The paper is about the silenced Witch in Shakespeare’s "The Tempest" and reinterpretates the unvoiced female alterlity in popular culture. The thesis is that the witch Sycorax transcends gender boundaries by baring similarities to the male character in the play and therefore showing that men and women are equal or can potentially be equal if certain immutable traits like race and gender are not seen hierarchically in terms of power and superiority. Taymor, by claiming to perform a feminist approach, merely omits presenting Sycorax at all: She selects passages dealing with Sycorax from the original and evades them visually and audibly in her film, trying to moderate Sycorax’s appearance, but actually erasing her completely out of discourse, which, by implication, is not unquestionably feminist.
Table of Contents
1. Introductory Statement
2. Sycorax: Race, Gender and Female Alterity
2.1 Sycorax in the Play
2.2 Sycorax’s Discourse
3. Julie Taymor’s The Tempest: The Witch in Film
3.1 Sycorax on Screen
3.2 Sycorax’s Discourse
4. Conclusion
5. List of Works Cited
Objectives and Thematic Focus
This essay explores the portrayal of Sycorax as an unvoiced female alterity in Shakespeare’s The Tempest and examines how Julie Taymor’s 2010 film adaptation attempts to reinterpret this character through a feminist lens. The primary research goal is to investigate whether the film succeeds in giving voice to this marginalized figure or if it inadvertently reinforces her erasure through a continued focus on patriarchal power structures.
- Postcolonial analysis of power, patriarchy, and gender in The Tempest
- Examination of the "othering" of Sycorax as a mechanism of colonial control
- Evaluation of feminist reinterpretations in contemporary film adaptations
- Comparative study of Sycorax’s representation in literature versus cinema
- Critical assessment of the "Prospera" transformation and its impact on the witch’s narrative
Excerpt from the Book
Sycorax: Race, Gender and Female Alterity
The first analysis part aims at examining Sycorax’s appearance as she comes up – or rather is brought up – in the play chronologically. Due to her principle presence in the second scene of the first act, the analysis is mostly confined to that scene. Afterwards, I am going to classify the results in a broader postcolonial discourse likewise considering its implications.
Although Sycorax herself never physically appears, she “is suggestively present … through rhetorical reference” (Buchanan 218). Most of the time she is mentioned by Prospero, wherefore it is reasonable to analyse the relationship between Prospero and Sycorax.
The initial situation of their relationship is unfamiliar, non-reciprocal and hence plainly non-existent. The first time Prospero learns about Sycorax is before the dramatic action begins. When Prospero arrives on the island with his daughter for the first time, he finds Ariel locked “into a cloven pine” (Shakespeare 1.2.277) allegedly by Sycorax, who at that time is already dead. Although only Ariel informs Prospero about her, she is “insistently present in his memory – far more present than his own wife” (Orgel 205).
Summary of Chapters
1. Introductory Statement: This chapter introduces the postcolonial context of the play and presents the thesis that Sycorax functions as a symbolic challenge to Prospero’s patriarchal rule.
2. Sycorax: Race, Gender and Female Alterity: This section provides a detailed analysis of how Prospero uses Sycorax as a dehumanized foil to legitimize his own authority and colonial control.
2.1 Sycorax in the Play: This sub-chapter examines the textual evidence of Sycorax’s absence and how she is constructed through Prospero’s biased recollections and insults.
2.2 Sycorax’s Discourse: This section explores the theoretical concept of "othering" and how Prospero manipulates the narrative to maintain his power by projecting his own fears onto the absent witch.
3. Julie Taymor’s The Tempest: The Witch in Film: This chapter shifts to the filmic adaptation, analyzing how Julie Taymor attempts to reframe the story through a feminist perspective by changing the lead character’s gender.
3.1 Sycorax on Screen: This part investigates how Taymor visually and narratively handles the character of Sycorax, noting that she is largely omitted or minimized in the film.
3.2 Sycorax’s Discourse: This concluding analysis of the film evaluates whether the gender-swapped protagonist succeeds in addressing the marginalization of the witch or if it merely replicates the original's power dynamics.
4. Conclusion: The final chapter summarizes the findings, arguing that while the adaptation is ambitious, it ultimately fails to provide a truly feminist space for the character of Sycorax.
5. List of Works Cited: This section provides a comprehensive list of the academic and primary sources utilized throughout the essay.
Keywords
Shakespeare, The Tempest, Sycorax, Prospero, Prospera, Postcolonialism, Patriarchy, Feminism, Alterity, Othering, Julie Taymor, Film Adaptation, Gender, Marginalization, Colonialism.
Frequently Asked Questions
What is the core subject of this paper?
The paper examines the character of Sycorax in Shakespeare’s The Tempest, focusing on her role as a silenced "other" and how she is depicted—or omitted—in Julie Taymor’s film adaptation.
What are the primary themes discussed?
Key themes include colonial power structures, gender hierarchy, patriarchal control, the "othering" of the female figure, and the potential of feminist re-readings in film.
What is the author's main research question?
The author investigates whether a purportedly feminist film adaptation effectively challenges the marginalization of the witch Sycorax or if it continues to relegate her to the periphery of the narrative.
Which methodology is employed?
The work utilizes a comparative literary and cinematic analysis, examining the original play text against the 2010 film adaptation to highlight discrepancies in representation.
What does the main body focus on?
The body analyzes the textual references to Sycorax in the play, the political function of her "othering," and the visual and narrative choices made in Taymor’s version to recontextualize the story.
What are the characterizing keywords?
Essential keywords are Sycorax, Prospero, postcolonialism, patriarchy, feminism, and othering.
How does the film version treat Sycorax compared to the play?
The film largely erases or minimizes Sycorax, failing to provide the expected feminist voice, even as it transforms the male Prospero into the female Prospera.
Why does the author argue the film's "feminist" label is questionable?
The author argues that while the film changes the gender of the lead character, it maintains the same power-hungry and exclusionary attitudes towards the witch, thereby replicating the misogyny it claims to counter.
What significance is attributed to the character of Sycorax?
Sycorax is presented as a symbolic counter-narrative to Prospero’s colonial rule, representing a potential for female subversion that remains threatening to the patriarchal structure.
- Citar trabajo
- Anonym (Autor), 2019, The Silenced Witch in "The Tempest" by William Shakespeare. Unvoiced Female Alterity in Popular Culture, Múnich, GRIN Verlag, https://www.grin.com/document/940999
