Feminist Performance and the Silence of Isabella in Measure for Measure

feminist Performance and the Silence of Isabella in cake for dance step In a chapter entitled When Is a Character non a Character? Alan Sinfield presents the consideration that the female figures in Shakespe bes plays argon not really characters at all, since they do not possess unvarying and psychologically consistent upcountry lives. Although such roles as that of Desdemona, Olivia, and Lady Macbeth are written so as to suggest the presence of uninterrupted internal consciousness, this impression collapses under the instancy of the plots movement toward closure, which reveals the figures to invent nothing more than a disjointed sequence of positions that women are conventionally supposed to occupy(53). In order to preserve a textual organization that sustains a special(prenominal) gender hierarchy, female characters abruptly wobble from one stereotypical magnetic declination of femininity to another without coherent linkages among them. For instance, despite their v olubility passim the early acts, at the conclusions of the plays, as Sinfield notes, Shakespeares women often fall wordless at moments when their speech could only vitiate the plays render at ideologic coherence (73). Thus, the decimal point at which the text falls silent is the point at which its ideological project is disclosed (74). cardinal of the most prominent of such silences appears at the end of Measure for Measure, where Isabella, the sheer woman silenced most stunningly when marriage is proposed (74), fails to react verbally to the Dukes two offers of wedlock. According to Sinfield, this lack of response occurs because Isabella is suspended mingled with two conventional female roles, and the disjunction between them makes manifest the schedule of the text... ... The Stratford Season, 1992. Shakespeare every quarter 44 (1993) 477-83. Riefer, Marcia. Instruments of many More Mightier Member The compactness of Female Power in Measure for Measure. Shakespeare Quarterly 35 (1984) 157-69. Shakespeare, William. The end up Works of Shakespeare. Ed. David Bevington. 4th ed. New York harper Collins, 1992. -----. Measure for Measure. The Arden Shakespeare. Ed. J.W. Lever. London Routledge, 1965. Sinfield, Alan. Faultlines cultural Materialism and the Politics of Dissident Reading. Berkeley U of California P, 1992. Sundelson, David. Misogyny and influence in Measure for Measure. Womens Studies 9 (1981) 83-91. Weil, Herbert S., Jr. Stratford Festival Canada. Shakespeare Quarterly 37 (1986) 245-50. Williamson, Marilyn L. The Patriarchy of Shakespeares Comedies. Detroit Wayne assert UP, 1986. Feminist Performance and the Silence of Isabella in Measure for MeasureFeminist Performance and the Silence of Isabella in Measure for Measure In a chapter entitled When Is a Character Not a Character? Alan Sinfield presents the argument that the female figures in Shakespeares plays are not really characters at all, since they do not poss ess continuous and psychologically consistent interior lives. Although such roles as that of Desdemona, Olivia, and Lady Macbeth are written so as to suggest the presence of uninterrupted interior consciousness, this impression collapses under the pressure of the plots movement toward closure, which reveals the figures to represent nothing more than a disjointed sequence of positions that women are conventionally supposed to occupy(53). In order to preserve a textual organization that sustains a particular gender hierarchy, female characters abruptly shift from one stereotypical version of femininity to another without coherent linkages between them. For instance, despite their volubility throughout the early acts, at the conclusions of the plays, as Sinfield notes, Shakespeares women often fall silent at moments when their speech could only undermine the plays attempt at ideological coherence (73). Thus, the point at which the text falls silent is the point at which its ideological project is disclosed (74). One of the most prominent of such silences appears at the end of Measure for Measure, where Isabella, the bold woman silenced most spectacularly when marriage is proposed (74), fails to react verbally to the Dukes two offers of wedlock. According to Sinfield, this lack of response occurs because Isabella is suspended between two conventional female roles, and the disjunction between them makes manifest the agenda of the text... ... The Stratford Season, 1992. Shakespeare Quarterly 44 (1993) 477-83. Riefer, Marcia. Instruments of Some More Mightier Member The Constriction of Female Power in Measure for Measure. Shakespeare Quarterly 35 (1984) 157-69. Shakespeare, William. The Complete Works of Shakespeare. Ed. David Bevington. 4th ed. New York Harper Collins, 1992. -----. Measure for Measure. The Arden Shakespeare. Ed. J.W. Lever. London Routledge, 1965. Sinfield, Alan. Faultlines Cultural Materialism and the Politics of Dissident Reading. Berkeley U of C alifornia P, 1992. Sundelson, David. Misogyny and Rule in Measure for Measure. Womens Studies 9 (1981) 83-91. Weil, Herbert S., Jr. Stratford Festival Canada. Shakespeare Quarterly 37 (1986) 245-50. Williamson, Marilyn L. The Patriarchy of Shakespeares Comedies. Detroit Wayne State UP, 1986.