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The subversions of Collabnet are different from Collabnet to Collabnet. They are different because almost everything in the world is different even if it was meant to be the same.

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What fairy tale uses subversions?

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As You Like It how rosalind elaborate copes with being a woman disguised as a man?

Rosalind is one of the most powerful of all the women characters encountered in any of the Shakespearian comedies. In terms of her personality and wit, she seems to be unmatched. One of the reasons she is able to express herself so fully is that she remains disguised as a male for a long portion of "As You Like It". This allows her to experience her emotions and thoughts outside of the more constrained world of the female and even she remarks in "Now go we in content, / To liberty, and not to banishment" (I.iii.131-132). The use of the term "banishment" here implying that her view of femininity is that of having been expelled from everyday life, exiled somehow from the world by nature of her gender. This realization, as she clearly expresses, allows her to offer her advice and instruction to the males without fear of ridicule or persecution and by the end, when she delivers the epilogue, the reader feels as though she has gained her confidence by living as Ganymede. Her epilogue is delivered with confidence and the reader should keep in mind that during Shakespeare's time, the only actors (thus epilogue-reciters) were men. Therefore, the gender-bending result of the disguises in this play are two fold since in actuality, the actor playing Rosalind would be a man dressed up as a woman, but then dressed up as a man with womanly characteristics. The result is certainly confusing, but it sheds light on the argument that Shakespeare is using gendered disguises to present higher truths-in this case, the malleability of gender through the use of role-playing and disguise.In the case of Rosalind's disguise as a male, she at once engages in deceit for the purposes of short-term gain, but in the end, this becomes a long-term benefit for her as a character. In her male role she is able to criticize poetry and engage in long debates about the meaning of life with other men-a role that she would have been "banished" from had she appeared without the disguise. By the end of the play, Shakespeare has craftily made the reader forget about the deceit that began Rosalind's transformation from mere female to the main character and we are pushed to focus more fully on her accomplishments as playing the role of both genders. When Jacques states "All the world's a stage, / And all the men and women merely players" (II.vii.138-139) this is more keenly perceived when thought about in terms of Rosalind. She is able to play both roles, to match both of her disguises; the male and of course the female disguise. If Jaques is correct, that would mean that even the conventions of gender of merely roles that are being played out. Thus, in many respects, the subversion of these roles through disguise becomes more honest than deceitful.One gets the sense that Rosalind is by far the more "masculine" character when contrasted to her cousin, Celia. Rosalind, who has more manly tendencies, chooses to dress as the male shepherd while Celia, the less dominant female takes on a disguised, yet still female form, which highlights Jaques' view of the roles people play. While Rosalind seemed able to break free from the constraints of her gender, her cousin, even though disguised, could not enter onto "the world's stage". Ultimately, these decisions about gender and disguise could lead to a lot of debate about sexuality (or the subversions and perversions of it) but for the sake of the argument about the role of disguise, deceit, and truth, it will suffice to say that the very choices made by these characters of their deceitful disguise demonstrates a higher truth-that gender roles are able to be manipulated and understanding gained through their use.