|
|
Sold Out
Book Categories |
| Preface | ||
| Acknowledgements | ||
| Permissions | ||
| Introduction | 1 | |
| Pt. 1 | Early commentaries | 7 |
| 1 | Mary Sidney is Praised to Elizabeth I (1594) | 10 |
| 2 | Samuel Daniel to Mary Sidney (1594) | 10 |
| 3 | John Davies of Hereford Commends Mary Sidney and Elizabeth Cary (1612) | 13 |
| 4 | William Sheares to Elizabeth Cary (1633) | 14 |
| 5 | Jonson and Wroth (1640) | 15 |
| 6 | Elizabeth Cary's Biography (1643-9) | 16 |
| 7 | Celebrating Several Ladies (1752) | 16 |
| 8 | The Cavalier's Lady and her Plays (1872) | 17 |
| 9 | The First Scholarly Edition of Mary Sidney's Antonie (1897) | 18 |
| 10 | Lumley's Play First Published (1909) | 18 |
| 11 | The First Modern Edition of Mariam (1914) | 19 |
| 12 | Early Critical Recognition of Elizabeth Cary and Margaret Cavendish (1920) | 20 |
| 13 | Woolf on Margaret Cavendish (1925) | 21 |
| 14 | T. S. Eliot on Senecan Drama (1927) | 21 |
| 15 | Virginia Woolf on 'Judith Shakespeare' (1929) | 23 |
| 16 | The First Edition of The Concealed Fancies (1931) | 24 |
| 17 | Cary and 'A Woman's Duty' (1940) | 26 |
| 18 | Mary Sidney: Philip's Sister (1957) | 27 |
| Pt. II | Contexts and issues | 29 |
| 1 | Women playwrights in England: Renaissance noblewomen | 32 |
| 2 | The Arts at the English Court of Anna of Denmark | 47 |
| 3 | 'My seeled chamber and dark parlour room': the English country house and Renaissance women dramatists | 60 |
| 4 | Women as patrons of English Renaissance drama | 69 |
| 5 | Women as spectators, spectacles, and paying customers | 81 |
| 6 | Women as theatrical investors: three shareholders and the second Fortune Playhouse | 87 |
| 7 | 'Why may not a lady write a good play?': plays by Early Modern women reassessed as performance texts | 95 |
| Pt. III | Early Modern women dramatists | 109 |
| 1 | 'We princes, I tell you, are set on stages': Elizabeth I and dramatic self-representation | 113 |
| 2 | Joanna Lumley (1537?-1576/77) | 125 |
| 3 | Jane Lumley's Iphigenia at Aulis: multum in parvo, or, less is more | 129 |
| 4 | 'Patronesse of the Muses' | 142 |
| 5 | Mary Herbert: Englishing a purified Cleopatra | 156 |
| 6 | Elizabeth Cary (1585-1639) | 167 |
| 7 | The spectre of resistance: The Tragedy of Mariam (1613) | 182 |
| 8 | Resisting tyrants: Elizabeth Cary's tragedy | 194 |
| 9 | An unknown continent: Lady Mary Wroth's forgotten pastoral drama, 'Loves Victorie' | 219 |
| 10 | 'Like one in a gay masque': the Sidney cousins in the theaters of court and country | 234 |
| 11 | 'To be your daughter in your pen': the social functions of literature in the writings of Lady Elizabeth Brackley and Lady Jane Cavendish | 246 |
| 12 | 'She gave you the civility of the house': household performance in The Concealed Fancies | 259 |
| 13 | 'My brain the stage': Margaret Cavendish and the fantasy of female performance | 272 |
| 14 | 'A woman write a play!': Jonsonian strategies and the dramatic writings of Margaret Cavendish; or, did the duchess feel the anxiety of influence? | 293 |
| Notes on contributors | 306 | |
| Bibliography of secondary sources | 310 | |
| Index | 315 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
CARRIERE STEPHANE
reviewed Readings in Renaissance Women's Drama on July 17, 2020
Readings in Renaissance Women's Drama
Others have articulated my struggle with this book far better than I have, but it really comes down to the fact that I don't think this book has aged all that well. What might have seemed 'boldly pathbreaking' in 1975 doesn't really seem that way any more; at times the second-waviness of it all becomes painfully obvious (such as the veneration of Virginia Woolf above virtually all other feminist critics). The sections on satire and the role of the boy actor are excellent, but other parts - like the endless diversions into the work of other Elizabethan, Jacobean and even Caroline playwrights. It's a mixed bag of a book, in short: some parts are really worth the effort, others not so much.
(Also, I really dislike it when critics assume a knowledge of Latin and leave things accordingly untranslated, but that's academia for you.)
Login|Complaints|Blog|Games|Digital Media|Souls|Obituary|Contact Us|FAQ
CAN'T FIND WHAT YOU'RE LOOKING FOR? CLICK HERE!!! X
You must be logged in to add to WishlistX
This item is in your Wish List
X
This item is in your Collection
Readings in Renaissance Women's Drama
X
This Item is in Your Inventory
Readings in Renaissance Women's Drama
X
You must be logged in to review the productsX
X
X
Add Readings in Renaissance Women's Drama, Readings in Renaissance Women's Drama is the most complete sourcebook for the study of this growing area of inquiry. It brings together, for the first time, a collection of the key critical commentaries and historical essays - both classic and co, Readings in Renaissance Women's Drama to the inventory that you are selling on WonderClubX
X
Add Readings in Renaissance Women's Drama, Readings in Renaissance Women's Drama is the most complete sourcebook for the study of this growing area of inquiry. It brings together, for the first time, a collection of the key critical commentaries and historical essays - both classic and co, Readings in Renaissance Women's Drama to your collection on WonderClub |