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Female Independence in Shakespeare's Works, 2004.
Examines the strong characters of Kate, Hippolyta, and Hermia in "A Midsummer Night's Dream" and "The Taming of the Shrew".
2,266 words (approx. 9.1 pages), 9 sources, APA, $ 70.95
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Abstract
Through his comedies, William Shakespeare was able to address many taboo subjects in the name of entertainment. His comedies provided him an avenue to express marginalized voices that were sometimes muffled in Renaissance society. This cannot be truer for the voice of women. This paper shows how, in his plays, "The Taming of the Shrew" and "A Midsummer Night?s Dream", Shakespeare gives voice to strong women who refuse to become victims of society. Kate is what we would call a strong-willed child with a mind of her own, with no fear of expressing her opinions. Despite the mistreatment she endures in the play, she emerges a winner for many reasons. The paper shows how, similarly, Hippolyta and Hermia demonstrate independence uncommon to their female counterparts. These women illustrate that true love is its own reward in any age.
From the Paper
"Both sisters are playing a game of sorts. Kate is a shrew and cannot be manhandled while Bianca pretends to be the image of feminine sweetness. Bianca is revealed to be the true manipulator because she does not follow the demands of her husband. In the end, we come to appreciate Kate for her genuine character as opposed to Bianca?s fraud. Margaret Ranald believes that ?Katharina?s liberated spirit remains unbroken, but that she has learned the value of realpolitik not only in marriage, but also in the even wider world of sociopolitics? (Ranald 1994). However, when we observe the entire action of the play, we can only surmise that Shakespeare is supporting the role and voice of the independent woman of his age."
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Female Independence, 2001.
Female independence in three 19th century novels: "Jane Eyre', "Vanity Fair" and "Middlemarch".
5,370 words (approx. 21.5 pages), 11 sources, $ 132.95
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Abstract
A look at three female novels during the 19th century, Jane Eyre, Becky Sharp, and Dorothea Brooke. The author examines the writers' refusal to be controlled by the patriarchal society of the time as portrayed in their novels.
From the Paper
"Jane Eyre, Becky Sharp, and Dorothea Brooke have different lifestyles, different expectations, and different beliefs, but share a common personality trait unusual for the time and place in which they were created, in 19th century novels. They are all independent thinkers ? women who make decisions about their own lives and refuse to be controlled by patriarchal authority, for better or for worse."
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The Role of the Female in Shakespeare, 2004.
An historical look at women through the portrayal of female characters in Shakespearean works.
2,365 words (approx. 9.5 pages), 0 sources, MLA, $ 72.95
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Abstract
A close look at the status of women in 17th century England by examining the works, "Hamlet" and "Macbeth". The paper looks at how women are portrayed in a select few of Shakespeare?s works. In doing so, the writer attempts to get an overall feel for Shakespeare's thoughts on the role of women in society. It also brings to light the historical presence of women?s roles in Shakespeare?s society and uses evidence from this time period to discover what may have been the pattern of thought behind these works, which are so revered in today?s society.
From the Paper
"Throughout the Elizabethan period in England, the role of women in society teetered between the traditional and the innovative. This melting pot of female roles was strongly encouraged by Shakespeare in the only way that was allotted him for this time period. Through parody, tragedy, and subtle innuendo the Bard seems to tell of the coming of the equality of women. Or does he? Perhaps there are reasons other then a sense of woman’s equality that inspired Shakespeare to write of women in the manner that he did."
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Independent Females in Literature, 1996.
Examines two strong, independent female characters who defy cultural & sexual restrictions in novel & memoir. "The Scarlet Letter" ( Nathaniel Hawthorne ) & "The Woman Warrior" ( Maxine Hong Kingston )
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
"Nathaniel Hawthorne in The Scarlet Letter and Maxine Hong Kingston in The Woman Warrior: Memoirs of a Girlhood among Ghosts depict strong women struggling to shape themselves beyond the restrictions of convention. Hester Pyrnne and Maxine Hong Kingston seek to forge new social identities which surpass the codes of their respective communities. Relying upon their creative spirit, they are unable to be limited by worn-out societal restrictions for women. They understand that society seeks to impose upon them unreasonable and oppressive conventions. Instead of accepting the power and weight of these conventions, these women are willing to challenge their communities? petty and destructive centers. In transgressing the too-rigid gender codes which have been ordained for them, Pyrnne..."
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Female Education in Kenya after Independence, 2006.
A look at the colonial legacy of female education in Kenya after Kenya's independence.
1,800 words (approx. 7.2 pages), 5 sources, $ 71.95
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Abstract
This paper addresses British educational policy in Kenya that saw Africans as in need of only limited education. The paper looks at postcolonial theory studies asserting that post-1963 shortcomings in Kenyan female education are a remnant of British ecuational patterns in the country. This paper explores this aspect of Kenyan education along with the country's failure to institute compulsory or free primary education till 2003.
From the Paper
"Colonial education in British East Africa has cast a long shadow in post-colonial Kenya, towards ongoing issues of raising girls' education. In 2006, Kenya's population of 30 million or so remains uneven, in perhaps 20 % in Nairobi, Mombasa, Nakuru and Kisumu, the north and northeast of the country very arid and under-populated, with most Kenyans in the cooler Central Highlands. English remains the official language, taught in schools of different kinds, with Swahili as the national language, spoken by many East Africans who also know tribal dialects."
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Female Characters in ?The Winter?s Tale?, 2002.
A paper which discusses how Shakespeare presents female characters with both inner and outer strength in "The Winter?s Tale".
1,150 words (approx. 4.6 pages), 1 source, $ 39.95
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Abstract
The paper discusses how, in "The Winter?s Tale", William Shakespeare presents female characters with both inner and exterior strength. It shows that along with the strength, are the qualities of understanding, forgiveness and patience. It explores the three characters in the play that represent these female characteristics - Hermione, Paulina and Perdita. For all three female characters, they are a part of the action and suffer because of the events in the play. Yet even in suffering they remain gracious and strong and forgiving. The paper discusses how it is these characteristics that make "The Winter?s Tale" a play about how strong and solid the female character can be, with the outcome of the play also showing what an impact these qualities can have.
From the Paper
"Hermione is the central female character of the play and also the one who suffers the most. At the same time, she is the character who has the greatest amount of strength. In the play, Hermione is accused of infidelity by her husband, something that must hurt her deeply. And yet even when her husband accuses her, she remains calm. When Leontes first calls Hermione an adulteress she denies it calmly and elegantly saying, ?should a villain say so, the most replenish?d villain in the world, he were as much more villain: you, my Lord, do but mistake? (II,i). For the audience, the calmness that Hermione possesses is emphasized by the contrast with her husband."
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Shakespeare's Women, 2004.
An analysis of the strengths and weaknesses of William Shakespeare's female characters.
1,829 words (approx. 7.3 pages), 8 sources, MLA, $ 58.95
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Abstract
This paper examines how Shakespeare?s views on women clearly define his plays and how, by using the women as some of the most powerful and stage dominating characters his plays possess, he shows a remarkable gift for breaking down the barriers that held women captive. To many, Shakespeare was a man living in a man?s world, but scratch the surface of those who understood his plays and the man himself, and we can see that Shakespeare was a feminist, and those ideas came out in his plays.
From the Paper
"The patriarchal system was alive and well in Shakespeare?s time, one need only look at some of his female characters like Desdemona and Ophelia to see the system at work. Ophelia, was completely at the mercy of the male figures within her life, is certainly a victim figure. In Hamlet?s treatment of Ophelia, Hamlet waffles and spins between protests of undying love and cruelty, not entirely sure of where his own intentions lay while he is attempting to cope with the news of his father?s murder. Hamlet uses Ophelia as a tool in his revenge plan throughout the play, thus adding more to her role of victim."
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Women in Shakespeare, 2002.
A comparison of two female characters from Shakespeare's literary works, Gertrude from "Hamlet" and Juliet from "Romeo and Juliet".
1,122 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper discusses the similarities and differences between Gertrude, from "Hamlet" and Juliet, from "Romeo and Juliet". The paper portrays Gertrude as a woman who is dependent on men, and Juliet as a young woman who has a very single-minded sense of purpose. The situations which cause both women to defy the status quo, are explained, illustrating the they also have something in common.
From the Paper
"It could be argued that Juliet and Gertrude are so different because Juliet seems to have a better-developed sense of right and wrong while Gertrude is able of behaving in ways believed to be wrong because it meets her emotional needs. Juliet is a very young teenager when she meets Romeo at a dance. She knows that Romeo will never be acceptable as a suitor because he belongs to a rival family. Her family and his have been involved in an extended feud, and the marriage of Romeo to Juliet would be opposed by both families."
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"King Lear" and Female Disorder, 2007.
An analysis of the theme of female sexuality in William Shakespeare's "King Lear".
1,948 words (approx. 7.8 pages), 9 sources, MLA, $ 62.95
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Abstract
This paper discusses how, when King Lear abdicates the throne and invests his daughters with power, he unwittingly ushers in disorder, chaos and discord and how the language used unequivocally conveys turmoil inflicted by the female. Goneril and Regan are ambitious, unscrupulous, they precipitate unrest and perpetrate violence. It looks at how the discomposed state in the kingdom, in the family and in the individual is gendered female where Shakespeare depicts the frequent disorganization and distempers as originating in the woman. It also discusses how witches, perverse goddesses, omens of ill-portent are images employed by Shakespeare to further illustrate and impress the state of anarchy and the reign of abomination.
From the Paper
"Sexual disorder and sexual immorality in Lear are more ascribed to the female. The whore and the adulteress are dissolute women given to desire and lust - objectionable qualities in women. Gloucester proudly boasts that Edmund's mother was a whore who gives birth to a deviant, bastard child. Goneril refuses to accommodate Lear's one hundred knights for she fears that the palace be degraded to a "brothel". This opinion is loaded with irony since she prostitutes herself for power and later for her paramour, Edmund. The palace is already tainted with whoredom. Blind Fortune who curses and dooms the downtrodden at her very caprice is called "that arrant whore who ne'er turns the key to the poor". Likewise Cordelia calls blind Fortune "False Fortune" which signifies that she is an adulteress who is unfaithful to her conjugal pledge. "
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Shakespearean Studies: Understanding the Theme of Disguise in Romeo and Juliet and the Film Shakespeare in Love, 2005.
An analysis of the theme of disguise in "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper looks at how the play "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden, utilize disguise as the key to romance and intrigue. It looks at how "Shakespeare in Love" displays the theme of disguise as an equal response to the trickery and guise found in "Romeo and Juliet" and how in "Romeo and Juliet" the theme of disguise through the masquerade ball is important in Romeo realizing his love for Juliet.
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Shakespeare, Fathers and Daughters, 2006.
A look at the father/daughter relationships of William Shakespeare's "Othello", "King Lear" and "The Tempest".
1,895 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines how William Shakespeare's plays "Othello", "King Lear" and "The Tempest" all have critical elements of familial conflict. It looks at how in "Othello" and "The Tempest", the daughters' relationships with their fathers are initially perceived as reliant and dependent; however, each daughter eventually detaches from her father to form a new attachment with another man. It discusses how "King Lear" is different from the other two because it involves multiple daughters who are not stereotypical Shakespearean era females; that is, each daughter is independent of their father from the inception of the play.
From the Paper
"The second scene of Shakespeare's The Tempest showcases the dependence of Miranda upon her father, Prospero. Miranda calls him "my dearest father" (1.2.1) and several variants of "sir" (1.2.42, 55, 78, 88, 106, 175). In this first exchange between the two, the audience begins to understand the depth of Miranda's devotion to her father. Prospero tells the story of how he and Miranda were driven from Milan twelve years prior to the start of the play. Since then, they have lived on a deserted island and Prospero has been Miranda's only company. Her dependence is out of necessity - she had no one else to utilize as a companion during her time on the island; her closeness with her father seems completely natural. "
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'Othello' by William Shakespeare, 2006.
A review of the jealousy, submissive female gender roles and race in 'Othello' by William Shakespeare.
675 words (approx. 2.7 pages), 5 sources, $ 26.95
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Abstract
This study examines the role of jealousy, submissive female gender roles, and racism within Othello by William Shakespeare. In many ways, Desdemona pays a submissive role to Othello, as she cannot rise above her fears and confront her husband on the grave error of his theories about her infidelity. Furthermore, the issue of race helps Iago deploy his plan, as both he and Desdemona's father are racist in their jealousy of Othello's success. In this manner, jealousy, submissive female gender roles, and racism are constructed to bring a tragic ending to the once hopeful marriage of Othello and Desdemona. The issue of jealousy begins with Iago's anger at Cassio getting a promotion in Othello's elite guard.
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William Shakespeare, 2003.
Examines the influence of William Shakespeare on drama and theatre.
9,454 words (approx. 37.8 pages), 28 sources, APA, $ 194.95
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Abstract
This paper discusses the influence of William Shakespeare on twenty first century theatre. Shakespeare was a great English playwright, dramatist and poet who he lived during the late sixteenth and early seventeenth centuries. He is considered to be the greatest playwright of all time. The paper shows that no other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare had a tremendous influence on culture and literature throughout the world and he contributed greatly to the development of the English language. The paper examines how many words and phrases from Shakespeare's plays and poems have become part of our speech. It shows that Shakespeare's ideas on subjects such as romantic love, heroism, comedy and tragedy have helped shape the attitudes of millions of people. His portrayals of historical figures and events have influenced our thinking more than what has been written in history books. The world has admired and respected many great writers, but only Shakespeare has generated such enormous continuing interest. The paper discusses his different works for theatre. Costumes trends, audiences and sets are also discussed. It also discusses the formation of Globe theatre by Shakespeare.
Outline:
Abstract
Background
Life of Shakespeare
Shakespeare Career
Shakespeare's Influences on Theatre
Costumes and Sets
Audience and Plays
Globe Theatre
Structure of the Globe
Shakespeare and the End of the Globe
Development of Theatre
Conclusion
From the Paper
"Everything had to be conveyed to the audience through words and there is little doubt that the audience had better memories and perhaps higher powers of attention than people do today, so that they took in and retained the information given to them. The majority people in Shakespeare's day could not read or write so they had to rely on word of mouth and on memory; this is in evidence in Romeo and Juliet when the Servant is sent to bid Capulet's guests to dinner. He can't read the list which he has been given and he asks Romeo to read it to him; he hears it read once and then goes off to find the guests; yet, there are well over thirteen people on the list so his memory must have been extremely retentive."
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Female Sexuality, 2002.
Examines many of the aspects of female sexuality including female sexual identity, sexuality and aging and female sexual dysfunction.
2,950 words (approx. 11.8 pages), 25 sources, MLA, $ 87.95
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Abstract
This paper reviews several articles discussing female sexuality. It reviews articles on what female sexuality is, what is involved in the sexuality of females, what helps aide in feminine sexuality and what hinders a women's sexuality. The paper looks at some of the problems associated with women's sexuality and whether these are perceived, physical, or medical problems. Finally,it examine how women see their own sexuality.
From the Paper
"Before the advent of the ?sexual revolution? in the 1960s the subject of female sexuality was considered taboo in so called polite society. Discussion of sexuality by females was viewed as an aberration. Women were taught and told that the normal reaction of women towards sexual intercourse was that they generally did not feel any physical or emotional pleasure from it. Sex was a means to an end; by performing their wifely duty to please their mates women were subjugated to the role of baby maker. This severe repression of female sexuality and its total submission to reproductive functions determined the limits of knowledge for untold generations of women (Gomex 1995)."
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The Medusa Myth and the Female Gaze, 2002.
This paper explores the portrayal of female figures in art and myth, focusing on the Medusa myth and the castrating power of the female gaze and their effect of the female self-image.
2,240 words (approx. 9.0 pages), 5 sources, MLA, $ 69.95
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Abstract
The paper reviews in detail the image of Medusa that pits femininity and masculinity against each other and allowing masculinity to triumph. The paper continues by stating that the gaze of the painted female subject often is depicted with her eyes either diverted from the viewer, or coyly regarding him. The author states that myths like the Medusa myth and the female gaze instruct women that their sexuality is something to be suppressed, that a powerful woman is a dangerous woman, and that the male will triumph in the end.
From the Paper
"Though the familiar image of Medusa as a serpent-haired monster is attributed to the Greeks, the myth of Medusa actually has its roots in pre-classical Mediterranean culture. In the matriarchal societies that existed before Greek civilization, Medusa was far from reviled as she was by the Greeks; instead, she was worshipped as a beautiful mother deity who symbolized wisdom, fertility, and female power. With the advent of Greek civilization, the existing gynocentric religion and mythology were compelled to adapt to the new patriarchal value system."
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