The Woman's Part: Feminist Criticism of ShakespeareCarolyn Ruth Swift Lenz, Gayle Greene, Carol Thomas Neely University of Illinois Press, 1980 - 348 pagina's |
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Pagina
... Actors and Audience Marianne Novy A Penchant for Perdita on the Eighteenth - Century Stage Irene G. Dash The Miranda Trap : Sexism and Racism in Shakespeare's Tempest Lorie Jerrell Leininger " O sacred , shadowy , cold , and constant ...
... Actors and Audience Marianne Novy A Penchant for Perdita on the Eighteenth - Century Stage Irene G. Dash The Miranda Trap : Sexism and Racism in Shakespeare's Tempest Lorie Jerrell Leininger " O sacred , shadowy , cold , and constant ...
Pagina 3
... actor - who brings to the plays her own experi- ence , concerns , questions . Such readers trust their responses to Shakespeare even when they raise questions that challenge pre- vailing critical assumptions . Conclusions derived from ...
... actor - who brings to the plays her own experi- ence , concerns , questions . Such readers trust their responses to Shakespeare even when they raise questions that challenge pre- vailing critical assumptions . Conclusions derived from ...
Pagina 6
... acting , accused of being deceitful even when they are not , or relegated to the position of audience to male acting . Good women are often powerless , and powerful women are always threatening and often , in fact , de- structive . And ...
... acting , accused of being deceitful even when they are not , or relegated to the position of audience to male acting . Good women are often powerless , and powerful women are always threatening and often , in fact , de- structive . And ...
Pagina 11
... acting tradi- tion of a compliant , simple heroine . A fellow actor asserted that she " restored the balance of the play by giving her character its due weight in the action " ( p . 61 ) . But she has fewer reservations about ...
... acting tradi- tion of a compliant , simple heroine . A fellow actor asserted that she " restored the balance of the play by giving her character its due weight in the action " ( p . 61 ) . But she has fewer reservations about ...
Pagina 13
... actor and audience , herself and not herself , shares with Silvia grief at male betrayal and female abandonment . In the second source of the phrase , Posthumus , in Cym- beline , is falsely persuaded that he has been betrayed , that ...
... actor and audience , herself and not herself , shares with Silvia grief at male betrayal and female abandonment . In the second source of the phrase , Posthumus , in Cym- beline , is falsely persuaded that he has been betrayed , that ...
Inhoudsopgave
Female Sexuality as Power in Shakespeares Plays | 17 |
The Roles of Women in Richard III | 35 |
Shakespeare and the Soil of Rape | 56 |
Comic Structure and the Humanizing of Kate in The Taming of the Shrew | 65 |
Much Ado and the Distrust of Women | 79 |
How a Girl Can Be Smart and Still Popular | 100 |
Intimate Conversations between Women in Shakespeares Plays | 117 |
A kind of self | 133 |
What should such a fool Do with so good a woman? | 211 |
Infirm of purpose | 240 |
Shakespeares Female Characters as Actors and Audience | 256 |
A Penchant for Perdita on the Eighteenth Century English Stage | 271 |
Sexism and Racism in Shakespeares Tempest | 285 |
Shakespeares Imperiled and Chastening Daughters of Romance | 295 |
A Selective Bibliography | 314 |
Contributors | 337 |
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The Woman's Part: Feminist Criticism of Shakespeare Carolyn Ruth Swift Lenz,Gayle Greene,Carol Thomas Neely Gedeeltelijke weergave - 1980 |
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