Abstract This review examines the evolution of the inner personas of the characters in Shakespeare's "Taming of the Shrew" as they explore love and marriage. The paper relates that Petruchio first objectifies Kate and deprives her of the luxuries she is accustomed to in order to break her of her shrewish, spoiled nature. Through this psychological warfare on Kate, he is able to humble her and make her see that it's what's on the inside that matters most. The paper also relates that this story reflects the sexism of the time by suggesting that women can only succeed and be involved in society by being obedient, loyal housewives.
From the Paper "Petruchio and Kate have a real loving relationship. It does not show at first, but it does take root whereas for the other suitors, the wives are mere objects of their affection. During the same clip, Meryl Streep compares the childish acting of Petruchio to Kate's former self and comes to realize that she wants to change (Delacorte TS). This is very similar to what Sylvan Barnet says about Petruchio and Kate: "Petruchio does not so much tame Kate as teach her or treat her, by holding a mirror to her" (Barnet, 188). Petruchio's methods cannot be as bad as Shakespeare makes them out to be since Kate states, "he does it under the name of perfect love" (Shakespeare 4.3 12)."
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."
Abstract This paper compares the concept of deception with the character of Kate in William Shakespeare's "The Taming of the Shrew". The argument that Kate uses deception as a survival technique is used throughout the essay, concluding with how Kate sought to maintain her very freedom through presenting a "tamed" version of her true nature.
Abstract This paper discusses Shakespeare's "Taming of the Shrew". The paper examines the play's patriarchic themes, such as the taming of wild women, a man's domineering character and female subjugation. The paper contends that while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The paper claims that the play actually deals with the issue of equality of power. The paper states that this play presents a mockery of wife submission norms in English society of 17th century rather than an approval of the same.
From the Paper "Kate who was very wild and rarely ever submitted to anyone was dragged into a marriage against her wishes. One wonders then, how and why did she ever let her father take this action if she was actually so outspoken. We must understand that while she didn't have much choice in the case since it was a time when arranged marriage customs were rife her behavior earned her the right and respect that she deserved. This is very clear when we read the betrothal scenes of both Kate and Bianca and compare them to each other. In Kate's betrothal scene, her father Baptista, makes it absolutely clear that he wants Pet to win her daughter's love before he could hope to have her money while in Bianca's betrothal scene, she is objectified as Baptista feels he could hand her over to anyone he found suitable enough. "
Abstract This paper explains that, although misogynistic stories abounded in Shakespeare's time, stories of men exercising their rightful dominance over women and others of men in torment from their unbearable wife; a single source for the main plot of Petruchio's taming of Katherina has not been found. The author points out that to contextualize "Taming of the Shrew" in relation to material practices of anti-feminist oppression is not to remove the problems of the play's representation of gender or to justify reading the play in terms of power rather than knowing. The paper relates that, while there is no doubt that Katherine is subjected to power, it also is true that she wields an irreducible force of her own.
From the Paper "Although it is not possible to determine the dates of composition of William Shakespeare's plays with absolute certainty, it is generally agreed that the early comedy "The Taming of the Shrew" was probably written after "The Two Gentlemen of Verona", in 1594-1595 and before "A Midsummer Night's Dream", in 1595-1596. Even at this early date, Shakespeare shows himself to be a master of plot construction. Disregarding the classical unity of action, which forbade subplots, for a more enlightened concept of unity, Shakespeare creates two distinct lines of action, each derived from a different source, and integrates them into a unified dramatic whole."
Abstract The paper examines several analytical articles regarding the character of Petruchio and his blatant oppression of Katherine in Shakespeare's "Taming of the Shrew". Feminist opposition to modern productions of the play and arguments regarding the value of historic perspectives are discussed.
From the Paper "Understanding how Petruchio could be interpreted a hero to historical audiences and also symbol of villainy to some modern audiences is in itself a reason to continue study of Shakespeare's works. It is precisely these types of diametrically opposed views that encourage the search for a better understanding of differences in social structure and historical attitudes. Many other authors will also require comparison between modern society and the culture of their origin in order to be comprehensively understood."
Abstract The paper shows that the play "Taming of the Shrew" is a classic Shakespearean comedy in every sense in that it is not only funny and amusing for the audience, but also it contains themes they can connect with such as love and beauty. It shows that in Shakespearean Comedy, a shallow, often narcissistic type of love at the start is not only grounded too heavily in "beauty" of the conventional sort, but also leads to a mistaken notion of what beauty really is.
From the Paper "Love of course is a central theme in the play, but from the first, Shakespeare shows this is not your "typical" love match. "At times Petruchio behaves like a bully and a brute, and his tactics with Katherine can be read as gratuitously severe and prolonged tormenting of her" (Brown, 1995, p. 286). Kate does not want to marry, and Petruchio seems to be more interested in the lands he will acquire than specifically in Kate's hand. Yet, he sets out to tame her, and is taming her, he falls in love with her."
Abstract This paper looks at how, in both plays, there are contrasting couples used to illustrate different concepts of love and who balance one another. It shows how, in "As You Like It", Phebe and Silvius, the rustics, are lovers contrasted with Orlando and Rosalind. This is compared to the way love is presented in "The Taming of the Shrew" in a somewhat different light, since what needs to be overcome here is the reluctance of the lovers themselves to be in love.
From the Paper "Both plays have a certain folktale quality that indicates their origins. As You Like It derives from tales in which an old king has three daughters, with the older one wicked and the younger one good, and from one in which a knight has three sons, the oldest one wicked and the youngest one good. The younger son in the latter escapes from a plot by his brother and later returns in triumph. Orlando is gentler than the average folktale hero but still lives out the basic pattern, here mixed with the gender change Shakespeare uses so often as Rosalind, hiding out from her family, dons the garb of a young man and fools even the man who loves her. Apparent in such a story, however, is the fact that on some level, the lover recognizes the fine qualities of his beloved even when hidden behind a different persona. In addition to the balance offered in the contrast between these lovers and the rustics, Celia and Oliver become lovers and also serve to live out ideas about love and how it changes lovers. Still another set of lovers is found in the hired fool, Touchstone, and Audrey."
Tags: orlando, rosalind, phebe, silvius, Petruchio, kate
Abstract This paper examines how Shakespeare's "The Taming of the Shrew" is one of his earlier comedies and deals with the topic of gender roles and obedience. In particular, the paper looks at how the play reaches its climax in the last act, Act V, Scene 2, which concludes with Katherina's soliloquy on obedience.
From the Paper "But then again, on the other hand, one can ask: Is she really only playing? May it not be that maybe Petruchio has rather humbled than empowered her by wearing her down? Taking the same scene mentioned above, it might as well be argued that after having been held away from food and sleep for days, Kate finally gave up trying to compete Petruchio and took on the subordinate role. She might finally have found her master, someone who is not intimidated by her shrewishness and who is able to lead her. In this case, the last speech has to be seen as a true speech of obedience. "
Abstract The paper discusses the Elizabethan society of Shakespeare's time where the women were no more than possessions of the men, with no power or freedom of their own. The paper examines the roles of Katharina (Kate) and Petruchio in Shakespeare's "The Taming of the Shrew" and shows how the man waged wars and made a fortune, while the woman had to be the servant of her husband, her only duty being to obey him completely.
From the Paper "William Shakespeare's The Taming of the Shrew is probably the play which is most liable to feminist interpretations among the writer's works. The main heroine of the play, the 'shrew' is Katharina, a young, unmarried woman who is well known for her ill temper and her shrill tongue. Katharina is also the elder sister of Bianca, a much more gentle and temperate character who is wooed by no less than three men at the same time. The old Baptista Minola, the father of the two young women, refuses to consent to the marriage of his younger daughter before Katharina herself finds a husband."
Abstract This paper closely examines gender roles and their effect on relationships in "Taming of the Shrew". The paper discusses the courtship and marriage of two couples, Katherine and Petruccio and Lucentio and Bianca, and shows how Katherine and Petruccio's contentious personalities, and non-traditional courtship leads them to a deeper and more satisfactory union than the more orthodox Bianca and Lucentio share. The paper brings out how conformity to standard gender roles can lead to a relationship based on false ideals.
From the Paper "In Taming of the Shrew, William Shakespeare explores gender roles and their effect on relationships. The play chronicles the courtship and marriage of two couples, Katherine and Petruccio, then Lucentio and Bianca. Initially it seems that Lucentio and Bianca have the ideal relationship and that Petruccio will be miserable with Katherine the titular shrew. This however is not the case. The play exposes the ways in which conformity to standard gender roles can lead to a relationship based on false ideals. While Katherine and Petruccio may not have had a traditional start to their relationship they are honest with one another. In contrast Bianca and Lucentio find themselves in what ultimately appears to be an unhappy marriage."
Abstract This paper examines the character of Katherine; discussing the various techniques used by Shakespeare to establish the theme of the play "Taming the Shrew". It also answers the question whether Katherine was tamed eventually or not.
From the Paper "Taming The Shrew by William Shakespeare is a comedy play tactfully and purposely divided into five entertaining acts (Plot Structure). The induction highlights the possible reasons for the play's existence followed by an introduction all the characters playing a vital role in developing the theme of the play and the development of the gist of the story, in the first act (Plot Structure). The taming (the main purpose of the play) of the female lead begins in the Act II and III with Katherine getting married to Petruchio. The climactic act is the act IV when the aim of cultivating and changing Kate to a productive human being is accomplished (Plot Structure). The final Act V establishes the connection and creates harmony between all the characters of the play and brings forward the implied meaning of Katherine's portrayal (Plot Structure) as a shrew."
This paper compares the patriarchal moral values in the film "Ten Things I Hate about You" by Gil Junger and "The Taming of the Shrew" by William Shakespeare.
1,125 words (approx. 4.5 pages), 2 sources, 2005, $ 44.95
Abstract This paper explains that, in the play "The Taming of the Shrew" by Shakespeare, the message of morality is presented through the patriarchal traditions of family, which also are represented in the modern family as depicted in the contemporary film "Ten Things I Hate about You". The author points out that both fathers are seemingly absent to uphold their authority due to the nature of their professions. The paper assumes that this lack of fatherly presence in the family unit is what makes both Katherine and Bianca choose their own suitors whether it is for dating or marriage.
From the Paper "This drama analysis compares the play "The Taming of the Shrew" by William Shakespeare and the film "Ten Things I Hate About You" by Gil Junger. In the play "The Taming of the Shrew" by Shakespeare, the message of morality is presented through the patriarchal traditions of family. Through the overwhelming power of Baptista to preserve Bianca's marriage status below her sister Katherine, the film "Ten Things I Hate About You" relates a similar set of moral principles in the patriarchal traditions within modern families."
Abstract This paper examines Franco Zeffirelli's 1986 film adaptation of Shakespeare's "The Taming of the Shrew", specifically focusing on scene interpretation as well as character portrayal in the film version compared to that of the original text. It attempts to show that Zeffirelli's film provides a plausible interpretation of Shakespearean play.
From the Paper "The first thing noteworthy about the film opposed to the text is that the opening and ending scenes of the text which includes Christopher sly (as Lord) and the real Lord is omitted in the film (Shr. induction). Sly, is a beggar who wakes up to find himself made a Lord, he is the victim of a trick played on him by a real Lord who thought it would be enjoyable to stage this elaborate hoax. In this scene a play is put on, the play Sly and the Lord watch (roles reversed) is, Taming of the Shrew. So, in the text version there is a play within a play, but the film version omitting the induction presents us only with the single story of The Taming of the Shrew."
A critical sociological analysis of honorific individualism in the process of Japanese State formation as communicated in the book " The Taming of the Samurai" by Eiko Ikegami.
Abstract In this book review of "The Taming of the Samurai" by Eiko Ikegami the author looks at the book as a critical sociological analysis of Japanese state formation. He centers on the fact that in reconstructing the history of Japanese state development, Ikegami focuses on the samurai class and the honorific individualism by which that class is historically defined. The author explains "The Taming of the Samurai" as an exploration of samurai class identity as it was constructed, maintained and reformulated within progressive periods of medieval and modern Japanese history. In conclusion the author regards "The Taming of the Samurai" as an argument of remarkable clarity, ambition and integrity stating that Ikegami has undertaken a broad historical survey, addressing multiple centuries of Japanese history and arriving at a compelling evaluation of samurai honor as the decisive cultural resource articulating Japanese state formation.
From the Paper "Ikegami has at this point led her reader down a path of coherent historical argument, arriving at a convincing theory of Japanese State formation as the result of samurai's honorific individualism. The Tokugawa shogunate represented the strict, hierarchical socio/political organization of early Japanese statehood. The true vitality of the samurai honor culture under the Tokugawa becomes apparent once more after the Meiji restoration in 1868. (Ikegami 360) The revival of meritocratic rewards and the rebirth of incentive for individual accomplishment witnessed the reemergence of the samurai class as national leaders in the process of rapid-paced, Japanese Westernization and modernization."
