I want to start my thesis by briefly discussing one of the seminal works on historical gender studies, Thomas Laqueur’s "Making Sex". He argues that based on the publications of an old Greek physician named Galen, women and men were regarded as the same sex in Europe for about 2,000 years from the second century AD to circa 1800. He claims that male and female genitals were depicted and regarded as the same, with the only difference that the female genitalia were inside whereas the male genitalia were outside. Men and women were supposed to be different in degree but not in kind. Women were considered an imperfect version of men, since they were cooler, wetter, and more passive. Thus, the supposed sameness of the physical characteristics of men and women did by no means promise equality of the sexes; on the contrary, it underpinned the hierarchy and male superiority. Furthermore, women stood for fleshiness and desire. The connection of passiveness and desire as female traits seems controversial but is typical of the time. The idea of lustful, desirous, and uncontrollable women changed quite a lot later, especially in the 19th century, when women were usually supposed to have no or a very low sexual drive. Although we also find “the fallen woman” in 18th and 19th century literature, who is unable to control her sexual passion. The concept of a promiscuous female sexuality in Shakespeare’s time might seem a bit odd to us today, but if we look at the plays, we find exactly this idea of women being lustful and uncontrollable for men. Laqueur claims that “Sometime in the eighteenth century, sex as we know it was invented”. This means that Shakespeare’s contemporaries would still have had an ancient understanding of sex (or gender) differences. Although the concept of gender was not yet developed in Shakespeare’s time, I believe it is useful and justifiable to talk about gender relations. It is inevitable to take a modern perspective, and the concept of gender is not restricted to men and women of the 20th and 21st centuries; it is definitely applicable to Shakespeare’s characters, too, as I will try to show in this thesis.
Table of Contents
1. Introduction
2. Much Ado About Nothing
2.1 Hero and Claudio
2.2 Beatrice and Benedick
2.3 Male Alliances and Villainy
3. Othello
3.1 Race and Gender
3.2 Desdemona and Othello
3.3 Othello and Iago
4. Conclusion
Objectives and Themes
The primary objective of this thesis is to examine how different literary genres, specifically comedy and tragedy, influence the portrayal of gender relations, character types, and power dynamics in Shakespeare's works "Much Ado About Nothing" and "Othello". By analyzing these plays, the author aims to demonstrate that comedies often feature more resilient and emancipated female figures, while tragedies tend to exacerbate gender inequality and emphasize male dominance, providing a historical mirror for understanding contemporary gender issues.
- Analysis of gender norms and patriarchal structures in early modern England.
- Comparative study of gender dynamics between the two plays and their respective genres.
- Evaluation of the influence of race and identity in the construction of tragic narratives.
- Examination of character motivations and the role of villainy in driving plot developments.
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3.1 Race and Gender
To what extent the play is concerned with race, i.e. whether Othello’s blackness is a crucial point or not, has often been discussed. Although it might not be the most important aspect of the play, it is indubitably significant and influences the attitudes of (certain) characters towards Othello. Although Loomba reminds us that the concept of race was not yet fully developed at Shakespeare’s time and that the distinction was more a social than a biological one (Loomba, Shakespeare, Race, and Colonialism 2/3), it is obvious that Othello becomes a “victim of the racist ideology” (Adelman 125) at times by certain characters. Roderigo, Brabantio, and Iago show racial resentments – especially in the beginning – which do not seem to change during the play.
Iago calls him “an old black ram” (1.1.87), a “Barbary horse” (1.1.110), and a “lusty Moor” (2.1.293), “now making the beast with two back” (1.1.115), and even admits that “I do hate him [Othello] as I do hell-pains” (1.1.152). Roderigo calls him a “lascivious Moor” (1.1.124) and “the thicklips” (1.1.65). He is in love with Desdemona, too, and cannot accept that she chose a black husband. Roderigo’s standing is rather low and he acts more like an assistant of Iago. Roderigo is tricked by Iago, who uses him to realize his own intrigues and as a moneylender, as I will discuss later. Brabantio, Desdemona’s father, is unhappy with her daughter’s marriage to a Moor.
Summary of Chapters
1. Introduction: This chapter provides the theoretical framework by discussing historical gender studies and the evolution of gender perceptions from the Renaissance to the modern era.
2. Much Ado About Nothing: This chapter explores the gender relations in the play, focusing on the contrasting dynamics of the two central couples and the male-dominated social structures.
2.1 Hero and Claudio: This section analyzes the traditional, conventional, and often submissive relationship between Hero and Claudio within the patriarchal framework of the time.
2.2 Beatrice and Benedick: This section examines the unconventional, witty, and parodic relationship of Beatrice and Benedick as a challenge to established Renaissance gender norms.
2.3 Male Alliances and Villainy: This section discusses how male identity is formed through bonding and how Don John’s villainy serves as a disruptive force against the patriarchal status quo.
3. Othello: This chapter shifts focus to the tragic genre, exploring how its darker themes and intense power imbalances shape the female experience and male jealousy.
3.1 Race and Gender: This section investigates how Othello’s blackness functions as an "othering" mechanism and how racial prejudice intersects with gender issues.
3.2 Desdemona and Othello: This section details the marriage between Desdemona and Othello, highlighting the tragedy resulting from suspicion, cultural differences, and social pressures.
3.3 Othello and Iago: This section analyzes the manipulative relationship between Iago and Othello, detailing how Iago’s villainy exploits Othello’s insecurities to drive the tragedy.
4. Conclusion: This chapter synthesizes the findings, reflecting on the historical significance of the gender dynamics in these plays and their enduring relevance to modern society.
Key Terms
Gender relations, Renaissance literature, Shakespeare, Patriarchy, Comedy, Tragedy, Hero and Claudio, Beatrice and Benedick, Othello and Desdemona, Racial prejudice, Masculinity, Gender roles, Femininity, Identity, Villainy.
Frequently Asked Questions
What is the core focus of this thesis?
The work primarily explores how gender relations are constructed and depicted in Shakespeare's "Much Ado About Nothing" and "Othello," specifically looking at how the genre—comedy versus tragedy—affects the empowerment or suppression of female characters.
What are the central themes explored?
Central themes include patriarchal authority, gender performance, the impact of social status on individual agency, race as a marker of identity, and the destructive power of male-driven rivalry and suspicion.
What is the primary research goal?
The goal is to analyze the shift in gender dynamics between the comedies and tragedies of Shakespeare, arguing that female characters in comedies possess more agency and independence compared to their tragic counterparts.
Which scientific methods are employed?
The author uses a literary-critical approach, drawing on established gender studies, historical context of the Renaissance, and critical analyses of Shakespeare's primary texts to interpret the character dynamics and thematic structures.
What is discussed in the main body?
The main body examines the specific relationships between couples in "Much Ado About Nothing" and the tragic downfall in "Othello," while also evaluating the motivations of villains like Don John and Iago in relation to social and gender hierarchies.
Which keywords characterize the work?
The work is characterized by terms such as gender relations, Renaissance drama, Shakespeare, masculinity, female agency, racial construction, and genre influence.
How does the author view the function of the "handkerchief" in Othello?
The author argues that the handkerchief is more than a simple prop; it acts as a symbolic object connected to Othello's family honor, his origin as an outsider, and his wife's chastity, making it the focal point of his jealousy.
What distinguishes the villainy of Don John from that of Iago?
The author notes that while Don John is a minor, somewhat flat villain driven by dissatisfaction with his status, Iago is a complex, master manipulator whose destructive nature is deeply intertwined with his racism and misogyny.
- Citation du texte
- Martin Boddenberg (Auteur), 2016, Gender relations in "Much Ado About Nothing" and "Othello". How does genre make a difference?, Munich, GRIN Verlag, https://www.grin.com/document/334063
