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Gender roles and social norms
Gender roles and social norms
Gender roles and social norms
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The Tempest: The Significance of Cross-dressing Echoes of both The Tempest and Marivaux's complicated comedy Triumph of Love sound in Shakespeare's Twelfth Night. The action of this play begins shortly after a damaging tempest shipwrecks the heroine, casting her upon foreign shores. Upon arrival in this strange seaport, Viola--like the Princess Leonide--dons male disguise which facilitates both employment and time enough to orient herself in this unfamiliar territory. Viola's transvestism functions as emblematic of the antic nature of Illyrian society. As contemporary feminist and Shakespearean scholars are quick to point out, cross-dressing foregrounds not only the concept of role playing (a common practice during Twelfth Night revels) and thus the constructed or performative nature of gender but also the machinations of power. Viola can only make her way in this alien land if she assumes the trappings--and with these garments the--privileges of masculinity. Her doublet and hose act as her passport and provide her with a livelihood, a love interest, and friendship (just as Leonide's breeches allow her passage into Hermocrate's garden). Viola's male masquerade also calls attention to the more general theme of masking. As Cesario, Viola suggests that things are not always as they seem, that identities are protean, that self-deception rivals self-knowledge and that only Time can untie complicated "knots." Coppelia Kahn points out that the cross-dressing in Twelfth Night forces the audience to "conceive of novel and conflicting ways in which sexual identity might be detached from personal identity; we are cut loose from our habitual assumption that the two are inextricable, that the person is defined by his or her sex. In effect, we experience that state of radical identity-confusion typical of adolescence, when the differences between the sexes are as fluid as their desires for each other."5 Gender identity might well be perceived as fluid in this play, for Viola does not simply impersonate a man but a eunuch, a persona that provides access to the even more compelling privileges of androgyny, as her liminal sexual identity exposes the limitations of masculinity and femininity and allows her to move beyond gender. Just as Viola permeates gender boundaries, Olivia, Toby, Orsino, and Malvolio's love interests lead them across class lines--another example of the ways in which standards are relaxed or social codes reversed during Twelfth Night. Olivia spurns the love of her social equal Orsino (who many critics find to be more in love with love than he is with the "marble-breasted tyrant") and lights instead on the Duke's page. Sir Toby admires Olivia's waiting-gentlewoman Maria rather than favor an aristocratic matron, Orsino is perhaps too fond of his servant Cesario and Malvolio dreams of marrying Olivia. Significantly, it is only the steward's love that is regarded as "illegitimate" or forbiddingly transgressive while the upper-class individuals are permitted to indulge their socially illicit desire. Elliot Krieger argues that "Ultimately, there is no fundamental difference between Malvolio's fantasy of narcissistic withdrawal into a world in which he can be Count Malvolio . . . and Orsino's narcissistic withdrawal into the Petrarchan conventions and the beds of flowers."6 While Malvolio and Olivia's class status does not change within the course of the play, the social indiscretions made by the others are exonerated as Viola and Sebastian, whose blood--Orsino tells us--is "right noble," usurp the illegitimate prerogative of Cesario, and Maria is rewarded by the ruling class (who claim Toby only nominally) for her clever schemes by being allowed to rise in stature as she becomes the Knight's wife. Such ameliorating reversals are just as much a part of Illyria as its carnivalesque atmosphere. For while it is true that in this place conventional prescriptions are momentarily subverted, order does seem to emerge out of chaos. Northrop Frye explains that Illyria, like Belmont in Shakespeare's Merchant of Venice, is a metaphoric Green World where events are transferred from the "normal" world to an environment where dreams are realized, fantasies are worked out and lessons are learned.7 Again, Viola's experience proves representative as Illyria transforms her from woman to man to "Orsino's mistress" and joyfully enables her to live out the rest of her life in an earthly Elysium. 1- See "Introduction" to Modern Critical Interpretations: William Shakespeare's Twelfth Night, ed. Harold Bloom (New York: Chelsea House Publishers, 1987) 1-3. 2- Anne Barton, "Twelfth Night," The Riverside Shakespeare, ed. g. Blakemore Evans (Boston: Houghton Mifflin Co., 1974) 404. 3- Ibid. 4- Bloom 1. 5- Coppelia Kahn, "Choosing the Right Mate in Twelfth Night," Modern Critical Interpretations, ed. Harold Bloom (New York: Chelsea House Publishers, 1987) 43. For further discussion on renaissance gender performance and identity politics among Shakespeare's cross-dressed heroines, see Michael Shapiro's Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages (Ann Arbor: The University of MIchigan Press, 1994). 6- Elliot Krieger, "Malvolio and Class Ideology in Twelfth Night," Modern Critical Interpretation, ed. Harold Bloom (New York: Chelsea HousePublishers, 1987) 24. 7- J.M. Lothian and T.W. Craik, "In troduction," The Arden Shakespeare: Twelfth Night , ed. Lothian and Craik (New York: Routledge, 1991) lvi.
...hat Christopher McCandless is, in fact, a true transcendentalist because he failed to qualify for so many of the requirements of transcendentalism. Ultimately, Christopher McCandless proved to be far from a true transcendentalist; nothing more than a childish suicidal rebel.
Fadiman, A. 1997. The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors, and the Collision of Two Cultures. New York: Farrar, Straus, and Giroux.
Chicago Public Radio, prod. “Adventures in the Simple Life.” This American Life. WBEZ, Chicago, Illinois, 11 Sept. 1998. Radio.
William, Shakespeare Twelfth Night. The Norton Anthology of English Literature, Volume B. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 1079-1139.
Transcendental ideas did not just magically appear in Bono’s head. He was influenced at a young age. Before Bono became Bono, he was just a boy from Ireland named was Paul David Hewson. When Paul was a kid, he had a knack for being rebellious. As a child, he was expelled from his first school for throwing dog feces at his teacher. He then was sent to Ireland’s first co-ed school. His life took a dramatic turn however, when his mom died from a brain hemorrhage when he was only fourteen years old. As a result, he became more independent and ambitious. He often would butt heads with his father because of that. Paul disagreed with his father on many subjects. His father discouraged him not to dream, causing Paul to do the opposite. In an interview, Bono once stated, “Overcom...
William, Shakespeare Twelfth Night. The Norton Anthology of English Literature, Volume B. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 1079-1139.
Spanos, Nicholas P., and Jack Gottlieb. "Ergotism and the Salem village witch trials." (1976) Google Scholar. Web. 26 Feb 2014.
Bradley., A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
Shakespeare, William. The Arden Edition of the Works of William Shakespeare: Twelfth Night. Ed. J. M. Lothian and T.W. Craik. UK: Methuen & Co., 1975.
Wells, Stanley, and Gary Taylor, eds. "Twelfth Night, or What You Will". William Shakespeare: The Complete Works. Oxford: Clarendon P, 1998.
Bradley., A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
Logan, Thad Jenkins. "Twelfth Night: The Limits of Festivity." Elizabethan and Jacobean Drama. N.p.: Rice University, 1982. 223-38. Vol. 22 of Studies in English Literature, 1500-1900. Rpt. in Studies in English Literature, 1500-1900. N.p.: n.p., n.d. N. pag. Print.
Among many female characters in Shakespeare's comedies, the protagonist in As You Like It evokes various interpretati0ons by feminist critics. Critics have given various contradictory interpretations about the female protagonist's act of cross-dressing. This act, as claimed by some feminist critics, may constitute a subversive act against the hegemonic order since it challenges common conception regarding female's role in Elizabethan period. Another critical approach, however, does not consider such act to be subversive but rather another dramatic technique reaffirming social and sexual hierarchy prevalent within patriarchal order. Based on the findings of this research, the act of cross dressing to a certain degree is subversive one, assisting
...oth perspectives. They both still being servants are using disguise differently. Malvolio, servant of Olivia and Viola, servant of Orsino, they both have felt love for their masters/boss. They both express it differently, Malvolio loving Olivia uses cheery appearance and Viola loving Orsino hides her love secretly in her disguise. This essay was to prove that disguises and appearance is a symbolic feature for Viola and Malvolio's characters. According to given facts and examples, it was very clear that Viola and Malvolio use disguises as their shield, but they each use it differently.
Mistaken identity and disguise are important aspects of comedy in Twelfth Night that stand at the forefront of the play’s comedy. Not only are mistaken identities and disguise evident within the main plot of the play but also in various other situations. Sexual confusion amongst characters, subversion of gender roles and farcical elements through stagecraft all effectively contribute to the dramatic comedy genre. However, it can be suggested that certain elements of Twelfth Night are not interpreted to be purely comedic; Shakespeare has incorporated serious and controversial subjects such as the idea of genuine love, the patriarchy of the time and the cruel gulling of Malvolio. Therefore, disguise and mistaken identity are not solely for the purpose of comedy and it could be inferred that it even borders on the genre of tragedy.