Abstract
In this article, the writer examines the subject of gender as portrayed by the character Viola in the play "Twelfth Night' by William Shakespeare. The writer discusses that Viola dresses like a man and use a male name in order to survive. The writer discusses that the necessity for her to adopt this strategy does of course arise from the strict sex-based segregation of the times. The writer maintains that despite the fact that Viola does not intend to buck the binary-gender system in any way, she certainly seems to enjoy "being a man," and moreover, the fact that she adopts a male persona inevitably leads to gender-based complications.

From the Paper
"In Twelfth Night, Viola and Sebastian are twins, but they are separated in a storm at sea. Viola adopts male garb, and the name Cesario, as a survival strategy - to enable herself to get a job working for the Duke Orsino. Thus, Violet is not explicitly making a statement about gender when she begins passing as a male - rather, she is simply making a statement about wanting to survive. However, the ..."

Tags:Shakespeare, viola, gender

Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.

From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."

Tags:dialogue, iconography, fantasy, gender, marketability

Abstract
The paper discusses how Viola's speech in Act II defines the gender, verbal manipulation, and patriarchal aspects of the theme of disguise in William Shakespeare's "Twelfth Night". The paper shows how by understanding the gender roles allocated to men, she then begins to realize how she can manipulate her adversary verbally in her speech and how strong the power of being a man is in a patriarchal society.

Tags:shakespeare, twelfth, violet

Abstract
This paper discusses the submissive victim role played by Desdemona in 'Othello' by William Shakespeare, and how it is the central aspect of Othello's demise. She is privately inquisitive as to why Othello is angered at her, but she cannot properly stand up to her husband and fend off the allegations set against her by Iago. This provides the various episodes of jealousy and rage that will culminate in the destruction of their marriage.

From the Paper
"In this drama study, the character Desdemona in Othello by William Shakespeare will be analyzed for her various submissive roles as the wife of Othello. In many ways, she does portray a victim role, as she is clearly unaware of the seriously necessity to confront her husband. Although she is at once penetrating in her thoughts about her husband inwardly, she does not publicly surmise the danger of her husband's anger throughout much of the play. In essence, Desdemona is a submissive victim role character that cannot reveal the plot set against her by the vicious Iago. "

Tags:othello, female, gender

Abstract
The paper argues that although both Ophelia and Cleopatra are victimized, they choose not to be through their actions. The paper asserts that this is evident in reading Shakespeare from a feminist perspective, whereby the actions of these characters can be seen as transgressive rather than passive. The paper demonstrates how this thesis holds within the context of a broader review of the literature, including both Shakespearean and gender studies. In addition, the role and the experiences of Shakespeare's masculine characters are used to juxtapose those of the feminine. The review and analysis of the characters extends to depictions of Ophelia and Cleopatra in films.

From the Paper
"Although both Ophelia and Cleopatra are victimized, they choose not to be through their actions. This is evident in reading Shakespeare from a feminist perspective, whereby the actions of these characters can be seen as transgressive rather than passive. This thesis holds within the context..."

Tags:shakespeare, women, analysis

Abstract
The paper discusses how Shakespeare, in accordance with his innate ability to break through cultural mores and depict human behavior in its essence, has depicted the condition of women in a way that transcends the era in which they were written. The paper explains that many critics and scholars attribute this to an underlying feminist sensibility, while others determine that Shakespeare was more of an artistic journalist, delivering an objective view of Renaissance women and their challenges.

From the Paper
"Shakespeare, in accordance with his innate ability to break through cultural mores and depict human behavior in its essence, has depicted the condition of women in a way that transcends the era in which they were written. Many critics and scholars attribute this to an underlying feminist sensibility, while others determine that Shakespeare was more of an artistic journalist, delivering an objective view of Renaissance women and their challenges. The Elizabethan era in England can be characterized as a culture in the..."

Tags:shakespeare, women, gender

Abstract
The paper focuses on the issues of gender power, identity, and homoeroticism that Shakespeare raises and discusses three major vehicles that Shakespeare uses in his subversion of gender stereotypes. First, the paper looks at the use of a boy-actor as opposed to a female actor for female roles, and then looks at how Shakespeare poses male friendship and later female friendship as an obstacle to the eventual marriage ceremony. Finally, the paper analyzes Shakespeare's use of classical mythology in these comedies.

From the Paper
"Gender confusion is a recurrent theme throughout Shakespeare's comedies. From Celia and Phoebe's attraction to Rosalind and Rosalind's transvestitism in As You Like It, to Antonio's seemingly homoerotic love for Bassanio and Portia's cross-dressing in The Merchant of Venice, Shakespeare enjoys using the conventions of the theatre--women were not allowed to perform so boys portrayed female parts--as well as the Carnivalesque, a prevalent concept (during his time) easily translatable to a thematic structure, to explore issues of gender identity and gender power. Because Shakespeare's festive comedies appear to follow a Saturnalian pattern, critics from C. L. Barber to Jean Howard, like to suggest that the gender problems Shakespeare poses are solved through a process of release to clarification. The often, homoerotic overtones and transvestitism are viewed as the uncomfortable but temporary experimentations that the immature must go through in order to reach a state of maturity, culminating in the acceptable relationship of heterosexual marriage."

Tags:homoeroticism, sexuality, actors, friendships, marriage, mythology, theatre

Abstract
This paper examines how William Shakespeare intermingled imperialistic tones with gender terminology in his tragedy "Antony and Cleopatra." The reviewer cites that the playwright described Rome and Egypt in terms of gender, as well as East versus West. According to the paper, imperialistic assumptions underline the gender identities. This idea is supported with various quotes from literary criticism as well as the text of the play. The reviewer concludes that Antony is not 'manlike' and holds almost an inferior position in the relationship with the 'enchanting queen'.

From the Paper
"On the contrary,Cleopatra is not "more womanly than" Antony suggests that masculine traits in Cleopatra. Cleopatra holds Egypt by power and 'rights' made secure by Antony. When she is threatened,she attempts to secure some possessions. She believes in her own royal priviledge; her government is hierarchical and she is an absolute ruler.Some instances that prove her not so 'womanly' behaviour are when she involves in physical violence with the messenger who brings the news of Antony's marriage with Octavia and the other is her decison to go to the war to help Antony."

Tags:Levant, tragedy, ancient Egypt, ancient Rome

Abstract
The paper explores Shakespeare's gender disguise that distorted female identity and investigates early modern constructions of gender as distinct from sexual difference. The paper examines the play "Twelfth Night" in order to show how it was Shakespeare's intention to challenge gender taboos of the Elizabethan age.

From the Paper
"Considered by critics as Shakespeare's best achievement in the comic genre, the play Twelfth Night or, What You Will affords an elaborate exploration of love and power relationships, gender roles and taboos. Identity poses highly confounding problems, as there are numerous layers to the characters' gender roles and their maze-like relationships and (homo) erotic affinities. Through a range of female characters and the implications of (wo)man disguises, Shakespeare exposes gender issues. Several heroines of the comedies appear in disguise on the Renaissance stage, which represents the cultural context of the play."

Tags:androgyny, disguise, men, women, masculine, feminine

Abstract
In this article, the writer discusses gender roles within the play 'The Taming of the Shrew'. It is the position of this paper that Shakespeare was indeed making a commentary on gender roles when he wrote 'The Taming of the Shrew'. The writer maintains that the comment he was making was that the established system in which men were lords and masters over women and basically owned them and women were expected to be docile and obedient at all times, was ridiculous. The writer concludes that William Shakespeare, in writing this play, showed his audiences in exaggerated terms the ridiculousness of the system of male domination, while also demonstrating to women that attempting to completely overthrow societal norms is not the way to a more equal relationship with men. Instead, he demonstrated a revolutionary concept for his time and showed how men and women can ultimately get along as partners by compromise.

From the Paper
"It is a play intended to make the audience laugh. In order to provoke laughter, a play must have something familiar in it, something that everyday people can recognize and relate to. In the late 16th century, when this particular play was written, European society and in fact most societies in the world, were heavily patriarchal in nature. The man was expected to be the lord and ruler of the household and men ruled the world in general. Women had few, if any, rights, and were considered the property of first their fathers and then their husbands, and were appointed a male guardian if they had neither. Women were expected to be obedient to their husbands, quiet, docile, and to keep an orderly home. While this was no doubt not always the system that went on behind closed doors, it was the "official" system, and the one that everyone was expected to appear to be adhering to in public. Shakespeare picked this system to poke fun at in writing The Taming of the Shrew because it was familiar to the audience, being something that affected them all in their daily lives."

Tags:comedy, commentry, society, patriarchal