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Full-Text Articles in Arts and Humanities
William Shakespeare’S All Is True, Lord Chamberlain’S “Truth,” And Civil Religion, Paul Olson
William Shakespeare’S All Is True, Lord Chamberlain’S “Truth,” And Civil Religion, Paul Olson
Department of English: Faculty Publications
The first title for Shakespeare’s Henry VIII—All Is True—may reflect standard early modern usage signifying that all is an aspect of ‘troth’ or loyalty, all is common understanding, or all is received from a divine source. In the play, the Lord Chamberlain, Shakespeare’s only character so named, serves the Henrician monarchy’s “truth” by serving Henry’s religious and monarchic goals as the Jacobean Lord Chamberlain similarly served James I’s goals, assuring audiences of the integrity, truth, and legitimacy of the monarchy and its faith. The play shows the Lord Chamberlain working to strengthen the loyalty of Henry’s realm …
The Past And Present: Issues Of Male Patriarchy Throughout Historic Literature And Dominance In Media Today, Leah Moore
The Past And Present: Issues Of Male Patriarchy Throughout Historic Literature And Dominance In Media Today, Leah Moore
Undergraduate Honors Theses
Women’s subjugation to the objectification of men is a traced theme throughout the history of Western culture. In this thesis, the attributes of the male gaze will be explored via the patriarchal pioneers of literature: Dante to Petrarch to Shakespeare. The solidification of the male gaze takes place during the late middle ages as Dante Alighieri writes an infatuated love for Beatrice throughout La Vita Nuova and Inferno, demonstrating the virgin-whore dichotomy with Francesca. Similarly, Francesco Petrarch’s poetry of Rime Sparse describes the objectification and dismantling of woman for erotic pleasure and patriarchal power. The shift from early to …
On Cleopatra Vii: From Horace And Shakespeare To Self-Representation, Silja M. Hilton
On Cleopatra Vii: From Horace And Shakespeare To Self-Representation, Silja M. Hilton
Honors Theses
This thesis explores and analyzes Horace’s Ode 1.37 and Shakespeare’s Antony and Cleopatra in context of their poetic and theatrical narratives, word choice, and grammatical structures in an effort to form a clearer image of Cleopatra VII. While each work is placed within its historical settings, I do not pursue their historical ‘truths.’ Rather, I draw from the authors’ literary conceptions about the Ruler, from Horace’s inpotens (“a woman lacking in self-control”) to fierce agency in deciding death (“deliberata morte ferocior”), to Shakespeare’s ‘othering’ of Cleopatra as tawny, gypsy, and whore, to his portrayals of her as Goddess …