Her significance stems from how relatable she was to women of the time. As a female who is generally oppressed by her society, and especially the men around her, such as Othello when he kills her simply for rumors that she may have cheated on him, the majority of women who came to watch Othello would resonate with the strength she carries herself with without any recognition. She even attempts to claim that she killed herself to save from ridicule Othello as she dies. Considering that women in the early 17th century would have had, and utilized, the ability to go to the theatre and support plays they enjoyed seeing, it makes very much sense that Shakespeare would have appealed to them in this way (Crowley). Thus it is likely that Desdemona’s, and Emilia’s, honest developments were influenced by awareness of a female audience.
An Evil Wife in Macbeth The stereotype women are supposed to be nice, gentle and kind. In some other cases, some women are crueler than men. In the play Macbeth by William Shakespeare tells a story of Lady Macbeth, a ruthless wife who manipulates her husband to achieve her evil desires. Lady Macbeth is an evil woman because she is extremely ambitious, greedy and controlling which shows that her desires leads her to be a ruthless person. Lady Macbeth is extremely ambitious in terms of gaining power and advantages for her own life.
Other playwrights also honored included Edward Albee and Arthur Miller. Linda Kintz argues in her excellent study The Subject 's Tragedy: Political Poetics, Feminist Theory, and Drama, that "the plays of Adrienne Kennedy are radical experiments with subjectivity and theatrical form; they show how the very notion of the unity of character or of autonomous subjectivity is simply artificial, even phobic, in a culture in which subject positions are always multiple" (7). By formulating her characters to express multiple viewpoints, Kennedy resisted any monolithic definition of blackness propounded by the hegemonic culture, while foregrounding the deconstruction of subjectivity. Herbert Blau, in an article comparing Kennedy and Sam Shepard, describes Kennedy 's stagecraft "black magic" (535), a label which can be extended to her work
While Alison did not plan to sleep with the Nicholas, she created a plan to do so and when they were caught in the act she told everyone that Nicholas forced her. This decision made it seem like women are heartless and cruel. However, most critics use the Wife of Bath Tale to decide whether or not Chaucer treatment of women was fair. Many believe that Chaucer treated women fairly in his books for the time period based on the Wife of Bath Tale. One writer, Priscilla Martin believes he is even supported of women and has model the Wife of Bath after himself, “The Wife of Bath shares [Chaucer’s] delight in fictional and narrative diversity.
This made the anger prone sage Durvasa feel insulted and provoked him to curse her of being forgotten by Dushyanta. The second poem from “Eight poems for Shakuntala” mocks at the way Shakuntala’s sufferings were justified as necessary stages for a woman to become pious and virtuous. The only ‘trick’ to be an ideal woman/wife “is not to see it as betrayal…” Arundhathi Subramaniam retells the epic story of Shakuntala by presenting the character as an archetype, someone like us trying to make sense of life. She negates the concept of an erring woman and pushes the readers to mull over Shakuntala’s character with a different perspective. She discards everything which uses ‘sexual submissiveness’ of a woman as a tool to examine her chastity.
By doing this, Shakespeare also shows how dependent Celia is on Rosalind, suggesting that she is unwilling to continue without her. Since Rosalind and Celia have grown up together, Rosalind’s sharp attitude influences Celia, to an extent. Celia often fails to have a sharp attitude like that of Rosalind, as she does so in pure innocence. When Touchstone arrives on stage to inform her about the Duke’s command, she asks, “Were you made the messenger?” (As You Like It I.ii.54). She, like Rosalind, attempts to show her superiority by asking an obvious question.
Additionally, women suffer from the lack of equality in this community. Gilead uses Christianity as a way to convince women that this republic is formed to protect women from rape and violence that existed before. What makes this dystopian society different from the others is that it supposes men are fertile and some women are not due to the pollution and radiation sickness. Furthermore, a class of hierarchy comes to existence in this republic. Main classes that the story covers are the Handmaids, Aunts, Commanders, and the Wives.
Tennessee Williams ’portraits of displaced women would help the process of the formation of individual subjective consciousness. By composing his play like this, Williams’ humanistic concern and his understandings of women are revealed. Among Williams’ legions of creation of characters, there is a commonality even though they’re people of different disciplines. In creating his distinctive characters, Williams illuminates the tragedy of the dreamer and has an absolute determination to destroy whatever is unique about herself or she would face annihilation. As Sally Johnson contends, Williams’ primary compassion in his plays is the plight of the individual while the other writers worship individual value(Johnson,1985:300).
According to Henry David Thoreau, civil disobedience is “the right of revolution...to refuse allegiance to, and to resist, the government, when its tyranny or its inefficiency are great and unendurable.” Skeeter and the maids fight for their voice to be heard amongst the individuals who wish to silence them. Thereby, this is allegorized when Skeeter decides to make her own path and chooses not to listen to stereotypes. She decides to put herself first before the customs and traditions of the South. Additionally, the right to civil disobedience is as well depicted in racial terms. This is shown when the maids agree to voice out their stories after Yule May is arrested.
The woman is not only stratified into passive possibilities of the author’s permutative imagination but also takes on the status of a spectacle or what Sharon Willis has called “spectacular aestheticization” (Willis, Special Effects: Sexual and Social Difference in ‘Wild at Heart’ 276). The spectator or the listener (as in the case of Beckett’s radio plays) takes the woman actor as an event-in-process, anchored on the substratum of his masterly constructivism (or, so he would like to believe!). The woman, in the conception of the male audience, must be denied any access to the overall setup and the structural setup and the structural center of the full drama unfolding on the stage- the woman must not transgress her role; she must not aspire for knowledge on the core process of creation or its cultural execution. The truth, however, is that she is the embodiment of the enigma and the diegetic interference of prohibited