'10 Things I Hate About You & Taming of the Shrew: Appropriation Essay\r'

'The historical and ethnical scenes of Shakespeargon’s The Taming of the Shrew (TTS) and the 1999 scud 10 Things I scorn About You (10TIH) differ exceptionally, resulting in the fritter away’s gestateion of determine unlike those evince in Shakespe atomic number 18’s archetype text. Shakespe ar’s lend was written during the Elizabethan duration, during which the belief that manpower were ranking(a) to women was prevalent. This excogitation is centralised in TTS, through internalisation of a disputably misogynistic t mavin and the dominance of men accordingly forcing big catherina into mating and submission.\r\nIn contrast, 10TIH, a neo consume appropriation of TTS, largely challenges the values of Shakespeare’s sportswoman. It presents to its listening a high school respect tosh appropriate to new-made beliefs and sensibilities, emphasising the greater equality betwixt genders and the power of women in the characterisation of the Stratford sisters and their interaction with their single lie with interests and make. TTS reflects its 16th century European circumstance in that its central theme is the dominance of men over women and high clubhouse’s acceptance of it.\r\n go out more: Foot Binding In chinaware essay\r\nWhether Shakespeare intended to ridicule the misogyny and patriarchate of Elizabethan society is irrelevant; however, as his play is come to with the two, it indicates that the social systems were firmly established. Katherina is forced into marriage that was agreed upon by Petruchio and her father, the governing force of their household. Her objections are nullified in the administration of her lesser lieu as a woman and the authority her father and economize holds over her in age and gender. Dissimilarly, 10TIH is concerned with the power of women and youth.\r\nA recent strike, it is directed towards a target audience of teenagers with modern views- which dramatically changed from the sixties and onwards with the rise of feminism and youth. In this modern compass, Kat is able to exercise her non-conformist views freely. Though this isolates her from her peers, plainly as Katherina’s outspoken opinions isolate her, Kat is not oppressed as Katherina is. Kat is influenced by external factors that also linguistic place heaptingualise the film’s setting; she mentions libbers Sylvia Plath and Charlotte\r\nBronte, and is featured reading the former’s novel, cost Jar, and the film applies ‘riot grrrl’ music ‘of the angry young lady variety’, with lyrics such as ‘I take up’t give a damn near my bad reputation’ to Kat in dress to define her from the opening scene of the movie. That the film includes these elements of feminist material reflects its modern context of a society that is not unfamiliar with feminism. In this area it challenges the true text, where within the context of the Elizabethan era, Katherina’s rejection of her low quality as a woman is unaccepted and repressed.\r\nAs Hortensio mocks: ‘ ‘Mates’, maid? …No mates for you/Unless you were of gentler, milder fashion’ (1. 1. 59-60), he operates Katherina’s reference to him as a ‘mate’- a crude man- to mean ‘ preserve’ in an attempt to silence her. Such repression- and that of Katherina at the hands of Petruchio- though exaggerated and outrageous, was acceptable and okay of in the context of Shakespeare’s play. Conversely, in the modern context of 10TIH, where there is greater equality among genders and greater liberty for children, similar repression would be unacceptable.\r\nThese liberties are explored when Kat is able to ‘overpower’ her father in situations such as her attendance of Sarah Lawrence College. Here the film challenges the authority of Baptista, Walter’s model; where we see Ba ptista endorsing conquering with no acceptance of objection within the Elizabethan context of TTS, Walter eventually recognises Kat’s will, acknowledging: ‘fathers wear thin’t like to admit it when their daughters are sufficient of running their own lives’.\r\nThe film does, however, in keeping with its modern context, suggest that the parent holds a power point of power of the children- a social role duplicate to the Elizabethan context of TTS which contributes to Shakespeare’s rendering of Baptista as a domineering father. Nevertheless, Walter is unable to fully declare his children’s love lives, with the film utilising his character as comic relief to convey this. In addition, the Stratford daughters ‘ look’ rather than marry; these two factors are attributed to the film’s modern context where freedom of solicit is valued.\r\nSuch a value differs from the Elizabethan shopworn of having marital relationships set by the men involved- the husband, and the father. The concept of arranged martial relationships in TTS is atypical to the Elizabethan era, where dowries were also set, as seen in Baptista’s reach out to Petruchio; ‘…half of my lands/And…twenty thousand crowns. ’ (2. I. 117-118). However, the social context of 10TIH sees the film expressing that the payment for wooing Kat is immoral- as opposed to a similar payment be expected by the husband in the context of TTS.\r\nThis aspect of the historical and cultural context of the Elizabethan era is made clear in Petruchio’s enquiry of the dowry- ‘…if I get your daughter’s love, what dowry shall I have…? ’- as it is one of his first lines to Baptista, preceded only by his greeting. Similar to the way in which it challenges Baptista’s authority, the film challenges Petruchio. Within the context of TTS, Petruchio’s ludicrous metaphoric objectifications of Katherina ‘she is my goods…my anything’ (3. 2. 118-220) are mate with a firmer ‘I will be mortify of what is mine own’.\r\nHere he affirms that patronage his constant jovial paronomasia, he intends to assert his authority. 10TIH however, in keeping with its context of a society that values respect for women, features Patrick’s chivalry in the face of love. He does not assert a call for on Kat as Petruchio does on Katherina; and their love is confirmed at the end, whereas Petruchio and Katherina’s love is debatable. The disputability of their love lies in the final speech of Katherina. She utilises metaphor to express her acceptance of Petruchio’s dominance as her husband; ‘…thy husband is thy lord…thy sovereign’ (5. . 146-147).\r\nHer ‘taming’ reflects Elizabethan society; women that resisted male supremacy were- as was appropriate to the time- acceptably quashed. Approval followed in th e words of Vincentio, a exemplification of society: ‘’Tis a good hearing. ’ (5. 2. 182). Kat’s taming, on the other hand, though also visualized in good light, is based on the conciliatory amid her and Patrick. They are two equal members in their relationship, unlike Petruchio’s dominance over Katherina by and by subjecting her to his taming methods and silencing her with his use of anguage.\r\nLanguage itself is an expression of the contexts of the two texts. The members of Shakespeare’s play use refined speech, and utilise wordplay to reflect their level of status and intelligence. The characters of 10TIH however, speak colloquially and swear, though their usage of wordplay carries similar connotations. Those that manipulate language- such as Kat and Patrick- are seen as intelligent and therefore ‘good’, whereas Joey ‘eat me’ Donner uses simpler language, communicate a poorer image of his character.\r\nThis reflects the modern day context of the film; one of a society that reckon and values intelligence. Furthermore, whilst characters such as Joey and Bowie Lowenstein are wealthy, they are portrayed as unattractive people, showing that the modern day society in which the film is set does not value wealth as the characters of TTS do within its context, as conveyed by Petruchio’s haul to Katherina’s wealth as opposed to her person- which, in the Elizabethan era, was not inappropriate as it would be in the context of 10TIH.\r\nOverall, the storyline and themes of The Taming of the Shrew underwent a significant level of adaption for 10 Things I Hate About You. The four hundred years that spanned between the publication of Shakespeare’s play and the premiering of the film appropriation saw changes in social values regarding gender, status and youth that resulted in the film’s modifications of the original text, so as to be appropriate and entertain to its 20th century teenage viewers; fair as Shakespeare expressed the values of the Elizabethan era in order to be appropriate and socialize to his audience.\r\n'