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The Taming of the Shrew
Shrew--1Free, Mary. “Hortensio’s Role in Closing The Taming of the Shrew’s Induction,” RenaissancePapers 1999 (1999): 43-53.1Laurie E. Maguire, “Cultural Control in The Taming of the Shrew,”Renaissance Drama 26 (1995): 83.2Larry S. Champion, The Evolution of Shakespeare’s Comedy: A Study inDramatic Perspective, (Cambridge: Harvard University Press, 1970), 38. 3David Bevington, The Complete Works of Shakespeare, updated 4thed.
(NewYork: Longman 1997), 110.Hortensio’s Role in Closing The Taming of the Shrew’s InductionThe minor characters in The Taming of the Shrew receive little critical attention and to anextent rightly so. As Laurie E. Maguire points out, “To say that Shakespeare’s [play] is. . .abouttaming is to state the obvious: the ‘wooing’ of Katherine by Petruchio, perhaps more than anyother main plot in Shakespeare, dominates performance and criticism.”1The minor charactersserve primarily, according to Larry S. Champion, as "comic pointers" to the main plot's action oras dupes to the more clever.2To relegate Hortensio to either of these categories, however,ignores his centrality as motivator of the main plot, and although David Bevington findsHortensio “laughably inept”3--he functions, in fact, as the main plot’s lynchpin. Hortensio isthe first to draw our attention to the shrewish Katherine, and it is he who seizes the opportunity Shrew--2Free, Mary. “Hortensio’s Role in Closing The Taming of the Shrew’s Induction,” RenaissancePapers 1999 (1999): 43-53.4See Martha Andrensen-Thom, “Shrew-Taming and Other Rituals of Aggression:Baiting and Bonding on the Stage and in the Wild,” Women’s Studies 9, no. 2(1982): 121-143; Ann Barton, Introduction to The Taming of the Shrew, in TheRiverside Shakespeare, 2d ed., gen. ed. G. Blakemore Evans (Boston: Houghton,1997),138-41; Emily Detmer, “Civilizing Subordination: Domestic Violence inThe Taming of the Shrew,” Shakespeare Quarterly“ 48, no. 3 (fall 1997): 273-294; Jean E. Howard, Introduction to The Taming of the Shrew, in The NortonShakespeare, gen. ed. Stephen Greenblatt (New York: Norton, 1997), 133-141;Natasha Korda, “Household Kates: Domesticating Commodities in The Taming of theShrew,” Shakespeare Quarterly 47, no. 2 (summer 1996): 110-131; and Murray J.Levith, Shakespeare’s Italian Settings and Plays (New York: St. Martin’s,1989), 46-53.5See Richard A. Burt, “Charisma, Coercion, and Comic Form in The Taming ofthe Shrew, Criticism 26, no.4 (fall 1984): 295-311; and Jeanne Addison Roberts,“Horses and Hermaphrodites: Metamorphoses in The Taming of the Shrew,”Shakespeare Quarterly 34, no.2 (summer 1983): 159-171.to suggest Katherine as a wife for Petruchio. More important to my purpose, however, isHortensio's function in the play's final two acts. While several critics–Martha Andrensen-Thom,Ann Barton, Emily Detmer, Jean E.
In Gaut’s essay, “The Ethical Criticism of Art”, he addresses the relevance of an art piece’s ethical value when making an aesthetic evaluation. His key argument revolves around the attitudes that works of art manifest such that he presents the following summary “If a work manifests ethically reprehensible attitudes, it is to that extent aesthetically defective, and if a work manifests ethically commendable attitudes, it is to that extent aesthetically meritorious”. In direct contrast with formalists, who divine a work’s merit through an assessment of its style and compositional aspects, Gaut states that any art piece’s value requires a pro tanto judgement. This pro tanto position allows for pieces considered stylistic masterpieces, to be
Examine the different ways in which Shakespeare presents the attitude towards marriage in the play, ‘The Taming of the Shrew.’
A long time ago, a drunken man fell asleep outside an alehouse. This man, Christopher Sly, was discovered by a mischievous lord who took him into his home. The witty lord then convinced Sly that he was a lord, as well. The lord then put on a play for him. The play, The Taming of the Shrew, was about the two young daughters of Baptista. The youngest daughter, Bianca, wished to wed but her father, Baptista, would not allow this until his eldest daughter, Katherina, was married. Under normal circumstances, it would be easy to find a husband for Katherina with all her beauty, but all her beauty was covered by her shrewd personality. By this time Bianca's suitors were growing very impatient, so they decide to team up and find a husband for Katherina. In jest they mentioned their plan to a friend, Petruchio, who surprisingly agreed to marry Katherina. All her beauty and wealth were enough for him. Katherina reluctantly was wed to Petruchio and she was taken to his home to be tamed. With Katherina out of the way, Bianca was now allowed to marry Lucentio, who offered her father the highest dowry for her. In the final scenes of the play, Katherina proves that she is tamed by winning an obedience contest at a dinner party. Katherina is now even more in accordance with her wifely duties than Bianca. A fare is a type of comedy based on a ridiculous situation. The Taming of the Shrew, an eminent example of a farce, is the first of three farces written by Shakespeare.
A traditional method assumes that the criticism involves both explication of what actually went on when the speaker engaged his or her audience, and an evaluation of how well the speaker performed the task of changing the audiences’ perspective of reality. It is also assumed that the traditional method will create a feeling of identification and sense of relatedness between the speaker or writer and the
Both Carrol and Wharton have comparable perceptions of arts criticism, showing their expertise in the field. They describe the importance of being an expert in the subject that you are criticizing, as well as why criticism is important for both the artist and their audience. However, Carrol goes the extra step of explaining what’s important in both evaluation and judgment of criticism, making his definition that much stronger over Wharton’s.
William Shakespeare is a master of satire, and it is very evident in his work “The Taming Of The Shrew”. His use of exaggeration is impeccable, and he managed to make the entire work one giant parody. Through this satire, he makes a very important social commentary, using his influence to bring new ideas into people’s minds, and make them realize the flaws in their
In the beginning of “The Taming of the Shrew”, some say Shakespeare portrays Katherina as a very shrewish figure. Others may argue that she is not shrewish but just a very strong willed person. At the end of the play some people say she is transformed into a very kind and gentle person, while again others will argue that she is not “tamed” but just putting on an act to “show up” her younger sister Bianca, whom has always been more beautiful and charming. Kate is “like a wasp, like a foal, like foal that kicks from his halter; pert, quick and determined, but full of good heart.” 1. This statement made by one author, shows clearly that he does not see her as shrew-like, even at the beginning of the play. The same author states that at the end of the play she has not really transformed, rather she has just fallen in love with Petruchio, in essence she is free from torment because she is no longer seen as the shrew.
Critical thinking is a very important aspect to understanding art. As David Perkins put it in “The Intelligent Eye”, we must avoid “experimental thinking”, a rash, quick way of thinking based on observations and use “reflective intelligence”, a way of thinking in which a viewer takes their time and dissects details and nuances to fully understand a work of art. A majority of viewers will look at a piece of art and come to a quick analysis of it, without much thought. But, according to Perkins, “The more attentive the observation is, the better the opportunity is for deeper learning” (Perkins 14). As Banksy said in Exit Through the Gift Shop, “the reaction to the work of art is the most important thing about it.” Without a reaction or an opinion, the work of art has no meaning. Therefore, in order to trul...
Taming of the Shrew, had a great story line, which can be related to several movies that exist today i.e. Othello, 10 Things I Hate about You, and The Lion King. In William Shakespeare's play, The Taming of the Shrew, the shrew played by Katherine, had a terrible perspective on life and just about everything else. Her negativity was caused by her younger, more pulchritudinous sister Bianca. Bianca wanted to get espoused. She had all of the men's hearts, Katherine retained none. If Katherine got espoused then Bianca could get espoused. She authentically was a shrew who needed to be tamed.
Over the past 400 or so years since Shakespeare wrote _The Taming of the Shrew_, many writers, painters, musicians and directors have adapted and reformed this play of control and subjugation into timeless pieces of art. In _10 Things I Hate About You_ and Kiss Me Kate from two very different times in the twentieth century, and paintings of Katherina and Bianca from the late nineteenth century, the creators of these adaptations have chosen to focus on the role of the two main female characters in the play. The ideas surrounding these women have changed through the years, from Katherina and Bianca simply being young women who deviated from the norm of Shakespeare’s time to women who embody feminist ideals and stereotypes of the more modern world.
Taming of the Shrew: Male Domination. The Taming of the Shrew, by William Shakespeare, deals with marriage. The ideas explored are primarily shown through the characters of Petruchio and Katharina. We are introduced to the trials and tribulations which present themselves in their everyday lives.
The Taming of the Shrew by William Shakespeare is a play that is ahead of its time in its views toward gender roles within society. Katherine is a woman who is intelligent, and is not afraid to assert her views on any given situation. She is paired with another obstinate character in Pertuchio. The marriage formed between the two is a match made in heaven for two reasons. First, because Katherine is strong enough to assert her views, and more importantly, she realizes when she should assert them.
Literature is an intricate art form. In order to attempt to understand the meanings and ideas within literary work, there are many forms of criticism that propose different approaches to its interpretation. Each criticism is crucial to the understanding of how individuals interpret literary works. Since each criticism has a different approach to enrich the understanding literary works, the question is raised whether one criticism should be used over others, whether a certain combination of criticisms should be used, or whether all criticisms should be taken into account. This may all be dependent on the reader’s individual preference or opinion, but each criticism presented builds on the others to create a well-rounded and unique understanding
Reflecting back historically, ancient critics and their criticism are valuable to us, they are representative of the Graeco-Roman tradition in the arts on which the entire edifice of western criticism rests. There is a great deal to be learnt from them. They looked into the nature and function of art. They were a source of inspiration to those who came later. Graeco-Roman tradition differs from our hoary Indian tradition which goes farther back in
Subsequent to the study of different philosophies of art, as well as completing projects asking for personal preference in art as well as objective “fine art,” a personal philosophy may, by necessity, include subjective and objective facets. In determining what fine art is, the quality of universality is important. There also does not have to be a traditional presentation of beauty for a work of art to be fine art. Contrary to R. G. Collingwood’s philosophy, for fine art the culture and setting in which art is created should not matter, because if art is universal and timeless, meaning endures outside of where and when it was created. Evaluation of art can be subjective, but fine art is universally appreciated regardless of understanding background,