DOCSLIB.ORG

A Shrew by Any Other Name: Balancing Female Power and Performance in Shakespeare's Taming of the Shrew and Fletcher's the Tamer Tamed

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Shrew by Any Other Name: Balancing Female Power and Performance in Shakespeare's Taming of the Shrew and Fletcher's the Tamer Tamed Linfield University DigitalCommons@Linfield 2013 Projects Keck Summer Collaborative Research Projects Summer 2013 A Shrew by Any Other Name: Balancing Female Power and Performance in Shakespeare's Taming of the Shrew and Fletcher's The Tamer Tamed Kate McMullan Linfield College Kyra Rickards Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/keck_2013 Part of the Dramatic Literature, Criticism and Theory Commons, and the English Language and Literature Commons Recommended Citation McMullan, Kate and Rickards, Kyra, "A Shrew by Any Other Name: Balancing Female Power and Performance in Shakespeare's Taming of the Shrew and Fletcher's The Tamer Tamed" (2013). 2013 Projects. Presentation. Submission 1. https://digitalcommons.linfield.edu/keck_2013/1 This Presentation is protected by copyright and/or related rights. It is brought to you for free via open access, courtesy of DigitalCommons@Linfield, with permission from the rights-holder(s). Your use of this Presentation must comply with the Terms of Use for material posted in DigitalCommons@Linfield, or with other stated terms (such as a Creative Commons license) indicated in the record and/or on the work itself. For more information, or if you have questions about permitted uses, please contact [email protected]. A Shrew by any Other Name: Balancing Female Power and Performance in Shakespeare’s Taming of the Shrew and Fletcher’s The Tamer Tamed Kate McMullan and Kyra Rickards Linfield Center for the Northwest 2013 The Taming of the Shrew Portland Shakespeare Project Kate (Maureen Porter) and Petruchio’s (James Farmer) first meeting Photo Credit: David Kinder Disbanding the wedding party Kate is led to bed by Petruchio Photo Credit: David Kinder A seemingly perfect ending? Photo Credit: David Kinder Is Kate Really Tamed? Timeline of Shrew Performances and Adaptations from 1594 to 1844 1601-1603? 1667 1754 The Taming of the Shrew Sauny the Scot Catharine and Petruchio first performed John Lacy David Garrick 1594 1633 1735 1844 The Taming of a Shrew Dual performances Cure for a Scold The Taming of the Shrew Anonymous of Shrew and Tamer James Worsdale performed again 1611? The Tamer Tamed John Fletcher Kate’s Final Monologue Shakespeare’s first Folio, 1623 Sauny the Scot (1667) John Lacy Margaret: Fie, Ladies, for shame, How dare you infringe that Duty which you justly owe your Husbands; they are our Lords, and we must pay ’em Service. Petruchio: I’ve Tam’d the Shrew, but will not be asham’d, if next you see the very Tamer Tam’d. A Cure for a Scold (1735) James Worsdale Authors should study nature, but how few In life resemble these our author drew: In every house some observation spend, At Westminster begin, at Wapping end, You’ll find the scene reversed, and every Dame Like old Alcides,--making monsters tame. The Tamer Tamed: John Fletcher, aprx. 1611 http://www.flickr.com/photos/60861613@N00/3969626503/ What is the significance of The Tamer Tamed in response to The Taming of the Shrew? Portland Shakespeare Project Director Michael Nehring gives a few notes to the cast prior to rehearsal Photo Credit: David Kinder Petruchio’s (Peter Platt) wife, Kate, has died & he remarries Maria (Kayla Lian)— whom the men think Petruchio will “bury” within the week. Photo Credit: David Kinder Maria, with the help of her friend and cousin Bianca (Ashley Williams), decides to tame Petruchio, who has earned a violent reputation for taming women. The women come together to defy their husbands/fathers in a show of solidarity for their cause, barricading themselves in the city and throwing a party. Photo Credit: David Kinder Maria defeats all of Petruchio’s attempts at taming, using her intellect to remain a step ahead of his antics. Photo Credit: David Kinder Finally defeated, Petruchio realizes his wife’s merit and promises to never attempt to tamer her again, in turn Maria concedes to fulfill her role as dutiful, but equal, wife to Petruchio. Photo Credit: David Kinder Prologue; 1633 Ladies to you, in whose defence and right Fletcher’s brave Muse prepared herself to fight A battle without blood—’twas well fought too; The victory’s yours, though got with much ado— We do present this comedy, in which A rivulet of pure wit flows, strong and rich In fancy, language, and all parts that may Add grace and ornament to a merry play, Which this may prove. Yet not to go too far In promises from this our female war, We do entreat the angry men would not Expect the mazes of subtle plot, Set speeches, high expressions, and, what’s worse, In a true comedy, politic discourse. The end we aim at is to make you sport, Yet neither gall the city, nor the court. Hear and observe his comic strain, and when Y’are sick of melancholy, see’t again. ‘Tis no dear physic, since ‘twill quite the cost, Or his intentions, with our pains, are lost. Epilogue; 1633 The tamer’s tamed, but so as nor the men Can find one just cause to complain of, when They fitly do consider in their lives They should not reign as tyrants o’er their wives; Nor can the women from this precedent Insult or triumph, it being aptly meant To teach both sexes due equality And, as they stand bound, to love mutually. If this effect, arising from a cause Well laid and grounded, may deserve applause, We something more than hope our honest ends Will keep the men, and women too, our friends. Alternate Prologues/Epilogues Prologue; 1660, by Thomas […]Pray keep your seats, you do not sit in fear Jordan: As in the dangerous days of Oliver. It is not now—in good time be it spoke— ‘Enter the Red-Coats’, ‘Exit at and Cloak’ […] Epilogue; 1660, by Thomas […]I fear I have offended the good laws Jordan: Of household government, and given cause By my example (in this wild assay) For some to put into practice what we play, […] Epilogue; 1757(?), unknown: […]They [beaux] are by nature ready tamed to hand; If not, their wives were in a poor condition, For beaux have nought to please us but submission […] Epilogue; 1760, by Richard Well! Since I’ve thus succeeded in my plan, Owen Cambridge: And conquered this all-conquering tyrant, To father conquests still my soul aspires, And all my bosom glows with martial fires [...] What does this all mean moving forward? Photo courtesy of osfashland.org Citations Fletcher, John. “Appendix 2: Prologues and Epilogues”. Ed. Lucy Munro. The Tamer Tamed. London: Methuen Drama, 2010. 179-87. Print. Fletcher, John. The Woman’s Prize, or the Tamer Tam’d. A Comedy. London; 1633. Early English Books Online. Web. 21 July 2013. John Fletcher. N.d. John Fletcher, Dramatist. Flickr, 30 Sept. 2009. Web. 30 July 2013. <http://www.flickr.com/ photos/60861613@N00/3969626503/> Lacy, John. Sauny the Scot: or, The Taming of the Shrew: a Comedy. As it is now acted at the theatre-royal. Written by J. Lacy, servant to his Majesty. London: Printed by E. Whitlock, near Stationers-Hall, 1698. EEBO. Web. 14 June. 2013. Kinder, David. “Portland Shakespeare Project's Taming of the Shrew Collection.” Photograph. Kinderpics. SmugMug. Web. 5 August. 2013. ---. “Dress rehearsal photos for PSP's The Tamer Tamed Collection.” Photograph. Kinderpics. SmugMug. Web. 5 August. 2013. Petruchio. 2013. Photograph. Oregon Shakespeare Festival, Ashland. Taming of the Shrew. Oregon Shakespeare Festival. Web. 30 July 2013. Shakespeare, William. “The Taming of the Shrew.” Mr. William Shakespeares Comedies, Histories, & Tragedies. Published according to the True Originall Copies. London: Printed by Isaac Jaggard, and Ed. Blount, 1623. Internet Shakespeare Editions. Brandeis University Library. Web. 8 August. 2013. Worsdale, James. A Cure for a Scold, As it is now acting at the theatres in London and Dublin, with universal applause, By Mr. Worsdale. London: Printed for L. Gilliver, at Homer's Head, Fleet Street, 1738. Facsimile. London: Cornmarket Publishing, 1969. .
Load more

Recommended publications
  • Braggart Courtship from Miles Gloriosus to the Taming of the Shrew
    2707 Early Theatre 19.1 (2016), 81–112 http://dx.doi.org/10.12745/et.19.1.2707 Philip D. Collington ‘A Mad-Cap Ruffian and a Swearing Jack’: Braggart Courtship from Miles Gloriosus to The Taming of the Shrew There is a generic skeleton in Petruchio’s closet. By comparing his outlandish behav- iour in Shakespeare’s The Taming of the Shrew (ca 1592–94) to that of Pyrgopo- linices in Plautus’s Miles Gloriosus (ca 200 BC), as well to that of English variants of the type found in Udall, Lyly, and Peele, I re-situate Petruchio as a braggart soldier. I also reconstruct a largely forgotten comic subgenre, braggart courtship, with distinctive poetic styles, subsidiary characters, narrative events, and thematic func- tions. Katherina’s marriage to a stranger who boasts of his abilities and bullies social inferiors raises key questions: What were the comic contexts and cultural valences of a match between a braggart and a shrew? Is there a generic skeleton in Petruchio’s closet? When he arrives in Padua in The Taming of the Shrew (ca 1592–94), he introduces himself to locals as old Antonio’s heir — and those who remember the father instantly embrace the son. ‘I know him well’, declares Baptista, ‘You are welcome for his sake’ (2.1.67–9).1 But when Petruchio begins beating his servant and boasting of his abilities, he may also have struck playgoers as a character type they knew well: the braggart soldier. By comparing Petruchio to the type’s most storied ancestor, Pyrgopo- linices in Plautus’s Miles Gloriosus [The Braggard Captain] (ca 200 BC), as
    [Show full text]
  • Dd Shrewstudyguide.Pdf
    HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander.
    [Show full text]
  • Early Television Shakespeare from the BBC, 1937-39 Wyver, J
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch An Intimate and Intermedial Form: Early Television Shakespeare from the BBC, 1937-39 Wyver, J. This is a preliminary version of a book chapter published in Shakespeare Survey 69: Shakespeare and Rome, Cambridge University Press, pp. 347-360, ISBN 9781107159068 Details of the book are available on the publisher’s website: https://www.cambridge.org/core/what-we-publish/collections/shakespea... The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 An intimate and intermedial form: early television Shakespeare from the BBC, 1937-39 In the twenty-seven months between February 1937 and April 1939 the fledgling BBC television service from Alexandra Palace broadcast more than twenty Shakespeare adaptations.1 The majority of these productions were short programmes featuring ‘scenes from…’ the plays, although there were also substantial adaptations of Othello (1937), Julius Caesar (1938), Twelfth Night and The Tempest (both 1939) as well as a presentation of David Garrick’s 1754 version of The Taming of the Shrew, Katharine and Petruchio (1939). There were other Shakespeare-related programmes as well, and the playwright himself appeared in three distinct historical dramas. In large part because no recordings exist of these transmissions (or of any British television Shakespeare before 1955), these ‘lost’ adaptations have received little scholarly attention.
    [Show full text]
  • 8 Mihaela URSA Faculty of Letters, Babeș-Bolyai
    Mihaela URSA Faculty of Letters, Babeș-Bolyai University Cluj-Napoca, Romania [email protected] LOVERS AND TAMERS: TRANSMEDIATIONS OF SHAKESPEARE'S TAMING OF THE SHREW TO VISUAL CULTURE Abstract: The critical dispute in the interpretive history of Shakespeare's Taming of the Shrew is traditionally polarised between whether Katherina is - at the end of the play - tamed or not. This article examines part of this interpretive history as a barometer of cultural coding of domestic love. Instead of deciding yet again if Katherina is sincere, or just acting obedient, I want to see how different cultural contexts choose their reading of a canonic play in popular culture. The article shows how and where the social codes of these cultural contexts become visible in selecting their interpretive arguments from a virtually endless line of possibilities. The material of this analysis is a double transmediation: of literature to film, and of film to film posters. Among some well known adaptations and remakes of The Taming of the Shrew, I also examine a lesser-known Romanian filmic reference to this intertext. Key words: Shakespeare, The Taming of the Shrew, transmediation, visual culture, film posters Whether seen as a love story, a cautionary tale, a narrative on learning the social codes of relationships, this unfinished early play by Shakespeare elicits a great deal of interpretive flexibility. This flexibility is further put to the test in the case of stage or film adaptations and remakes of the original play. When transmediating to visual culture, the former textual ambiguity of the play is lost or at least reduced to a considerable extent, in the sense that each adaptation is bound to follow only one interpretive line.
    [Show full text]
  • The Taming of the Shrew 360°
    THEATRE FOR A NEW AUDIENCE Milton Glaser THE TAMING OF THE SHREW 360° A VIEWFINDER: Facts and Perspectives on the Play, Playwright, and Production 154 Christopher Street, Suite 3D, New York, NY 10014 • Ph: (212) 229-2819 • F: (212) 229-2911 • www.tfana.org tableTABLE OFOF CONTENTSCONTENTS The Play 3 Synopsis and Characters 4 Sources 7 The Induction 9 Sexual Politics and The Taming of the Shrew 13 Perspectives 16 Selected Performance History The Playwright 18 Biography 19 Timeline of the Life of the Playwright 22 Shakespeare and the American Frontier The Production 24 From the Director 25 Scenic Design 26 Building a Sustainable Set 28 Costume Design 31 Cast and Creative Team Further Exploration 35 Glossary 38 Bibliography About Theatre for a New Audience 40 Mission and Programs 41 Major Institutional Supporters Theatre for a New Audience’s production of The Taming of the Shrew is sponsored by Theatre for a New Audience’s production is part of Shakespeare for a New Generation, a national initiative sponsored by the National Endowment for the Arts in cooperation with Arts Midwest. Milton Glaser Notes This Viewfinder will be periodically updated with additional information. Last updated March 2012. Credits Compiled and written by: Carie Donnelson, with contributions from Jonathan Kalb | Edited by: Carie Donnelson and Katie Miller, with assistance from Abigail Unger | Literary Advisor: Jonathan Kalb | Designed by: Milton Glaser, Inc. | Copyright 2012 by Theatre for a New Audience. All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this study guide may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers.
    [Show full text]
  • Shrew Around a Deep Thrust Stage—With Only Nine Rows Separating the Farthest Dramatis Personae 10 Who’S Who 11 Seat from the Stage
    Biondello, rendering by Costume Designer Susan Mickey Barbara Gaines Artistic Director Table of Contents Carl and Marilynn Preface . .1 . Art That Lives . .2 . Thoma Endowed Chair Bard’s Bio . 3. The First Folio . .3 Criss Henderson Shakespeare’s England . 4. Executive Director The English Renaissance Theater . 5 The Courtyard-style Theater . 7. Timelines . 8 Chicago Shakespeare Theater is Chicago’s professional theater dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory Shakespeare’s in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three levels wrap The Taming of the Shrew around a deep thrust stage—with only nine rows separating the farthest Dramatis Personae . .10 . Who’s Who . .11 . .seat . from the stage. Chicago Shakespeare also features a flexible 180-seat The Story . 12 black box studio theater, a Teacher Resource Center, and a Shakespeare Act by Act Synopsis . 12. specialty. bookstall. In 2017, a new, innovative performance venue, The S omething Borrowed, Something New: Yard at Chicago Shakespeare, will expand CST's campus to include three Shakespeare’s Source. 14 To Have and To Hold: theaters. The year-round, flexible venue can be configured in a variety of Elizabethans and their Bonds of Marriage shapes and sizes with audience capacities ranging from 150 to 850, What’s in a (Genre’s) Name? . 15. defining the audience–artist relationship to best serve each production. Now in its thirty-first season, the Theater has produced nearly the entire Scholars’ Perspectives Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, As Listening to Silence .
    [Show full text]
  • Activity 4 - Adaptation
    Activity 4 - Adaptation GONERIL Come, sir, I would you would make use of that good wisdom Whereof I know you are fraught, and put away These dispositions that of late transform you From what you rightly are. [King Lear, 1.iv] For economic, social and cultural reasons, Shakespeare rose to prominence in the course of the eighteenth century. The works performed, at Drury Lane and other theatres in the period were not, however, quite those that you can see in London or Stratford-upon-Avon in the twenty-first century. Rather, Shakespeare's plays were often adapted. Even if people read printed versions of the original texts at home, those they saw on the stage were often quite different. These adaptations did, however, contribute to Shakespeare's fame. Above all, they presented Shakespeare in a way that was not too unfamiliar to eighteenth-century audiences. This meant that these adaptations allowed parts of Shakespeare's works to be performed even when prevailing cultural opinions would not have suffered the full text to appear on the stage. We may criticise them for their rewriting now, and indeed some eighteenth-century critics and actors were already doing this, but we should not forget that such rewritings also kept Shakespeare on the stage, particularly in the early decades of the period. Several famous authors rewrote Shakespeare for the stage in the seventeenth and eighteenth centuries. John Dryden (1631-1700) contributed to a new version of The Tempest, called The Enchanted Island in 1667, which added a sister for Caliban, and a man, Hippolita, living on Prospero's island but who, as the direct opposite of Miranda, had never seen a woman.
    [Show full text]
  • 2014-15 Wooden O.Indd
    84 A Tale of Two Shrews: Recovering the Repertory of the Lord Pembroke’s Players Elizabeth E. Tavares University of Illinois at Urbana-Champaign hen we talk about anonymously written plays, we often regard them as stuck out of time; we have no author, W fallible or otherwise, on which to hang their intentions. One way of recovering a sense of those intentions is to place anonymous plays amongst their peers. Repertory study, or the method of analyzing the set of plays owned by a single playing company, is an old theatre history method for recovering our sense of the place of lost and anonymous plays within their historical moment, and now gone out of fashion. The anonymous A Pleasant Conceited Historie called The taming of a Shrew owned by the Lord Pembroke’s Players is one such text. Referred to as either a source or competing performance text in relation to William Shakespeare’s The Taming of the Shrew, an analysis of the preferred manner of playing evident in the Pembroke repertory can situate the play in its moment rather than as derivative of the Shakespeare canon. By first sketching the some of the presentation strategies privileged by Pembroke’s Players, and then assessing the variations between A Shrew and The Shrew (with attention to their framing devices), my aim is to fill in some of the picture about what exactly about this shrew narrative made it competitive enough to warrant two in the same theatrical marketplace. The Taming of a Shrew (1592) was one of a number of shrew- taming entertainments circulating in the sixteenth and seventeenth centuries.
    [Show full text]
  • Catalogo Dei Film E Degli Episodi Televisivi Contenenti Allusioni E Shakespeare
    appendice Catalogo dei film e degli episodi televisivi contenenti allusioni e Shakespeare a cura di Mariangela Tempera ALL’S WELL THAT ENDS WELL ALL'S WELL THAT ENDS WELL Ian Charleson, Angela Down, Michael Hordern, Celia Johnson. regia: Elijah Moshinsky, 1981. Versione della BBC. ing. col. 2h35’ dvd AL A 1 ALL'S WELL THAT ENDS WELL Versione del 'Globe Theatre'. regia: John Dove, 2011. ing. col. 2h18' cf AL A 3 TUTTO E' BENE QUEL CHE FINISCE BENE Ian Charleson, Michael Hordern, Celia Johnson. regia: Elijah Moshinsky, 1981. Versione italiana della produzione BBC. it. col. 2h35’ dvd AL A 2 SAU SARUM JENUM CHEVATA SARUM Versione indiana presentata al Globe Theatre di Londra. regia: Sunil Shanbag, 2012. guj. col. 2h16' cf AL B 1 CRIBB 1.6: WOBBLE TO DEATH Cit. di 'All's well that ...' regia: Gordon Flemyng, 1980. ing. col. 51' cf AL D 9 CRIMINAL MINDS 3.9: PENELOPE Il narratore cita "love all, trust a few .." regia: Félix Enríquez Alcalà, 2007. ing. col. 43' dvd cf AL D 2 da 36 VUES DU PIC SAINT LOUP Un personaggio cita "All's well..." regia: Jacques Rivette, 2009. fra. col. 30" dvd AL D 3 da DARK COMMAND Sh. doveva essere texano perché 'All's well that ...' è un detto regia: Raoul Walsh, 1940. texano. ing. b/n 1' cf AL D 8 FUTARI WA PRETTY CURE 24: MATCH POINT! Cit. del titolo di All's well... regia: Daisuke Nishio 2009 [2004]. ing. col. 24' cf AL D 7 GOLDEN GIRLS 1.16: THE TRUTH WILL OUT Cit.
    [Show full text]
  • A Study Guide
    a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey The Taming of the Shrew study guide — 2 The Taming of the Shrew a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p17- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- The Taming of the Shrew: A Synopsis p9- Sources and History of the Play p11- Commentary and Criticism Studying Shakespeare’s The Taming of the Shrew p10- Shakespeare’s Common Tongue p10- Terms and Phrases found in The Taming of the Shrew p12- Aspects of The Taming of the Shrew p13- The Taming of the Shrew: Food For Thought p14- Additional Topics for Discussion Classroom Applications p14- Follow-Up Activities p15- What Did He Say? p15- Who Said That? p16- Meeting the Core Curriculum Content Standards p17- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p18- About The Shakespeare Theatre of New Jersey p18- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts.
    [Show full text]
  • Editing Shakespeare Violence, Text and Commodity in the Taming of the Shrew
    Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2007 Editing Shakespeare Violence, Text and Commodity in The Taming of the Shrew Kathryn E. Vomero Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Literature in English, British Isles Commons, and the Other English Language and Literature Commons Recommended Citation Vomero, Kathryn E., "Editing Shakespeare Violence, Text and Commodity in The Taming of the Shrew" (2007). Syracuse University Honors Program Capstone Projects. 559. https://surface.syr.edu/honors_capstone/559 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. Editing Shakespeare Violence, Text and Commodity in The Taming of the Shrew Kathryn E. Vomero Candidate for B.A. Degree in English and Textual Studies with Honors May 2007 APPROVED Thesis Project Advisor: ____________________________ Dympna Callaghan Honors Reader: __________________________________ Charles Martin Honors Director: __________________________________ Samuel Gorovitz Date:___________________________________________ Copyright © 2007 by Kathryn E. Vomero All rights reserved Abstract Editing Shakespeare: Violence, Text, and Commodity in The Taming of the Shrew is an edition of one of Shakespeare’s earliest and most controversial comedies aimed at an undergraduate audience. Textually, The Taming of the Shrew is a complex and controversial play because two radically different versions of it have survived. My edition is written in the context of two other controversies, namely the function of scholarship in the humanities given Syracuse University’s commitment to scholarship in action and the abiding problem of domestic abuse.
    [Show full text]
  • Taming of the Shrew1rachel E
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Opus: Research and Creativity at IPFW Indiana University - Purdue University Fort Wayne Opus: Research & Creativity at IPFW English and Linguistics Faculty Publications Department of English and Linguistics 2009 Disability and the Characterization of Katherine in The aT ming of the Shrew Rachel E. Hile Indiana University - Purdue University Fort Wayne, [email protected] This research is a product of the Department of English and Linguistics faculty at Indiana University-Purdue University Fort Wayne. Follow this and additional works at: http://opus.ipfw.edu/english_facpubs Part of the English Language and Literature Commons Opus Citation Rachel E. Hile (2009). Disability and the Characterization of Katherine in The aT ming of the Shrew. Disability Studies Quarterly.29 (4), online. http://opus.ipfw.edu/english_facpubs/15 This Article is brought to you for free and open access by the Department of English and Linguistics at Opus: Research & Creativity at IPFW. It has been accepted for inclusion in English and Linguistics Faculty Publications by an authorized administrator of Opus: Research & Creativity at IPFW. For more information, please contact [email protected]. >Vol 29, No 4 (2009) > Hile Disability and the Characterization of Katherine in The Taming of the Shrew1Rachel E. HileIndiana University-Purdue University Fort WayneDepartment of English & LinguisticsE- mail: [email protected] Keywords: William Shakespeare, Taming of the Shrew, Katherine, mobility impairment, ugliness, marriage, disability Abstract Despite numerous studies of the origins and meanings of Katherine's shrewishness in Shakespeare's The Taming of the Shrew, no scholar has analyzed the role of disability in Katherine's feelings of alienation and her ultimate transformation.
    [Show full text]