In Another Country: Feminist Perspectives on Renaissance Drama, Volumen10Dorothea Kehler, Susan Baker Scarecrow Press, 1991 - 345 páginas This anthology aligns feminist essays about Shakespeare with essays on other dramatists of the English Renaissance, particularly Peele, Marlowe, Webster, Marston, and Middleton. Foregrounding the intertextuality of Elizabethian drama, the thirteen essays_eleven of them new_explore the contribution of the stage to various feminist subjects, drawing on diverse theoretical approaches_formalists, materialist, historical, new historicist, deconstructionist, psychoanalytic, rhetorical_and resisting the figuration of feminist criticism as simple or univocal. Essayists include Laura Bromley, Mary Ann Bushman, Christy Desmet, Coppelia Kahn, Margaret Mikesell, Thomas Moisan, Jeanie Grant Moorem Phyllis Rackin, James Schiffer, Jeremy Tambling, Carolyn Whitney-Brown, and the editors. With extensive bibliographies. |
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Página 30
... role is nothing . As a Renaissance representation of a medieval woman , even as a queen , she exists only to fill a ... role as Richard is for his . When his role demands action , he remains passive , stymied by fear ; in a reverse ...
... role is nothing . As a Renaissance representation of a medieval woman , even as a queen , she exists only to fill a ... role as Richard is for his . When his role demands action , he remains passive , stymied by fear ; in a reverse ...
Página 38
... role - playing give Rosalind " dimensions in excess of her function , " but she acknowl- edges that while the audience is " called upon to hold together , in the study or in performance , the multiple aspects of her character , ... we ...
... role - playing give Rosalind " dimensions in excess of her function , " but she acknowl- edges that while the audience is " called upon to hold together , in the study or in performance , the multiple aspects of her character , ... we ...
Página 43
... role . Cleopatra eludes Caesar because she can never be identified with any one role , only with the way she performs it . Moreover , this character's style is visible because she includes failure as part of it — that is , we can see ...
... role . Cleopatra eludes Caesar because she can never be identified with any one role , only with the way she performs it . Moreover , this character's style is visible because she includes failure as part of it — that is , we can see ...
Contenido
Introduction Dorothea Kehler and Susan Baker | 1 |
Laura G Bromley | 50 |
Rhetoric of | 71 |
Derechos de autor | |
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In Another Country: Feminist Perspectives on Renaissance Drama, Volumen10 Dorothea Kehler,Susan Baker Vista previa limitada - 1991 |
Términos y frases comunes
Abigail Absalon Antony and Cleopatra audience authority Barabas Barabas's beard Bethsabe Bethsabe's Brachiano Cambridge Univ characters chaste chastity Comedy Coppélia daughter David death desire discourses Dissertation Abstracts International Duchess of Malfi Dutch Courtesan Elizabeth Elizabethan Emilia England English Renaissance Essays father female feminine feminist criticism figure Flamineo Freevill gender heroines husband identity ideology Isabel Isabella Jacobean Drama Jew of Malta Kahn King Lady Macbeth language Literature London lust male Margaret marriage married Marston's Mary masculine matrimony Measure for Measure Merchant of Venice metaphor Methuen mirror Noble Kinsmen Othello paradox patriarchal patriarchalist Paulina perspective play's pleasure political Press protagonists queen relationship Renaissance Drama rhetorical Richard Richard II role Romeo and Juliet scene sense sexual Shakespeare Quarterly Shakespeare Studies Shakespeare's Plays social society speech stage subversive Swetnam tion Tragedy tragic Vittoria Webster whore widow wife Winter's Tale wives woman womb women York