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GENDER STUDIES, TRIAL - Coggle Diagram

- - - - the masculine principle is the pole of power in the world, associated with power and ownership, physical courage, assertiveness, autorità, independence, at the rights and legitimacy, ability to define and administer justice, supports law and order
        
        it values action over feeling, thought over sensation, its immediate goal is the attainment and maintenance of power- in- the- world
        
        is linear, temporal, and transcendent, for it aims to construct something in the world and within time that will enable the individual to transcend nature, time and mortality
        
        it is profoundly threatened by present pleasure, surrender to mortality
        
        associated with the feminine principle identified with nature
        
        the masculine principle is the standard of humankind and identifies the human with the male
        
        the feminine principle was spited by Christianity in 2: the eve and the Mary
        
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        nature benevola nurturing and malevolent
  - - - in Shakespeare: male figures are changed by their experience instead female figures existence doesn't change
        
        in S. males are urget to incorporate the in-law feminine principle but females who attempt to incorporate the masculine principle fall inevitably into the outlaw feminine principle
        
        female limitation are so severe in shakepeare's work that females are static: they don't change
        
        the greatest poets of the English renaissance attempted to synthesize the gender principles: their visions involved male figures assimilating the qualities of the feminine pricinple through education, suffering becoming in the process good governors, good men or not doing so and being destroied
      - femals are bound inside the feminine principle in traditional western thought and literature
        
        even when in 18-19th century female figures begin to act as human figures they are constricted within a type
        
        they are expected to fit into a narrow "feminine" category but also expected to use only a fragment of their capacities: the in-law feminine principle (aspect that supports the dominant male establishment)
- - - - although identical tasks may be performed by either gender in different communities the 2 genders usually perform different tasks in any one community
        
        these divisions are accorded social roles are abstracted into principles seen as imposed by both nature and identity
        
        masculine and feminine principles thus become expressions of nature law embracing the world
        
        this distinction does not arise out of nature
        
        conditioning and training are responsible for the division of labour presently considered natural in most of the western world
  - - - he began his career with profound respect for masculine qualities and profound suspicion of feminine ones-> by the end of his career he has come to fear and deplore the power and capiscousness of the masculine principle and to idealize certain aspects of the feminine
        
        he did not think about moral principles in terms of gender division but his work rappresents a lifelong effort to harmonize moral qualities he did associate with the 2 genders
- - - - this trascendente is always to be archived through worldly means
  - - - they focus on interior experience (sensation, emotion and reflection) and are syntactical rather than analytic
    - - there's no great external goal to be archived because there is no purpose to human life beyond continuation and pleasure. even power in the world is nullified-> feminine worlds are essentially anarchic
    - - literature dominated by the feminine principle is found mainly in the medieval period, the 16th century and the 20th century
  - - - in tragedies events are irrevocable, in comedy they are revocable
        
        the irrevocable world (tragedy) is one of action; the revocable world (comedy) is one of language
        
        play with language is equivalent to challenging the masculine principle, masculine minds believe that words have fixed meanings, that there's should be a unity of heart and tongue and thus that feelings and words can be fixed, permanent and irrevocable
        
        play with language denies all this. language suggests relativism and ambiguity in human life
        
        the early comedies of Shakespeare celebrate the flexibility of language and the confusions attendant on this
      - the tragedies concentrate on words and action which are true because they are irrevocable and those words and actions lead inevitably to death, the ultimate truth-> truth defined by a masculine culture is permanent.
        
        commedia exploit not a linear truth but a vertical or circular one: inner truth-> comedies present the multiple truths that make up a human beings and community
        
        comedy is circular, tied to nature and eternal recurrence
        
        the comedies don't have a strong plot-> they move by elabroration
      - in tragedy the focus are on power
        
        tragedy has plot (and it may have also subplot ) since it is linea, externally oriented, and concerned with the individual it is necessarily disintegrative
        
        the world of tragedy is hierarchical: one figure dominates, the others take their places in ranks beneath him
        
        tragedy is constrictive it concentrates on a single course of action a more defined world than comedy
      - comedy is expansive: it permits entertainment of the most serious questions without necessarily entailing serious consequences
- - - - they are related to each other and share certain concerns
        
        the meaning of Venice is understood by the belmonters (porita) but the meaning of Belmont isn't by the Venetians
      - the opening scene depict the value of Venice: money and manners
        
        manners are
        
        femminine when they are dictated by the self-subordinating desire to please
        
        masculine when they are dictated by a desire to assert the self and show superiority
        
        love is not a value in this world where women are vendible
        
        venice undestands only economic language
        
        Salerno and solaio are infatuated with :moneybag:and possessions; gratiano and Lorenzo are concerned with money and manners; Antonio and shylock both lend money
        
        shylock's house is joiless: sensuous plaseure is forbidden theater it be food, drink, music, or even watching other at pleasure
        
        shylock lends money to make money / Antonio lends money to earn love
        
        in this world bassaino is a failure
        
        the departure of bassanio from Venice is a loss for Antonio = elopement of Jessica is a loss to shylock -> both losses are felt in economic terms
        
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        portia = Antonio is sad because she lacks love and will use her wealth to purchase love
        
        both users bc they give in order to receive
        
        for them money is the equivalent of love
    - - portia and narissa discuss morality and the ambiguity of human conduct-> MORAL FLEXIBILITY
        
        portia offers a set of satiric sketches of her suitors: satirizing the merchant world and the masculine values in general
        
        moral flexibility means mercy, compassion and support
- - - - neither husband understands the Maning of his act until the women equate the symbolic ring with an emotional stance
        
        the moral flexibility of Belmont permits forgiveness and the sexual banter that ends the play
        
        victory of morality over legalism