre-bending: “the negotiation of genre in the representation of women in twenty-first century Shakespeare’s”
Introduction
Genres can dictate and negotiate how women are represented. According to Linda Bamber, Shakespeare’s comedy and tragedy genres propose problems and contradict one another in relation to the representation of women. She suggests that women in comedies are ‘more brilliant than men, more aware of themselves and their world, saner, livelier, more gay’. In relation to tragedies, Shakespeare creates ‘nightmare female figures’ with Lady Macbeth being listed as one of those females (1982, P2). These differences or representations of women in genre are brought to light within Shakespeare’s era. However, they are not as clearly …show more content…
These productions portray or represent both of the leading women, Pat and Portia as intelligent, witty, desired, strong, manipulative and controlling women despite both of them originating from differing genres. It is clear from these productions that Portia succeeds because of her intelligence, wit and manipulation, however, Pat fails to succeed with these traits. This is due to the impact of genre as well as the conventions of genre in relation to the representations of women.
Women & Gender Specific Genres
It must be questioned as to whether the representations of women within genre makes the twenty-first century productions tailored to a specific gender. In agreement with Neale, he suggests that ‘genres participate constantly in an ongoing process of construction of sexual difference and sexual identity’ (1992, P56). This is evident in relation to Portia, but especially Pat as sexuality is a strong …show more content…
In agreement with Dusinberre, Portia ‘retains a separate identity from her husband’ (1996, P85). This is evident within the play text as well as Ronen’s Hebrew adaptation of the play, especially in the trial scene as she disguises herself as a male judge (Ronen, 2012). However, it must be questioned if this representation of a woman is something that is specific to the comedy genre and not to tragedy. In relation to the tragicomedy or black humour ‘Scotland, PA’, Pat has her own identity through the control she has over Mac as well as a joint identity with him within their marital relationship. However, it seems that Pat rules over her husband’s identity as well as her own. Traub states ‘the masculinity of Shakespeare’s tragic heroes is paradoxically vulnerable, dependent on women’s confirmation and approval’ (2001, P134-35). This is especially true in relation to Mac as everything that he does is under the influence and control of Pat. In relation to ‘The Merchant of Venice’, Bassanio is looking for approval through Portia’s deceased father and his lottery. Though Portia is represented in the production as an intelligent, witty and beautiful woman, she is dependent on man’s approval, more specifically her deceased father’s approval of a suitor. Therefore, this brings to light a weakness in
Introduction
Genres can dictate and negotiate how women are represented. According to Linda Bamber, Shakespeare’s comedy and tragedy genres propose problems and contradict one another in relation to the representation of women. She suggests that women in comedies are ‘more brilliant than men, more aware of themselves and their world, saner, livelier, more gay’. In relation to tragedies, Shakespeare creates ‘nightmare female figures’ with Lady Macbeth being listed as one of those females (1982, P2). These differences or representations of women in genre are brought to light within Shakespeare’s era. However, they are not as clearly …show more content…
These productions portray or represent both of the leading women, Pat and Portia as intelligent, witty, desired, strong, manipulative and controlling women despite both of them originating from differing genres. It is clear from these productions that Portia succeeds because of her intelligence, wit and manipulation, however, Pat fails to succeed with these traits. This is due to the impact of genre as well as the conventions of genre in relation to the representations of women.
Women & Gender Specific Genres
It must be questioned as to whether the representations of women within genre makes the twenty-first century productions tailored to a specific gender. In agreement with Neale, he suggests that ‘genres participate constantly in an ongoing process of construction of sexual difference and sexual identity’ (1992, P56). This is evident in relation to Portia, but especially Pat as sexuality is a strong …show more content…
In agreement with Dusinberre, Portia ‘retains a separate identity from her husband’ (1996, P85). This is evident within the play text as well as Ronen’s Hebrew adaptation of the play, especially in the trial scene as she disguises herself as a male judge (Ronen, 2012). However, it must be questioned if this representation of a woman is something that is specific to the comedy genre and not to tragedy. In relation to the tragicomedy or black humour ‘Scotland, PA’, Pat has her own identity through the control she has over Mac as well as a joint identity with him within their marital relationship. However, it seems that Pat rules over her husband’s identity as well as her own. Traub states ‘the masculinity of Shakespeare’s tragic heroes is paradoxically vulnerable, dependent on women’s confirmation and approval’ (2001, P134-35). This is especially true in relation to Mac as everything that he does is under the influence and control of Pat. In relation to ‘The Merchant of Venice’, Bassanio is looking for approval through Portia’s deceased father and his lottery. Though Portia is represented in the production as an intelligent, witty and beautiful woman, she is dependent on man’s approval, more specifically her deceased father’s approval of a suitor. Therefore, this brings to light a weakness in