Elizabethan and Shakespearean Women's Costumes and Accessories

Countless number of critics have examined Shakespearean comedies from different perspectives, many of them have also examined the portrayal of women by Shakespeare in his plays, from different angles, with different findings. For example, A. R. Humphreys in his introduction to Much Ado about Nothing, (2000) has paid attention to almost every aspect of his comedies, like language, poetry, plot construction, characterization and social realism, but he has not focused upon the portrayal of women in Shakespeare's comedies. Juliet Dusinberre has examined the nature of Shakespearean women in her book (2003), to suggest that Feminism started with Shakespeare. Hers is a broader and general comparative study, but she does not pay attention to the individual women portrayed by Shakespeare. Sarbani Putatunda (2006) has also touched upon the issue of the portrayal of women by Shakespeare, along with other aspects of the comedies, but one is tempted all the more to dig deep into the portrayal of women by Shakespeare in his comedies. Cedric Watts, in his introduction to The Taming of the Shrew, has also briefly paid attention to the portrayal of women (2004). Elliot Krieger (2006), has examined almost all the major comedies from a Marxist perspective, but the critic does not focus upon the place of women in these comedies, though women in a patriarchal set up are not more than a commodity. …

""Not Wholly Self Culture": the Shakespearean Women's Club, Osage, Iowa,

Sarah Fallon believes another part should be on that list, the antecedent to all of those other Shakespearean women: Margaret of Anjou, who first appears in Henry VI, Part 1, and becomes queen and such a force in Parts 2 and 3 that Shakespeare inserted her, unhistorically, into Richard III. Fallon played Margaret in the Henry plays over three seasons for the American Shakespeare Center at the Blackfriars Theatre in Staunton, Va., and in method and manner she played the part as perhaps no woman has done before (as a boy has, yes; as a woman, probably not).

'Desdemona' reimagines roles of three Shakespearean women

Thesis: “Distinctly Female: Shakespearean Women in Modern Film” Description: What happens when 14-year-old Juliet decides she wants to live and refuses to follow the Romeo and Juliet script? Nine other Shakespearean women argue both for and against sticking to The Bard's canon.

Winter 2016, ENGL 413-02: Shakespearean Women (3)

Each of these plays, then, takes decisive liberties with the Shakespearean ur-texts in order to refocus narratives that have traditionally been patriarchal in their primary focus. In so doing, Shakespeare's Womyn reinscribes feminist principles of inclusivity imagining the other lives invoked by Shakespeare's plays. Interestingly, Druce has chosen to adapt plays in which memorable Shakespearean women are present (Juliet, Lady Macbeth, Ophelia and Gertrude, and Miranda) but does so by enhancing the characterizations and narratives of either marginal or purely imaginary characters (like Polonius's wife).

WARRIOR QUEENS: Shakespearean women who ruled on the battlefield


Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage (London; New York: Routledge, 2000)."Phyllis Rackin has provide us with a deftly defined casebook for the reconsideration of feminist criticism in the twenty-first century that looks to the future through a clear articulation of that criticism's past ... In each chapter, Rackin provides an alternative to the limiting assumptions she describes and thus offers brave new ways of seeing ... In focusing on the question of Shakespeare and women in the twenty-first century, Phyllis Rackin has renewed a sense of the feminist agenda within the field of Shakespeare studies." - Rebecca Laroche, Shakespeare Quarterly "Believing that historical research can provide rich resources to revitalize feminist criticism (if one looks for them), Rackin ably and amply points the way. She examines the place(s) of women in Shakespeare's world; the tendency to shape the canon in the reader's own image; the powerful truths Shakespeare offers about women (notably in Cleopatra) and life, truths evident despite or sometimes because of the use of boy actors; Shakespeare's 'complicated negotiation with the Petrachan tradition' in the sonnets, which succeed, while addressing both sexes, in enabling women to think and feel honestly about themselves; and the continuous contemporaneousness ofShakespeare's women. The 'Further Reading' section is a vein of rich ore. Essential." - Choice