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Abstract on gender during medieval period
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This thesis discusses presentations of madness in medieval literature, and the ways in which these presentations are affected by (and effect) ideas of gender. It includes a discussion of madness as it is commonly presented in classical literature and medical texts, as well as an examination of demonic possession (which shares many of the same characteristics of madness) in medieval exempla. These chapters are followed by a detailed look at the uses of madness in Malory‟s Morte Darthur, Gower‟s Confessio Amantis, and in two autobiographical accounts of madness, the Book of Margery Kempe and Hoccleve‟s Series. The experience of madness can both subvert and reinforce gender roles. Madness is commonly seen as an invasion of the self, which,
Associations were made between witchcraft and mental weakness, a person had to be mentally weak to become to the devil or willing to let him in. Both of these ideas were more closely enforced with women, continuously seen throughout the Malleus Maleficaium, which was hinged on the idea of female mental frailty, they were presented as a more popular contender for an allegiance with the devil as their weakness made them easier to approach. As an immensely influential text during the early modern period Malleus Maleficaium can be seen to provide a general idea of society’s view on witches. Malleus Maleficaium provides three reasons as to why women are more susceptible to the devil; their female traits make them ‘naturally more impressionable’ and convert other women in the neighbourhood. The description of women as the ‘fragile female sex’ shows the link between women and vulnerability, whilst both men and women could be seen to be weak, it was primarily a female fault. The idea of women’s susceptibility to sin and her need for guidance was reinforced by society. Tales of women’s wrongs were passed down, beginning with Eve’s original sin, women inherited a unstable nature that could easily fall prey. Pierre de Lancre, a French magistrate during the witch hunts, explained the larger number of female witches by referring to the primarily female names for witches which had been used throughout history, such as fate and nimphe. Similarly the Bible contains many negative examples of female witches such as the Witch of Endor, enforcing the idea of women’s need for guidance to remain on the right path, the idea of the deceptive women was established throughout history and society’s ideas on women made them more likely candidates for witchcraft. The mythology surrounding witchcraft could be
Viktus, Daniel J. "Madness and Misogyny in Ken Kesey's One Flew over the Cuckoo's Nest." Alif: Journal of Comparative Poetics Madness and Civilization 14 (1994): 64-90. Web. 12 May 2017. http://www4.ncsu.edu/~leila/documents/VitkusonKesey.pdf
While the diagnosis of mental conditions is considered a modern practice, people throughout history have suffered similar mental illnesses but have gone undocumented or unstudied. But even without scientific or psychological records, mental illness can clearly be derived from historical figures and works of art. As early as the 1600s, characters in literary pieces are known to depict characteristics of modern mental labels. During this time period, mental illnesses were generally credited to witchcraft or demonic possession. Though the explanations seem farfetched, the symptoms of what are now seen as neurological disruptions remain the same. In William Shakespeare’s seventeenth century play Macbeth, several characters portray indications of what could be the modern diagnosis schizophrenia.
Up to the 1600s, people with psychotic disorders were sent off in "ships of fools", locked in cages, "flogged into reason", or killed. The care for the insane at this time was the responsibility of nuns and monks (Noll, xviii).
Intelligence is often mistaken for brilliance, and conversely genius is mistaken for madness. Some of the greatest minds have been misconstrued in there time, and it is not until their whole life is taken into observance from the outside looking in, that their genius is realized and appreciated. Websters dictionary defines madness as "the act of being foolish or illogical." Ironically this form of thought has prompted some of the greatest advancements in government, science, and technology. It was the thought that every common man and woman should be included in his or her respective governments that prompted Democracy, a form of government unheard of before the signing of the Magna Carta. It was scientists and inventors thinking outside of the lines that inspired the cure for Small Pox and the invention of the computer. It can clearly be seen that serious thought is often the by-product of irrational thinking, this is also true for literature. It is while in madness, both feigned as well as sincere, that the characters in William Shakespeare's Hamlet are able to practice true mental clarity and express themselves in a manner free of treachery and falsehood.
Bainbridge, Erika. “Women’s madness in three major dramatic traditions: Greek, Elizabethan, and Japanese Noh.” Abstract. Diss. U of Illinois, 1991. Web. 04 May 2014.
During the early modern period Europe experienced a phase of vicious prosecution of the people accused of the crime of ‘Witchcraft.’ There has been an estimated death toll of up to 50,000 people during these Witch-hunt crazes, although the exact figures are unknown. What is known is that overall 75-80% of those accused were woman although this varies in different states. In this essay I will discuss the role of gender in witchcraft and why the majority of people executed as Witches were women.
SSociety has a set view of who is mad and who is sane, but are these people really mad? Sophocles’ play, The Oedipus Cycle, and Emily Dickinson’s poem, Much madness is divinest sense show their readers who the true madman is. Both of these literary works illustrate the phenomenon of a discerning eye in a society. In the Oedipus Cycle, Oedipus’ daughter Antigone stayed true to herself and did what was right, even if she was perceived to be a madman.
The Yellow Wallpaper by Charlotte Perkins Gilman is the story of a woman spiralling into madness whilst her physician husband refuses to acknowledge that she has a "real" problem. On the other hand The Black Cat by Edgar Alan Poe is about a man who is initially fond of cats however as the plot progresses he becomes an alcoholic making him moody and violent, which lead him to torture and kills the animals and eventually also his wife. In Edgar Allan Poe’s "The Black Cat," symbolism is used to show the narrator’s capacity for violence, madness, and guilt .The recurring theme present in both these stories is that the main protagonists claim that they suffer or have been taken over by a form of madness. In this essay I shall examine the various symbolism used by the writer's to represent madness.
In this brief monograph, we shall be hunting down and examining various creatures from the bestiary of Medieval/Renaissance thought. Among these are the fierce lion of imperious, egotistical power, a pair of fantastic peacocks, one of vanity, one of preening social status, and the docile lamb of humility. The lion and the peacocks are of the species known as pride, while the lamb is of an entirely different, in fact antithetical race, that of humility and forgiveness. The textual regions we shall be exploring include the diverse expanses, from palace to heath, of William Shakespeare, the dark, sinister Italy of John Webster, and the perfumed lady's chambers of Ben Jonson and Robert Herrick.
In William Shakespeare’s Hamlet, one of the most evident and important themes is the theme of madness. The theme is apparent throughout the play, mainly through the actions and thoughts of Hamlet, Ophelia, and Laertes. Madness is defined as the quality or condition of mental illness or derangement (being insane). Madness is at the center of the conflicts and problems of the play and is conveyed through Shakespeare’s elaborate use of manipulation and parallels between Hamlet, Ophelia, and Laertes to contribute to Hamlet’s tragic character. All examples of madness begin and end with death.
Witchcraft persecution peaked in intensity between 1560 and 1630 however the large scale witch hysteria began in the 14th century, at the end of the Middle Ages and were most intense during the Renaissance and continued until the 18th century, an era often referred to as the Enlightenment or Age of Reason. Representation of witches, nay, representation in general is a political issue. Without the power ot define the female voice and participate in decisions that affect women -similar to other marginalised groups in society- will be subject to the definitions and decisions of those in power. In this context, the power base lay with men. It can be said that the oppression of women may not have been deliberate, it is merely a common sense approach to the natural order of things: women have babies, women are weak, women are dispensable. However the natural order of things, the social constructs reflect the enduring success of patriarchal ideology. As such, ideology is a powerful source of inequality as well as a rationalisation of it. This essay will examine the nature of witchcraft and why it was threatening to Christianity.
Madness is a key theme in William Shakespeare’s play Hamlet. Throughout the play Shakespeare displays madness in many different forms. It is also shown in a variety of characters in the play. Some of the main characters that display madness include Hamlet and Ophelia. These characters displays their madness in different ways, and in different amounts. Shakespeare shows Hamlet’s madness as a more debatable form, making audiences question if he really does end up going mad or not. This differs from Ophelia’s madness, as she actually appears to have gone insane. There are also many different interactions with the other characters caused by the character’s madness. This make those other characters do things they may not have otherwise done.Madness
Madness, according to the English Oxford Dictionary, can be defined as “the state of having a serious mental illness”; “a state of wild or chaotic activity”, or having an “extremely foolish behaviour”. Madness in literature may refer to writers who are known for having mental troubles, but might also refer to the fictional characters who are taking place in the writer’s story. It can also be seen as a psychological book; a book talking about the study of madness with a psychological approach. Here this essay will be focusing on the first definition of madness in literature, using the context of the post-war period in the United States. It will first demonstrate that madness is an important theme in literature at this time because it comes from the suffering of the writers; to eventually show that madness is a weapon for the author to denounce the society, and that madness cannot only be seen as a mental problem, because one can consider that madness and genius are intertwined. These two parts of argumentation will be demonstrated through the analysis of Allan Ginsberg’s and Robert Lowell’s writings.
To begin with, the argument will be focused on the concept of "madness." Then, the paper will illustrate the limits of a comic conception of life through this excerpt.