In the article “Exercising the Body Politic” by Theodora A. Jankowski, the revolutionary attitudes of the Duchess of Malfi are examined. One claim Jankowski makes about the Duchess is the nature, and existence, of her marriage to Antonio. Of all her actions, the Duchess’ decision to marry is the most subversive decision she makes in the play because she takes what is traditionally a way to continue the oppression of a women and makes it an occasion meant to satisfy her own happiness.
The article points out that the Duchess made the decision to get remarried when there was no pressure to do so. In fact, it was just the opposite. She found a man that she wanted to marry and build a life with so that is what she pursued. It was not a marriage
of convenience or a way for her to obtain money. Rather, since the Duchess already amassed wealth, she wanted Antonio for the emotional and physical connection their relationship could give her as that is what she was missing. The two have a happy and fulfilling marriage, having three children in quick succession, as well as having a close, teasing relationship. However, through it all the Duchess remains the one with more power in the relationship. Although technically, based on laws and views at the time, she is beneath her husband. Her marriage, however, stays in the private realm of her life; it never strays into the political world, which, if it did, would change the dynamic of their relationship. The Duchess is able to maintain her power and a degree of independence, which she was afforded through her widowhood, while at the same time satisfying her needs that make her human, something beyond the public view. Even though the Duchess’ world is one that judges her every move, she exercises control over her life, especially in the area of marriage. Traditionally, this area would have been severely restricting. The article points out that even though her decision to marry seems very conventional, the terms of which she set actually makes it, and her, revolutionary.
The Significance of Women in the Imperial Family During the time of the Roman Empire women were not allowed to play any part of the political life of the empire. However, women were still able to influence powerful men and manipulate them to use their power. for the wants of the woman. The most powerful woman in the Roman society was either the wife of a principal or the mother of one. Examples of influential women in the imperial family include Livia Drusilla, Julia.
In equation with the Elizabethan era, Shakespeare offers us a male dominated society in his renowned tragedy, Othello. Consequently, this definitely persuades a negative attitude and demeanor towards the women of the times. The female characters in the play: Desdemona, Emilia, and Bianca; play relevant roles in contributing to one’s understanding of this exhausted Elizabethan view. In contrast to the larger portion of the play, Emilia, spouse to the scandalous Iago, takes an opinionated stand for Desdemona in relation to her wholesome gone sour relationship with the Moor of Venice, Othello. I recognize Emilia’s “Betrayal lecture” as a justified outlook in accordance with today’s period and events surrounding Desdemona’s and Othello’s fatal misunderstanding.
Although the ‘Legend’ of the Wicked Italian Queen is limited by its personal malicious nature, it is credible in its demonstration of Catherine’s ambition f...
Political Analysis Political analysis is the method by which the judgement upon any political event, in any part of the world, is performed. It is based on the perception of the political reality of the region or the country in question and the perception of the relationship of this political reality with international politics. In order to perceive the international situation and international politics, it is imperative to have general outlines that explain the political reality of every state and the relationships of these states with the other states of the world, especially the major powers that influence the progress of events in the world. Since the Islamic Ummah is commanded to carry the Islamic Da'wah to all people, it is therefore obligatory upon the Muslims to be in touch with the world with awareness of its conditions and perception of its problems. The Muslims must acquaint themselves with what motivates the states and the peoples and pursue the political actions that occur in the world.
This paper concerns itself with the accusation of witchcraft against Apollonia Madizza. Apolonia’s imprisonment and escape drew the eye of the Catholic Church, who at the time was investigating accusations of witchcraft and devil worship in the countryside of Friuli towards the end of the Renaissance. This is not a tale of simply witch-hunting a woman who fit all of the descriptors of a witch, but rather a tale of a woman described as “dynamic” and “clever”, which not only was well connected in her small town, but also well connected with nobles in Venice. Trying to unravel the truth from the lies of her story is impossible, but there is much to learn from her story, the possible lies within that story, and the society in which she lived.
I support Cusick's argument that Caccini was a proto-feminist who, through her works for the Medici court, supported the rights of women, specifically, through her first and most recognized opera, La liberazione di Ruggiero dall’isola d’Alcina. In this opera, which is recognized as the first opera composed by a woman, Caccini illustrates a feminist approach to her composition, and makes musical statements about gender that support and reflect the joint reign of Christine and her daughter-in-law, Archduchess Maria Magdalena of Austria. Not only are the characters in the opera portraying strong and capable women, but also the music composed for the characters demonstrates the differences between men and women through musical elements, such as the usage of sharps and flats. Because of works such as these, Caccini plays a major role for the female gender in the early seventeenth century.
The pursuit of honour by Claudio and Don Pedro is nothing short of obnoxious. All of their endeavors are public and have a serious effect on someone, and that is no accident. Such an egocentric approach is typical for all extrinsically motivated honour seekers, and the consequences of their actions are par for the course. By having all of their endeavors made public, their apparently honourable deeds will be rewarded, regardless of the true effects. Since Claudio and Don Pedro are so preoccupied with the superficial results of their actions, it is not surprising that dramatic misadventures transpire. When Don John suggests to Don Pedro and Claudio that “...[Hero] has been too long a-talking of, the lady is disloyal” (III,ii,89-90), they are faced with a decision. To trust in Don ...
During the Elizabethan era women had a status of subordination towards men. They had a role to marry and oblige to their husband’s wishes. Shakespearean literature, especially illustrates how a woman is psychologically and physically lesser to their male counterpart. The play, Othello, uses that aspect in many different ways. From a Feminist lens others are able to vividly examine how women were subjected to blatant inferiority. Being displayed as tools for men to abuse, women were characterized as possessions and submissive; only during the last portion of the play did the power of women take heed.
“Let them eat cake.” A famous response given by Queen Marie Antoinette when she was asked about the grain shortages in her country. But, did she really say this? Many people see Marie Antoinette as a leading cause of the French revolution, with her enormous spending, affairs, disapproval of reform, and influence on her husband, King Louis XVI. But did Marie Antoinette play a decisive role in causing the French Revolution? Or were the peoples judgements the cause of the uprising? This essay will provide both sides of this argument, stating findings and facts about Marie Antoinette’s influence on the people of France, and what feelings she provoked in them with her actions, and if there was any connection between her behavior and beginning of the French Revolution.
Miranda’s character in the play represents the ideal woman of Elizabethan era. She is portrayed as a goddess among the men. “Most sure, the goddess/Oh whom these airs attend!”(1.2.425-426). Fer...
In her work, “This that you call Love”: Sexual and Social Tragedy in Othello, Gayle Greene (2004) argues that the tragedy occurs from adherence to patriarchal rules and stereotypes (Greene 655-659). According to Gary Greene, the tragedy is caused by “men’s misunderstandings of women and women’s inability to protect themselves from society’s conception of them” (666). In the ...
Othello serves as an example to demonstrate the expectations of an Elizabethan society, the practice of privileges in patriarchal marriages and the suppression and restriction of femininity. According to Elizabethan beliefs, women were vassals for both marriage and breeding, seen as passive subordinates in comparison to the patriarchy of male domination. Patriarchal rule justified women’s subordination as the natural order, because women were thought to be psychologically and physiologically inferior to men In terms of Othello, representations of women clearly conform to the expectations of an Elizabethan society. For instance there are three female characters in Othello: Desdemona, Emilia and Bianca, with each of these characters behaving and conducting themselves in ways that are linked to the ideological expectations of men. This is demonstrated through the character of Desdemona who as Othello’s wife is the embodiment of passitivity and vulnerability. This is illustrated through her submissive nature, which represents her as passive throughout, regardless of whether she has done wrong or not. For example her use of language defines her passive nature, where she states ‘ I am obedient’, reflecting her subservience to masculine rule ( act 3 scene 3 p.g. 89). Alternatively it could be argued that the use of the pronoun ‘I’ is authorative suggesting that the sentence has a double meaning ; she is obedient yet an individual in her own right. It infers that although she does fit the stereotypical convention of a passive female, she will also stand up for herself when it matters. However a critique of this viewpoint is that throughout she continues to conform to masculine rule and is faithful, even when she is being victimized...
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Andrews Honors Program. She did her honors thesis on the history of this specific story, and her findings included that “The Duchess of Malfi is arguably one of the more famous and studied of the non-Shakespearean revenge tragedies” (5). Webster’s play would not have been so well-known today if he chose to make this a typical love story. He took elements of all sorts of horrors such as plotting against family, friends deceiving one another, the vengeance of corruption, the madness of murder, and he even was sure to include a variety of different forms of sexual inappropriateness. None of these things were extra effects; each played an important part to his theme of destruction, not only of the court, but of the individuals who lived
Shakespeare highlights three of Portia’s suitors, the Prince of Morocco, the Prince of Arragon and Bassanio. He does this to heighten dramatic tension, as these three men are the most important candidates to win Portia’s hand in marriage. They reveal the contents of the three caskets and their different characters as exposed as being proud, vain and humble. They also emphasise the racial prejudices of Venice a place where many races clash. Their attitudes towards the caskets and their choices indicate what their character is like. This essay will compare and contrast the three suitors and will explore how Shakespeare influences the audience’s attitudes towards the three men.