Playing Spaces in Early Women's DramaCambridge University Press, 19 oct. 2006 - 260 pages From the Abbess of Barking to Aphra Behn, women manipulated dramatic venues and settings to renegotiate their place in society. This is the first study to examine the playing spaces for early modern women's drama and how women played with space in scripts and performances. |
Table des matières
Section 1 | 31 |
Section 2 | 44 |
Section 3 | 53 |
Section 4 | 66 |
Section 5 | 74 |
Section 6 | 83 |
Section 7 | 107 |
Section 8 | 110 |
Section 10 | 112 |
Section 11 | 133 |
Section 12 | 145 |
Section 13 | 148 |
Section 14 | 150 |
Section 15 | 180 |
Section 16 | 191 |
Section 17 | 196 |
Section 9 | 111 |
Section 18 | 197 |
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Expressions et termes fréquents
Abbess Anna Anna of Denmark Anna's Antonie arena argues aristocratic authority banqueting house Beauty body Bolsover Castle Cavendish celebration characters chaste Chastity closet drama Concealed Fancies convent Countess court courtly created culture dance domestic drama dramatised early modern Elizabeth emotional entertainments example Fane Fane’s female feminine fictional figures garden gender goddess Henrietta Maria Herod heroine hortus conclusus household husband identity Iphigenia Jane Jane Cavendish King Lady landscape living Lord Love's Victory Luceny Luminalia male Marcelia Mariam marriage Mary Sidney Herbert masculine masque Masque of Beauty Masque of Blackness masquers mistress nature nuns nymphs offered palace Paradise pastoral patriarchal performance perspective scenery physical play's playing space pleasure plot political presented production Queen Rachel religious role royal scene script setting shepherds sisters social sorority spatial spectators stage Tattiney Tempe Restored theatre theatrical tradition venue Virgin walls Welbeck Abbey woman women Wroth's
Références à ce livre
Arab, Muslim, Woman: Voice and Vision in Postcolonial Literature and Film Lindsey Moore Aucun aperçu disponible - 2008 |