subject: Christian Louboutin At Least Effeminize [print this page] Like the colonial landscape itself, which is often represented as unknowable and Christian Louboutin black flower sandals (e.g., the dark continent), the feminine is an unrepresentable absence which can be, as Anne McClintock suggests, "the objects of fetishism but never the subjects" (193; her emphasis). The sexuality of both Cleopatra and Volu-pine is potentially empowering; it shows clear signs of the ability to overwhelm or at least effeminize the male. While the Orientalized Cleopatra claims in Shakespeare's play that, "I . . . put my tires and mantles on [Antony] whilst / I Christian Louboutin black slingback sandals his sword Philippan" (2.5.21-23), the similarly Othered Volupine possesses perhaps even more transgressive power, working to emasculate both her male suitors and the aforementioned lion of San Marco. As a result, the female figure must be treated as either a complete absence ("For her own person, it beggared all description") or reduced to a Christian Louboutin black suede cross sandals object ("A meagre, blue-nailed, phthisic hand"), which is far more manageable in the economy of male desire.
As Eliot's career progressed, he eventually revised his earlier assessment of the Shakespearean canon: Antony and Cleopatra and Coriolanus were eventually subordinated to the "romances." These late plays - which include The Tempest, Cymbeline, T.S. Eliot and the Fetishization of Shakespeare's Queen of the Nile 35 and Pericles - blend Christian Louboutin Black Toe Sandals of tragedy and comedy, and occupied a privileged position in both Eliot's criticism and verse, with the most conspicuous poetic appearance being the allusions to Pericles in "Marina" (1930).
