gender vs. sex
|"First love is only a little foolishness and a lot of curiosity." -- George Bernard Shaw
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There are two ways to do it: (1) the themes in one writer (one play) and (2) one theme in many writers (one play each).
* The Compact Bedford Intro to Drama (textbook) *
2004: from 2003
The school of formalism advised to see the forms independent from "meaning" (structuralism was to follow). Themes are for MEANING analysis (remember, Aristotle's "Idea"?)Grosz and Gatens are speaking in this respect from a position which is often referred to as corporealist: from the adjective ‘corporeal’ which means to do with the body. Corporeal theory emphasises the corporeal, bodily, aspect of being human. Corporeal theory attempts to return the body to the philosophical discussion of what it means to be human and that has been historically elided from the discourse. Cartesian discussions of the human subject focus on the human subject as a consciousness, that human identity is a matter of a mental knowing of oneself. In fact the Mind/Body opposition is also often referred to as Cartesian dualism. This refers to the eighteenth century philosopher Rene Descartes whose famous line ‘I think therefore I am’ has passed into popular philosophy and points to the way in which existence is considered to reside in a conscious mind. The popularity of Cartesian philosophy, coupled with a religious sense of the body as profane, has led to a construction of the modern human subject as if he is without a body; modern man is disembodied, more advanced than mere body.
I believe that the intellectual history of the 20th century can be studied through plays. Existentialism, for instance.
THR413 Playscript Analysis starts with Ibsen and Chekhov and the evolution of the thought can be seen to Beckett and Absurdism.
The focus -- the crisis of modernity (high modernity, turn of the 20th century) and the postmodern (after 1968).
The 20th century is the most important historical era...11.1.02. After Ibsen, Strindberg, Williams and now O'Neill, I feel that the whole semester could be about the gender issue. [ Thinking about including The House of Bernarda Alba, Lorca ]. Not only the time table, ut the national take on woman.
[ I have to dump all it on this page -- gender, sex, and etc. ]
Cranny Francis: ‘For most of the twentieth century, the individual has been theorised both politically and psychoanalytically in terms of consciousness.’ (1) The modern body, argued Lingus, unlike the ‘primitive’ body is ‘a sign-laden body’. The modern body is a ‘sign system’, ‘a text’, ‘a narrative’ that is ‘rendered meaningful’ and ‘capable of being read in terms of personality, psychology, or submerged subjectivity.’ (Grosz 1994 141).
The civilised body is marked more or less permanently and impermeably. In our own culture, inscriptions occur both violently and in more subtle forms. In the first case . . . and environmental factors. (141-142)In Streetcar, Blanche is inscribed as whore by Stanley’s acquaintances who travel through the town of Laurel. Blanche is inscribed with a reputation that is decidedly gendered. At the same time she inscribes herself with rhinestone tiaras, fake furs, cheap perfume and soap in a way that signifies the southern belle identity she wishes to project on Stanley and Stella and Stanley’s poker playing friends. In the final scene the forces of involuntary inscription threaten in the form of the straitjacket that the nurse considers using to subdue Blanche.
Comic and Tragic treatments.
Love stories: Hamlet & Ophelia
Othello explores the ‘tragedies of private life that often focus on the consequences of unorthodox sexuality in a dark and narrow world. . .’ (Garner and Springnether 1996)
The point he [Freud] most insistently made about masculinity was that it never exists in a pure state. Layers of emotion coexist and contradict each other. Each personality is a shade-filled, complex structure, not a transparent unit. (10)Connell further reminds us that Freud was convinced that within a complex masculine personality resided also the feminine: Femininity was ‘always a part of a man’s character’. In this way, Freud advanced a theory of the ‘essential’ bisexuality of gender. @2001-2003 script *
Jung claimed that the anima was feminine and that the masculine arose out of the constant tension between the masculine persona and the feminine anima. The feminine within the masculine was not so much an idealised femininity or memories of the mother, but was composed from inherited ‘archetypal’ images of femininity. These archetypal images resided in a ‘collective unconscious’.
Jung theorised the existence, within universal structure of the psyche, of a masculine/feminine polarity that applied to all individuals irrespective of history, culture, class or race. The healthy psyche was one that found a balance between the masculine and feminine poles.
Film-North * Anatoly Antohin.