The Construction Of Femininity And Masculinity In Shakespeare S Macbeth

Examination Thesis from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Potsdam (Institut f r Anglistik und Amerikanistik), 50 entries in the bibliography, language: English, abstract: The title of this paper is "The Construction of Femininity and Masculinity in Shakespeare s Macbeth". As this title suggests, I analyzed how Shakespeare construes female and male identity in Macbeth. As in many Shakespearean dramas the play starts with the destruction of order leading up to a crisis and ending in the restoration of order at the end of the play (Gelfert 32). The political order that is destroyed in the course of the play is King Duncan s natural and fair order which appreciates a unique set of masculine and feminine values. Macbeth murders King Duncan in order to usurp his throne. Macbeth s reign turns Duncan s order into chaos and moral order cannot return to Scotland until the tyrant ruler Macbeth is defeated by troops who fight for the restoration of Duncan s order, through the coronation of his son Malcolm. This essay deals with the question of how Shakespeare shapes female and male characters. As a matter of fact, female and male characters are ultimately involved in the destruction and restoration of Scotland. This involves questions such as: Which historical concepts does Shakespeare use to construe his male and female characters? Does he construe "typical" gender roles? And what happens when gender boundaries are crossed, when men develop feminine traits and women male ones? With special regard to the marriage of Macbeth and Lady Macbeth, I also analyzed the interaction between the genders. In the course of my analysis, I used the term "gender", originating from Anglo-American feminist discourse, meaning "the social, cultural, and psychological meaning imposed upon biological sexual identity" (Showalter 1-2). Interpreting femininity and masculinity as "gender" constructions allows a more thorough an

Examination Thesis from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Potsdam (Institut für Anglistik und Amerikanistik), 50 entries in the bibliography, language: English, abstract: The title of this paper is “The Construction of Femininity and Masculinity in Shakespeare`s Macbeth". As this title suggests, I analyzed how Shakespeare construes female and male identity in Macbeth. As in many Shakespearean dramas the play starts with the destruction of order leading up to a crisis and ending in the restoration of order at the end of the play (Gelfert 32). The political order that is destroyed in the course of the play is King Duncan`s natural and fair order which appreciates a unique set of masculine and feminine values. Macbeth murders King Duncan in order to usurp his throne. Macbeth`s reign turns Duncan`s order into chaos and moral order cannot return to Scotland until the tyrant ruler Macbeth is defeated by troops who fight for the restoration of Duncan`s order, through the coronation of his son Malcolm. This essay deals with the question of how Shakespeare shapes female and male characters. As a matter of fact, female and male characters are ultimately involved in the destruction and restoration of Scotland. This involves questions such as: Which historical concepts does Shakespeare use to construe his male and female characters? Does he construe “typical” gender roles? And what happens when gender boundaries are crossed, when men develop feminine traits and women male ones? With special regard to the marriage of Macbeth and Lady Macbeth, I also analyzed the interaction between the genders. In the course of my analysis, I used the term “gender”, originating from Anglo-American feminist discourse, meaning ”the social, cultural, and psychological meaning imposed upon biological sexual identity” (Showalter 1-2). Interpreting femininity and masculinity as “gender” constructions allows a more thorough analysis of the various processes involved in the “making” of men and women. Whilst the term “sex” suggests that children naturally acquire the appropriate masculine or feminine behavioural norms of their society, the term “gender” can also indicate that some people feel discrepancies between their “anatomical sex and experiential sense of gender and sexuality” (Showalter 2). After a short historical introduction about the origins of the play, I analyzed the masculine world of chivalry that the play takes place in. Understanding the world of chivalry, its values and codes is required as most of the male characters are construed as chivalrous knights serving in the corps of King Duncan. Enjoy!

Maria Howell's, Manhood and Masculine Identity in William Shakespeare's The Tragedy of Macbeth, is an important and compelling scholarly work which seeks to examine the sixteenth century's greatest concern, echoed by Hamlet himself, "What is a man?" In an attempt to analyze the concept of manhood in Macbeth, Howell explores the contradictions and ambiguities that underlie heroic notions of masculinity dramatized throughout the play. From Lady Macbeth's capacity to control and destroy Macbeth's masculine identity, to Macbeth himself, who corrupts his military prowess to become a ruthless and murderous tyrant, Howell demonstrates that heroic notions of masculinity not only reinforce masculine power and authority, paradoxically, these ideals are also the source of man's disempowerment and destruction. Howell argues that in an attempt to attain a higher principle, the means (violence and destruction) and the ends (justice and peace) become fused and indistinguishable, so that those values that inform man's actions for good no longer provide moral clarity. Howell's poignant and timely analysis of manhood and masculine identity in Shakespeare's Macbeth will no doubt resonate with readers today.

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: A, University of Edinburgh, course: Tragedy, History and Sovereignty in Late Medieval and Early Modern Poetry and Drama, 18 entries in the bibliography, language: English, abstract: Building on the assumption that differences between the sexes in tragedy are defined through competing representations of heroism, this paper shall take a closer look at the representation of gender in two premodern tragedies, Shakespeare's Macbeth and Antony and Cleopatra. The aim of this paper shall be to provide a short introduction to (Shakespeare) feminist criticism, which will be supplemented with an overview of various notable instances of the representation of gender in these two works.

While considering Shakespeare's earliest attempts at tragedy in Richard III and Titus Andronicus, this volume covers the major tragic period, giving special attention to Othello.

This book proceeds from the assumption that Shakespeare, so often perceived as the one writer who appears to have transcended the limits of gender, inevitably writes from the perspective of his own gender. From this perspective, whatever represents the Self is necessarily male; and the Other, which challenges the Self, is female. The author's approach gives us a fresh understanding of both Shakespeare's characters and the structure of the plays. The author defines genre in terms of the nature of the challenge offered by the Other to the Self. Using specific plays and characters of Shakespeare, the author shows how in tragedy the Other betrays or appears to betray the Self; in comedy the Other evades the social hierarchies dominated by versions of the male Self; in romance the Other comes and goes, leaving the Self bereft when she is gone and astounding him with happiness when she reappears. History is defined as a genre in which the masculine heroes confront no challenge from the Other but only from each other, from other versions of the Self. The book consists of a long theoretical introduction followed by chapters on comedy, history, and some individual plays: Hamlet, Antony and Cleopatra, Macbeth, Coriolanus, and The Tempest.

Essay from the year 1996 in the subject English Language and Literature Studies - Literature, grade: 1, University Of Wales Institute, Cardiff (Cardiff School of English, Communication and Philosophy), course: Shakespeare's Tragedies, language: English, abstract: Probably the most powerful lines lingering in the reader’s or audience’s memory after experiencing Macbeth are the hero’s words in reaction to the news of the death of his spouse: “Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.” (V, 5, 23-28) When life signifies nothing, does this play signify anything? However simple the question may seem, the answer is hardly straightforward. Trying to stay away from moralising about vaulting ambition that doesn’t pay in the end I would like to speculate about possible significations of the play, not necessarily connected to the plot, or to put it in another way, examine the possibly significant themes and motives recurrent in the play: ambiguity, uncertainty or indeterminacy of meaning. Equivocation is the term used in the play itself (e.g. the porter scene in III, i) and it well captures the theme of walking the tightrope above the abyss of single, definite meaning on one hand, and the endless proliferation of meaning on the other. One cannot escape the impression that the thematically prominent characters of the play (Macbeth, Lady Macbeth, the witches, the Porter) virtually evade committing themselves to definite meanings.