English 207: Shakespeare - Week 1 Lecture & Reading notes
English 207: Shakespeare - Week 1 Lecture & Reading notes Eng 207
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This 5 page Class Notes was uploaded by Emily Faulconer on Thursday September 29, 2016. The Class Notes belongs to Eng 207 at University of Oregon taught by Prof. Macrae in Fall 2016. Since its upload, it has received 33 views. For similar materials see Shakespeare 1 in English at University of Oregon.
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Date Created: 09/29/16
This package contains notes from the lectures and assigned readings for Week 1. Disclaimer: My notes will remain as MY OWN interpretation of the material. These notes are designed to help you gain an outside perspective on the material, or help you to achieve a multi-aspect understanding of material that might be difficult. As such, they will point out only what may be considered important for the exams, and minimalist commentary on the plays we are reading. English 207 – Lecture 1 - 9/27/16 Early Modern Theatre - Modern Theatre: o Flat stage with audience positioned for the ‘perfect angle’ in front of it o Curtains, special effects, lights, backdrops o Diverse actors o Props o Visually focused o Fourth wall clearly present - Early Modern Theatre: o Stage in the middle with audience all around o Focused on audio o Fourth wall not clearly present o All-male roles o People standing on the ground (and the following class division of audience members with the higher viewers being increasingly more distinguished) o Theatre Mundae: The world as a stage. Globe Theater o Mobility in audience sections People trying to get to the top o Plays catering to untrained individuals with flashy/easily comedic or entertaining scenes, and people trained in rhetoric for the classier taste English 207 – Book notes 1: The Taming of the Shrew Intro – 9/28/16 Things to pay attention to according to the intro: - Themes of trickery and disguise. o Will there be any instances of honesty? What will the significance of a moment of honesty be in a play about trickery? - Question of identity o Is Petruccio playing a trick with his harsh behavior or is that behavior actually honest? o Directions of transformation and gender Petruccio has the opportunity to be strong-willed or docile Kate is given the options of punishment, or changing to be docile. Docility being the only direction for women. o Importance of different settings and their significance The outer narrative with Sly in a more ‘homely’ England Bianca’s setting in Italy o Opposite directions of attitude for women Kate: Shrew -> Docile Bianca: Docile -> Shrew How does this display each character? - Social context questions o Do/would the two plots have acted as a display or demonstration of ‘correct’ social norms for men in English noble society? The church against Petruccio’s behavior in terms on the sanctity of marriage (not really the treatment of the woman). Controversy? - Questions on the format of this play o Another ‘play w/in a play’ What is the effect of this plot device in this play? Why would Shakespeare use it for this? How does it differ to the use of the same plot device in the later play, Hamlet? Is this device necessary to tell the story of Katherine and Bianca? Eng 207 – Taming of the Shrew Inductions 1-2 – 9/29/16 Character notes: - “A lord” has no name. Why is that? o To emphasize the audience’s role as the people laughing at people playing false roles? - Grumio = a servant Gremio = a wealthy suitor. Why do they share such similar names? - Hortensio and Lucentio both disguised as teachers. Why? Play notes: - Lines 4-5: “Richard conqueror” and “paucas palabras” both are mistakes. Professor notes this is to emphasize his lower class. - The lord goes to a lot of trouble to pamper Sly for his trick. Would he do all of this even for himself? - The servants ask Sly about a lot of things he might want. They ask if he wants to view art and they first ask him if he wants to view an Adonis. The epitome of male beauty. Is this a joke? - They then ask if he wants to be shone depictions of various female figures in mythology who were all tricked or deceived. Is this another joke at Sly’s expense since he is less educated and may not know the stories of these women? --------------------------------------------------------------- *-------------------------------------------------------------- Eng 207 – Lecture Notes Day 2 – 9/29/16 The Rabbit and the Duck: - The picture of a duck that when viewed as a duck can’t be a rabbit, and when viewed as a rabbit can’t be a duck - Definitely can’t see a firetruck unless you look really, really hard. - Brings about the idea of if the play is misogynistic or proto-feminist and if you can see both at the same time or have to set aside one to see the other - Question of the author’s intention. Should we try to see the firetruck? Three main genres of Shakespeare’s plays (and the problem plays): - Comedy: usually a good ending for the characters. o Conflict moves towards resolution. o Light-hearted - Tragedy: o Darker tones o Things fall apart o Harmony moves towards discord - History: o Tends to trace the rise and/or fall of a king or important historical figure - Problem plays: o Looks structurally like a comedy, but is unresolved and has tragic elements A shrew: - Popular punishments o Scold’s bridle Metal head brace with a metal mouth piece to repress the woman from talking o Cucking Dunking a woman into the river on a seat o Lashing And then wrapping in the salted hide of a horse - Expectation of the wife/of women o Chaste o Silent o Obedient The Chain of Being: - Chain of the world o God o Angels o Humans Have mobility either down or up o Animals o Plants - Chain of the Kingdom o King o Nobility/ gentry/ clergy Merchants o Commoners/ Traders/ Business o Beggars/ Criminals/ Vagrants - Chain of the Household o Husband o Wife o Servants/ children - If one chain of command can be disrupted, what is stopping the chain of command being disrupted in other areas? = the fear.