Bøger af Martin Boddenberg

Master's Thesis from the year 2016 in the subject Didactics - English - Literature, Works, grade: 2,5, Humboldt-University of Berlin (Institut für Anglistik und Amerikanistik), language: English, abstract: I want to start my thesis by briefly discussing one of the seminal works on historical gender studies, Thomas Laqueur¿s "Making Sex". He argues that based on the publications of an old Greek physician named Galen, women and men were regarded as the same sex in Europe for about 2,000 years from the second century AD to circa 1800. He claims that male and female genitals were depicted and regarded as the same, with the only difference that the female genitalia were inside whereas the male genitalia were outside. Men and women were supposed to be different in degree but not in kind. Women were considered an imperfect version of men, since they were cooler, wetter, and more passive. Thus, the supposed sameness of the physical characteristics of men and women did by no means promise equality of the sexes; on the contrary, it underpinned the hierarchy and male superiority. Furthermore, women stood for fleshiness and desire. The connection of passiveness and desire as female traits seems controversial but is typical of the time. The idea of lustful, desirous, and uncontrollable women changed quite a lot later, especially in the 19th century, when women were usually supposed to have no or a very low sexual drive. Although we also find ¿the fallen woman¿ in 18th and 19th century literature, who is unable to control her sexual passion. The concept of a promiscuous female sexuality in Shakespeare¿s time might seem a bit odd to us today, but if we look at the plays, we find exactly this idea of women being lustful and uncontrollable for men. Laqueur claims that ¿Sometime in the eighteenth century, sex as we know it was invented¿. This means that Shakespeare¿s contemporaries would still have had an ancient understanding of sex (or gender) differences. Although the concept of gender was not yet developed in Shakespeare¿s time, I believe it is useful and justifiable to talk about gender relations. It is inevitable to take a modern perspective, and the concept of gender is not restricted to men and women of the 20th and 21st centuries; it is definitely applicable to Shakespeare¿s characters, too, as I will try to show in this thesis.

Seminar paper from the year 2013 in the subject English Language and Literature Studies - Literature, University of Oslo, language: English, abstract: William Shakespeare's play "Hamlet" is full of intrigues from beginning to end. One could try to generalise Hamlet, Claudius and Laertes as perpetrators; Ophelia, Gertrude, Polonius and others as victims. Although this distinction is not unambiguous, since Hamlet, Claudius and Laertes are also victims, Polonius the henchman of Claudius and Gertrude at least morally questionable. The tragic ending of the play, where almost all the main characters (Hamlet, Laertes, Gertrude and Claudius) are killed, is a touchstone of corruption.We find corruption mainly in the act of taking and planning the act of vengeance. Claudius' ¿self-defence¿ against Hamlet becomes a source of corruption, too, when he realises how Hamlet could threaten his throne. In the beginning he is well-disposed towards Hamlet, calls him his son and confirms him as successor of the throne. Hamlet does not respond positively to these seemingly sympathetic overtures, since he envisions his ¿war¿ against Claudius, if not life in general as an endless struggle played by unfair rules: ¿Th'oppressor's wrong, the proud man is contumely,¿ (3.1.71). Hamlet is upset with his own fate and the world order in general. He even calls all of Denmark a prison (2.2.243). Claudius as king is a formidable opponent, forcing Hamlet to use all his wits to entrap him, even in the wake of considerable loss of life as the play progresses.

Seminar paper from the year 2013 in the subject Didactics for the subject English - Literature, Works, Humboldt-University of Berlin, language: English, abstract: [...] I want to examine certain characters of both romances, two fighting scenes and the loverelationships of the two protagonists, to show were we find depictions of a "hypermasculinity", i.e.exaggerated, stereotypical kinds of masculinity, and discuss them.