In Shakespeare's The Taming of the Shrew, violence and irony play pivotal roles in shaping the dynamics of the characters and the overarching narrative. Violence emerges as a contentious element that raises questions about the depiction of female submission and becomes a means of control that prompts contemplation on the legitimacy of such behaviors. This play has always been a controversial reading, with different possible interpretive models. It can be understood as a work of female submission, in which Katherine is defeated and subjected to her husband's domination; or as a play in which the protagonist, using irony as a combat weapon, feigns submission to obtain her purposes and - showing all her intelligence and wit - prevails over Petruchio. The objective of this study is to determine an ironic reading of the work, following the question of how it is possible to define Katharine's submission as fictitious. To answer the research question, various scenes present in the work were analyzed, looking for the ironic component and the dynamics used by Katherine to consciously survive male control, despite all the forms of violence present. It is crucial to consider the historical and cultural context of the play, with irony and violence serving as reflections of Elizabethan society. Shakespeare appears to play with these elements, providing a veiled critique of patriarchal conventions prevalent in his time. Irony is prominently exemplified through the character of Katherine, whose sharp tongue and sarcasm serve as weapons against social conformity. Irony becomes a sharp tool for unmasking societal conventions and subverting traditional gender roles. By exploring these themes, Shakespeare invites careful examination of power dynamics, making The Taming of the Shrew a timeless work that continues to provoke reflection and discussion. On this basis, an ironic interpretation of the work is recommended, in which male power and control are condemned and in which revenge for the female gender is present.
In Shakespeare's The Taming of the Shrew, violence and irony play pivotal roles in shaping the dynamics of the characters and the overarching narrative. Violence emerges as a contentious element that raises questions about the depiction of female submission and becomes a means of control that prompts contemplation on the legitimacy of such behaviors. This play has always been a controversial reading, with different possible interpretive models. It can be understood as a work of female submission, in which Katherine is defeated and subjected to her husband's domination; or as a play in which the protagonist, using irony as a combat weapon, feigns submission to obtain her purposes and - showing all her intelligence and wit - prevails over Petruchio. The objective of this study is to determine an ironic reading of the work, following the question of how it is possible to define Katharine's submission as fictitious. To answer the research question, various scenes present in the work were analyzed, looking for the ironic component and the dynamics used by Katherine to consciously survive male control, despite all the forms of violence present. It is crucial to consider the historical and cultural context of the play, with irony and violence serving as reflections of Elizabethan society. Shakespeare appears to play with these elements, providing a veiled critique of patriarchal conventions prevalent in his time. Irony is prominently exemplified through the character of Katherine, whose sharp tongue and sarcasm serve as weapons against social conformity. Irony becomes a sharp tool for unmasking societal conventions and subverting traditional gender roles. By exploring these themes, Shakespeare invites careful examination of power dynamics, making The Taming of the Shrew a timeless work that continues to provoke reflection and discussion. On this basis, an ironic interpretation of the work is recommended, in which male power and control are condemned and in which revenge for the female gender is present.
Violence and Irony in "The Taming of the Shrew"
FAILONI, ELISA
2023/2024
Abstract
In Shakespeare's The Taming of the Shrew, violence and irony play pivotal roles in shaping the dynamics of the characters and the overarching narrative. Violence emerges as a contentious element that raises questions about the depiction of female submission and becomes a means of control that prompts contemplation on the legitimacy of such behaviors. This play has always been a controversial reading, with different possible interpretive models. It can be understood as a work of female submission, in which Katherine is defeated and subjected to her husband's domination; or as a play in which the protagonist, using irony as a combat weapon, feigns submission to obtain her purposes and - showing all her intelligence and wit - prevails over Petruchio. The objective of this study is to determine an ironic reading of the work, following the question of how it is possible to define Katharine's submission as fictitious. To answer the research question, various scenes present in the work were analyzed, looking for the ironic component and the dynamics used by Katherine to consciously survive male control, despite all the forms of violence present. It is crucial to consider the historical and cultural context of the play, with irony and violence serving as reflections of Elizabethan society. Shakespeare appears to play with these elements, providing a veiled critique of patriarchal conventions prevalent in his time. Irony is prominently exemplified through the character of Katherine, whose sharp tongue and sarcasm serve as weapons against social conformity. Irony becomes a sharp tool for unmasking societal conventions and subverting traditional gender roles. By exploring these themes, Shakespeare invites careful examination of power dynamics, making The Taming of the Shrew a timeless work that continues to provoke reflection and discussion. On this basis, an ironic interpretation of the work is recommended, in which male power and control are condemned and in which revenge for the female gender is present.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/63455