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Shakespeare - Glass / Gender - Coggle Diagram

- - - - restabalising gender roles
- - - - http://ejournals.org.uk/bjll/[z45-54]_ARTICLE_4_GAROFALO.pdf
      - Richard 'associated with the feminine'
        
        'Shakespeare‟s twinning of Richard II with the feminine directly parallels the king‟s fall from power'
        
        Howard & Rackin - B and R are 'an early-modern ideology of 'masculine' and 'feminine'
        
        speech > action
        
        B's 'teeth' conquers R's 'tongue' - foreshadows actual conquering
        
        Gaunt - 'O, had thy grandsire with a prophet's eye / Seen how his son's son should destroy his sons'
        
        Moore: 'Richard becomes increasingly like' Isabel
        
        'womanly tears'
        
        Lisa Jardine
        
        'weeping woman as female hero...negate the possibility for heroism in tge male...in the male hero, weeping and swooning are the signs of vulnerability'
        
        'at his deposition, he tearfully admits defeat'
        
        'weakening inclination towards speech instead of action'
        
        rescues 'his reputation'
        
        'implying the vital need to balance the two'
        
        Henry V: 'a wanton and effeminate boy' --> future
        
        2 more items...
        
        ‘the unnecessary repetition of his resignation in these speeches highlights Richard‟s feminine qualities and his downfall. The repetition emphasises the fact that he is abdicating, again turning to speech instead of action, and giving up his crown instead of fighting Bolingbroke. Furthermore, these lists are redundant, detailing his resignation in far more words than necessary, thus mirroring Richard‟s own political redundancy. He no longer holds the fundamental political role of king. This sense of resignation is compounded by his continual use of the singular, “my” and “mine.” The use of anaphora emphatically signals Richard‟s now „singular‟ status. Richard is no longer king and, therefore, loses the plural, „we‟ and „our,‟ which signifies the king‟s two bodies. Thus, Richard‟s words and the structure of his speech reveal the same meaning: he has completely lost power; he is reduced to the singular’
        
        but then tears link to Jesus - "he wept" - and so (too late) R's femininity is legitamised
      - 'marginalisation and negation of the feminine in the play'
      - French
        
        “his work represents a lifelong effort to harmonize moral qualities he did associate with the two genders, and to synthesize opposing or seemingly opposed states and qualities”
    - - https://sciendo.com/article/10.2478/genst-2013-0003
      - mirror duality of body personal and body politic
        
        attach this to gender
    - - http://dx.doi.org/10.4314/sisa.v26i1.4
      - Elizabeth said 'I am Richard II. Know ye not that?"
        
        is this reflecting destabalisation of gender roles in reality then? or mirroring E's own assertion on masc?
      - argues purposeful link between 'effeminate' Henry V and wasteful R
        
        'young wanton and effeminate boy'
        
        Gaunt calls Richard 'unstaid youth'
      - B is England's son - R is her mother
      - patience = femme
        
        Duchess of G (1.2) - 'that which in mean men we entitle patience / Is pale, cold cowardice in noble breasts'
        
        'Richard does not comply with this norm defined by the intersection of gender and rank'
      - queer
        
        'passivity at odds with early modern English culture's norms of masculine sexuality'
        
        3.4 - Bagot and Green "eat" the king
        
        3.1 - B says Bushy and G ''broke the possession of a royal bed'
        
        is it only bad if it goes into sexuality?? inheritance? Sonet III emphasises need for inheritance
  - - - 'would have alerted Elizabethans to the vehicle of a metaphor for seeing with faulty worldly vision in Corinthians 1 13:12'
      - Schechner (2005) - 'the goal of reflection, of speculation, was not mimetic but transformative'
  - - - simultaneously?
  - - - 'the instrument of feminine vanity becomes the means of theatrical empowerment' - everyone on stage and audience has to look at him and his face