User:Emmampeake/sandbox

= Instructor feedback =

- The Johnson quote is missing (shouldn't be an issue since you aren't editing the initial part)

- should be "accounts of the Roman Emperor Augustus"

- should be "as an empire mirror Augustus' Pax Romana" (events within fictional texts should be described in the present tense)

- should be "contrast with the peace forged between"

- I had to rewrite this sentence for clarity and accuracy: "The play reinforces the Jacobean idea that Britain is the successor to the civilized virtue attributed to ancient Rome, portraying the parochialism and isolationism of Cloten and the Queen as villainous.

- should be "endorsement of James I's ideas about national identity"

- cut this: "While Arviragus and Guiderius represent the uncertainty about characterizing native-born Welshmen as either barbarous or civilized,"

- should be: "reflects concern that Britain"

- missing quotation mark after "ancient Rome."

- where is the phrase “metaphorical rape” cited? This needs a reference (including a page number) at the end of the sentence.

- I had to rewrite these two sentences for clarity and accuracy: "Scholars have emphasized that the play attributes great political significance to Imogen's virginity and chastity. There is some debate as to whether Imogen and Posthumus’ marriage is legitimate. "

- should be "ideal, chaste woman"

- should be "critics argue that Imogen’s misbehavior"

- should be "and her cross-dressing."

- I had to edit this sentence as follows: "Yet critics including Tracy Miller-Tomlinson have emphasized the ways in which the play upholds patriarchal ideology, including in the final scene, with its panoply of male victors. "

- should be "initially opened by Imogen's cross-dressing as Fidele"

- should be "traction in scholarship on Cymbeline,"

- move references immediately after the final period of the sentence, with no space between the period and the reference, and one space between the reference and the beginning of the following sentence

- edit this sentence as follows: "Scholarship on this topic has emphasized the play's Ovidian allusions and exploration of non-normative gender/sexuality - achieved through separation from traditional society into what Valerie Traub terms "Green Worlds." "

- I had to edit the following sentence: "Amongst the most obvious and frequently cited examples of this non-normative dimension of the play is the prominence of homoeroticism, as seen in Guiderius and Arviragus's semi-sexual fascination with the disguised Imogen/Fidele. "

- I had to edit/cut/combine two sentences as follows: "In addition to homoerotic and homo-social elements, the subjects of hermaphroditism and paternity/maternity also feature prominently in queer interpretations of Cymbeline.    "  (please cut the sentence beginning "Whilst some characters like Posthumus")

- cut "Indeed,"

- please cut this (it's unclear): ", with scholar Ann Thompson arguing that through her brothers, Guiderius and Arviragus’, focus on her hidden female traits and utilization of her as a housewife figure she remains under patriarchal control. "

- should be "In essence, Imogen's only power"

= Criticism and Interpretation (Final Publishing Outline): = Though once held in very high regard, Cymbeline lost favour with critics in the 18th century. The most famous comments were made by Samuel Johnson:

Lytton Strachey famously found it "difficult to resist the conclusion that he [Shakespeare] was getting bored himself. Bored with people, bored with real life, bored with drama, bored, in fact, with everything except poetry and poetical dreams."[12] Harley Granville-Barker had similar views, saying that the play shows that Shakespeare was becoming a "wearied artist".[12]

William Hazlitt and John Keats, however, numbered it among their favourite plays.

Some have taken the convoluted plot as evidence that the play deliberately parodies its own content. Harold Bloom says "Cymbeline, in my judgment, is partly a Shakespearean self parody; many of his prior plays and characters are mocked by it."[13] In Act V Scene IV, "Jupiter descends in thunder and lightning, sitting upon an eagle: he throws a thunderbolt." After stating that Posthumus' fortunes will improve, Jupiter returns to heaven on his eagle. In one scene, a character seems to say that a plot point is to be "laughed at". When it is explained how the king's children were abducted, a minor character adds, "the negligence may well be laughed at, Yet is it true, sir."[14]

British identity
Similarities between Cymbeline and historical accounts of the Roman Emperor Augustus have prompted critics to interpret the play as Shakespeare voicing support for the political motions of James I, who considered himself the "British Augustus". His political maneuvers to unite England with Scotland and Wales as an empire mirror Augustus' Pax Romana. The play reinforces the Jacobean idea that Britain is the successor to the civilized virtue attributed to ancient Rome, portraying the parochialism and isolationism of Cloten and the Queen as villainous. Other critics have resisted citing Cymbeline as Shakespeare’s endorsement of James I’s ideas about national identity, pointing to several characters’ conflicted constructions of their geographic identities. For example, although Guiderius and Arviragus are the sons of Cymbeline, a British king raised in Rome, they grew up in a Welsh cave. The brothers lament their isolation from society, a quality associated with barbarity, but Belarius, their adoptive father, retorts that this has spared them from corrupting influences of the supposedly civilized British court.

Iachimo’s invasion of Imogen’s bedchamber reflects concern that Britain was being maligned by Italian influence. As noted by Peter A. Parolin, Cymbeline’s scenes ostensibly set in ancient Rome are in fact anachronistic portrayals of sixteenth-century Italy, which was characterized by contemporary British authors as a place where vice, debauchery, and treachery had supplanted the virtue of ancient Rome. Though Cymbeline concludes with a peace forged between Britain and Rome, Iachimo’s corruption of Posthumus and metaphorical rape of Imogen demonstrate fears that Britain’s political union with other cultures might expose Britons to harmful foreign influences.

Gender and Sexuality
Scholars have emphasized that the play attributes great political significance to Imogen's virginity and chastity. There is some debate as to whether Imogen and Posthumus’ marriage is legitimate. Imogen has historically been played and received as the ideal, chaste woman maintaining qualities applauded in a patriarchal structure; however, critics argue that Imogen’s misbehavior contradicts these social definitions through her defiance of her father and her cross-dressing. Yet critics including Tracy Miller-Tomlinson have emphasized the ways in which the play upholds patriarchal ideology, including in the final scene, with its panoply of male victors. (I stopped here -Sam)

Whilst Imogen and Posthumus’ marriage at first upholds heterosexual norms, their separation and final reunion leave open non-heterosexual possibilities, initially exposed by Imogen's cross-dressing as Fidele. Miller-Tomlinson points out the falseness of their social significance as a “perfect example” of  a public “heterosexual marriage,” considering that in private their revised relationship is all at once “homosocial, homoerotic, and hermaphroditic." (Annie and Sam's Section (to be uploaded by Sam before April 28))

Queer theory is another area that has gained traction in scholarship of Cymbeline, much of it built upon the work of Eve Kosofsky Sedgwick and Judith Butler. The play's Ovidian links and exploration of non-normative gender/sexuality - achieved through separation from traditional society in what Valerie Traub terms 'Green Worlds' - have been emphasised as part of this school. Amongst the most obvious and frequently cited examples of this non-normative element in the play is the prominence of homo-social doubling, epitomised by the relationship of Posthumus and Cloten, and homoerotic potential, as seen in Guiderius and Arviragus semi-sexual fascination with the disguised Imogen/Fidele. Aside from homoerotic and homo-social elements, the subject of hermaphroditism also features prominently in queer scholarship of Cymbeline. Whilst some characters like Posthumus have traditionally been considered antagonistic towards his "woman's part" and potential fluidity, others have been examined less decidedly - as a subset of this topic, much has been made of the dynamic of paternity/maternity in the play. Prominent critic Janet Adelman set the tone for the intersection of paternity and hermaphroditism in arguing that Cymbeline's lines, “oh, what am I, / A mother to the birth of three? Ne’er mother / Rejoiced deliverance more,” speak heavily to a “parthenogenesis fantasy.”   According to Adelman and Tracey Miller-Tomlinson, in taking sole credit for the creation of his children Cymbeline acts a hermaphrodite who transforms a maternal function into a patriarchal strategy by regaining control of his male heirs and daughter, Imogen. Indeed, Imogen's own experience with gender fluidity and cross-dressing has largely been interpreted via a patriarchal lens. Unlike other Shakespearean agents of on-stage gender fluidity – Portia, Rosalind, Viola and Julia – Imogen is not afforded empowerment upon her transformation into Fidele, with scholar Ann Thompson arguing that through her brothers, Guiderius and Arviragus’, focus on her hidden female traits and utilization of her as a housewife figure she remains under patriarchal control. In essence, her only power throughout the play is reproductive. (Emma's Section (to be uploaded by Emma before April 30))

= Peer Reviewing (Criticism and Interpretation): =

Sam's Section:

Critical focus on Cymbeline  includes constructs of gender and sexuality and how they operate in the play. Critics are not in agreement regarding the status of Innogen as a virgin, but the significance of her chastity is recognized, as critics argue political virtue of a country rests on the virtue and chastity of the female representative. Critics contend that Shakespeare utilized the legal rhetoric of the time in framing accusations around Innogen’s infidelity. The essential verdict rests on truth of claims laid against her, which is the historical practice, but the matter is complicated through a challenge to the validity of the claim based on the intention of who made it. For example, Innogen discredits Iachimo’s accusations against Posthumus because Iachimo did not tell her “for virtue,” but rather, for “an end” of sexual favor.

A particular focus regarding Innogen includes examination of defining the self. A contradictory combination of defining categories exists in which the self is formed by societal structures, such as nationality and gender, as well as internal reflection. Innogen has historically been played and received as the ideal Victorian woman maintaining qualities applauded in a patriarchal structure.[4] However, critics argue Innogen’s misbehavior contradicts these social definitions through her defiance of her father and cross-dressing. Innogen also defies misogyny through her maintenance of chastity, as it awards her sexual control in a society that considers women weaker and property, but the patriarchal structure is still maintained.

Annie's Section:

One popular focus for scholars of Shakespeare’s Cymbeline is that of marriage referenced in regards to heterosexuality; focusing on the role of desire within history, a complicated love plot, and the desire for normative categories. Critics such as Valarie Wayne and Tracy Miller-Tomlinson have paralleled the characters of “Fidele–Innogen and Posthumus, Cymbeline and Augustus” in that they have become the central focus in the aspects of  “social significance in Cymbeline” within “heterosexual marriage” and it’s “relations that read simultaneously as homosocial, homoerotic, and hermaphroditic” [1]. Critics have often pointed out the lack of women figures in this Shakespeare play, noting that the play “is figured in the masculine embrace that becomes the dominant trope of these final scenes” [1]. Even Imogen, the only prominent female role in the play, cross-dresses as a male in this play. This emphasis of male dominance is often dommineered as critics as a take on the misogynist view of the time period.

Critics have also pointed out that Fidele — Imogen’s male identity — is used as her shield in the play. Critics have cited that Imogen uses Fidele as her shield and weapon, and that her power over male lineage and power is only possible when she is dressed as a male [2]. [1] Tracey Miller-Tomlinson, Queer History in Cymbeline, Shakespeare 12 no.3 (2016) 225-40)

[2] Ann Thompson, ‘Person and Office: the Case of Imogen, Princess of Britain’, in Vincent Newey and Ann Thompson(eds), Literature and Nationalism (Liverpool, 2001), 76-87.

I plan to add more to this passage, more specifically the second paragraph, and I intend to ensure my citations are done correctly. I will be editing Sam's section of the wiki page, and Emma will be editing mine. Sam's paragraphs will likely go first because she has more traditional criticisms about gender, and Emma's will go last because queer theory is the most recent train of thought. It makes sense for me to go second, as I will be touching both on traditional misogynist views as well as more current views like that of incest and distraction of gender norms.

Emma's Section (to be uploaded by Emma before April 30): Queer theory is another area that has gained traction in scholarship on Cymbeline, much of it built upon the work of Eve Kosofsky Sedgwick and Judith Butler. Scholarship on this topic has emphasized the play's Ovidian allusions and exploration of non-normative gender/sexuality - achieved through separation from traditional society into what Valerie Traub terms "Green Worlds." Amongst the most obvious and frequently cited examples of this non-normative dimension of the play is the prominence of homoeroticism, as seen in Guiderius and Arviragus's semi-sexual fascination with the disguised Imogen/Fidele. In addition to homoerotic and homo-social elements, the subjects of hermaphroditism and paternity/maternity also feature prominently in queer interpretations of Cymbeline. Prominent critic Janet Adelman set the tone for the intersection of paternity and hermaphroditism in arguing that Cymbeline's lines, “oh, what am I, / A mother to the birth of three? Ne’er mother / Rejoiced deliverance more,” speak heavily to a “parthenogenesis fantasy.”  According to Adelman and Tracey Miller-Tomlinson, in taking sole credit for the creation of his children Cymbeline acts a hermaphrodite who transforms a maternal function into a patriarchal strategy by regaining control of his male heirs and daughter, Imogen. Imogen's own experience with gender fluidity and cross-dressing has largely been interpreted via a patriarchal lens. Unlike other Shakespearean agents of on-stage gender fluidity – Portia, Rosalind, Viola and Julia – Imogen is not afforded empowerment upon her transformation into Fidele. In essence, Imogen's only power throughout the play is reproductive.

= Criticism and interpretation = Though once held in very high regard, Cymbeline lost favour with critics in the 18th century. The most famous comments were made by Samuel Johnson:

Lytton Strachey famously found it "difficult to resist the conclusion that he [Shakespeare] was getting bored himself. Bored with people, bored with real life, bored with drama, bored, in fact, with everything except poetry and poetical dreams."[12] Harley Granville-Barker had similar views, saying that the play shows that Shakespeare was becoming a "wearied artist".[12]

William Hazlitt and John Keats, however, numbered it among their favourite plays.

Some have taken the convoluted plot as evidence that the play deliberately parodies its own content. Harold Bloom says "Cymbeline, in my judgment, is partly a Shakespearean self parody; many of his prior plays and characters are mocked by it."[13] In Act V Scene IV, "Jupiter descends in thunder and lightning, sitting upon an eagle: he throws a thunderbolt." After stating that Posthumus' fortunes will improve, Jupiter returns to heaven on his eagle. In one scene, a character seems to say that a plot point is to be "laughed at". When it is explained how the king's children were abducted, a minor character adds, "the negligence may well be laughed at, Yet is it true, sir."[14]

British identity
Many critics see Cymbeline as an allegory for King James I’s political attempt to unify Scotland with England and Wales, in addition to the Jacobean anxieties of Italian corruption. It is believed that characterizations of Wales, England, and Italy are exemplified by Posthumus, Imogen, and Iachimo, respectively. Despite the Welsh setting, none of the characters are native Welsh; however, the setting in Cymbeline serves as a platform to explore themes of civility versus barbarity, as seen through Guiderius and Arviragus’ lamentations of their isolation from British society. Furthermore, due to the recent absorption of Wales into England under Tudor rule, the English were in the process of redefining what it meant to be a Briton, culturally and politically. In another parallel of this disparity, Posthumus is conflicted between his British patronage and Roman heritage throughout the play.

Iachimo’s invasion of Imogen’s bedchamber reflects the idea that Britain was being maligned by Italian influence, with Imogen characterizing Britain and Iachimo characterizing Italy. As noted by Peter A. Parolin, Cymbeline’s scenes ostensibly set in ancient Rome are in fact anachronistic portrayals of sixteenth-century Italy, which was characterized by contemporary British authors as a place where vice, debauchery, and treachery had supplanted the virtue of ancient Rome. Though Cymbeline concludes with a peace forged between Britain and Rome, Iachimo’s corruption of Posthumus and “metaphorical rape” of Imogen demonstrate fears of potentially malignant foreign influences resulting from Britain’s entrance into empirical power, similar to ancient Rome. This exemplifies the conflation of Ancient Roman values and sixteenth-century Italy.

Sexuality and Gender:
Potential section - marriage + hetero-normativity

Potential section - misogyny + feminist criticism

Potential section on Queer Theory - homo-social doubling + gender fluidity

= Cymbeline Wiki Implementation Plan =

Intentions:
After receiving feedback about my draft (below), I intend to upload my section to the Cymbeline wiki page before April 30th, having been given an extension by Professor Trudell. My input will be the last in the Criticism and Interpretation section.

Because my subject is relatively niche, I have been attempting to assist my teammates (Annie and Samantha) by sharing potentially helpful readings and peer reviewing their sections in our shared Google Doc (also including the other Criticism and Interpretation team). Together we decided to use a Google Doc because we have had more experience with them and, during the research stage, they seem to offer more transparency than Wikipedia Sandboxes, which I believe we are now shifting our attention to. At this point, the majority of my peer-reviewing has been essentially proof-reading but I was able to offer a different interpretation of one the article's Annie has used: Ann Thompson, ‘Person and Office: the Case of Imogen, Princess of Britain’, in Vincent Newey and Ann Thompson (eds), Literature and Nationalism (UK: Liverpool University Press, 2001).

A positive influence of my delay in uploading is that I will be able to give a final check-over of my teammates in the Criticism and Interpretation group's sections before I finish my part.

On Citations:
Because I will likely be the last person adding their section to the Cymbeline Wikipedia page, I am attempting to be conscious of citations and the fact that the Citations/Formatting group may have already completed their work before I introduce mine. If this is the case, I will simply adjust my citations to fit whatever template they have laid out.

Currently my citations are in the Chicago style that most of the pre-existing references on the Cymbeline page follow. Any quotations from the play I've included follow the format set out on the Romeo and Juliet Wikipedia page (seeing as there aren't any on Cymbeline's), which I believe the Citation/Formatting group is using as an exemplar. If nobody else included quotes from the play I will revert back to using traditional in-text citations for Shakespeare.

I have decided not to employ the 'Ibid.' format in the hope of making things clearer for the Citation/Formatting group.

My Draft Section:
Another popular focus for scholars of Cymbeline has been the disruption of these aforementioned structures of gender and sexuality through queer and non-normative lenses. With many critics such as Valerie Traub and Tracey Miller-Tomlinson relying heavily upon Eve Kosofsky Sedgwick’s definition of queer as belonging to an “open mesh of possibilities,” - in this case primarily sexual - the play’s Ovidian links have historically been emphasized. Relating Cymbeline to the wider scope of queer Shakespeare studies, Traub has argued that disruption of traditional gender/sexuality in Cymbeline is made conceivable via the existence of a pastoral environment – or ‘Green World’ - which is separate from traditional society and its constructed binaries.

That said, however, most scholars have also come to a consensus that Cymbeline can be distinctly set apart from Shakespeare’s other plays in terms of its engagement with gender inversion and cross-dressing. Unlike other Shakespearean agents of on-stage gender fluidity – Portia, Rosalind, Viola and Julia – Imogen is not afforded the same degree of masculine power as her counterparts upon her transformation into Fidele. Scholar Ann Thompson argues that, instead, Imogen remains moored to her traditionally female role, chiefly by her brothers, Guiderius and Arviragus’, utilization of her as a housewife figure. The same sort of resistance has further been noted in Posthumus’ resentment towards potential fluidity regarding the “woman’s part” he seeks to rid himself of.

Conversely, critics have also shown that even when fluidity is accepted in Cymbeline, it exists at odds with female power; much has been made of the dynamic of paternity/maternity in the play.

Helen Hackett places this discussion in the wider context of Shakespearean maternalism as something typically ambivalent, with father figures in works like The Tempest and King Lear being prioritized. The most oft referred to quotes in Cymbeline concerning parenting – Belarius’ comment to Cymbeline regarding the “nursing of thy sons” and Cymbeline’s own line, “oh, what am I, / A mother to the birth of three? Ne’er mother / Rejoiced deliverance more” – speak heavily to what Janet Adelman terms a “parthenogenesis fantasy.”   According to Adelman and Miller-Tomlinson, in taking sole credit for the creation of his children, Cymbeline acts a hermaphrodite who nonetheless transforms a maternal function into patriarchal influence by regaining control of his daughter and previously lost heirs.

= Endeavour Article Evaluation = I have decided to evaluate Wikipedia’s article on The Endeavour.

This article is extremely detailed and has been put together in a logical structure. The authors have added exact figures about the ship’s physical makeup and have gone into depth in terms of her construction. Regarding chronology, their recount of her pre-naval history as the Earl of Pembroke is as detailed (if not more) than the information provided by the Australian National Maritime Museum and they do a solid job of setting out The Endeavour’s purpose and the overall trajectory of the voyage of discovery. Of particular excellence is the passage on the infamous shipwreck in the Great Barrier Reef.

That said, the article is lacking in its disregard of The Endeavour’s crew, instead focusing more on the ship’s officers. Given the abundance of documentation provided by the officers as opposed to ordinary seamen this is understandable but still disappointing, given that some of the ship’s most interesting episodes occurred at the hands of its less important crewmembers. One such example that comes to mind is the mutiny of two marines in Tahiti, who were recaptured and severely punished.

Overall, however, the article on The Endeavour is to be commended. Closing it with a summary of the ship’s importance in popular memory – including its use in television, links to the US Space Shuttle Endeavour and presence on the New Zealand 50 cent coin – not only outlines the ship’s continued importance but reveals, perhaps, why the article itself is so detailed, remaining a point of popular national interest for many amateur historians in Australia.