Shakespeare Without WomenRoutledge, 11 sep. 2002 - 240 sidor Shakespeare Without Women is a controversial study of female impersonation, and the connections between dramatic and political representation in Shakespeare's plays. In this original and challenging book, Callaghan argues that Shakespeare did not include women, and that his transvestite actors did not represent women, and were not, furthermore, meant to do so. All Shakespeare's actors were, of historical necessity, (white) males which meant that the portrayal of women and racial others posed unique problems for his theatre. What is important, Shakespeare Without Women claims, is not to bemoan the absence of women, Africans, or the Irish, but to determine what such absences meant in their historical context and why they matter today. Callaghan focuses in the implications of absence and exclusion in several of Shakespeare's works: * the exclusion of the female body fromTwelfth Night * the impersonation of the female voice in the original performances of the plays * racial impersonation in Othello * echoes of removal of the Gaelic Irish in The Tempest * the absence of women on stage and in public life as shown in A Midsummer Night's Dream. |
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... constitutes the absence of these groups. Despite the absence of women and Africans from early modern public theatre, the only visual record we have of a Shakespearean performance, Henry Peacham's drawing of Titus Andronicus (Plate 1) ...
... constitutes the absence of these groups. Despite the absence of women and Africans from early modern public theatre, the only visual record we have of a Shakespearean performance, Henry Peacham's drawing of Titus Andronicus (Plate 1) ...
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... constitutes evidence of the troubled contiguity between cultural representation and representation understood in the broader political sense. Certainly, as Shabazz's comment indicates, we in the twentieth century have come to equate ...
... constitutes evidence of the troubled contiguity between cultural representation and representation understood in the broader political sense. Certainly, as Shabazz's comment indicates, we in the twentieth century have come to equate ...
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... constitute the epistemological structures and power relations of our history. In particular, the insistence that ... constitutes the most crucial conceptual advance made by recent black feminist work.6 Women are always marked by their ...
... constitute the epistemological structures and power relations of our history. In particular, the insistence that ... constitutes the most crucial conceptual advance made by recent black feminist work.6 Women are always marked by their ...
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Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage Dympna Callaghan Begränsad förhandsgranskning - 2000 |
Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage Dympna Callaghan Ingen förhandsgranskning - 2000 |
Vanliga ord och fraser
absence actor aesthetic Africans appearance argues audience bear become body Bulwer Caliban called castration chapter character claim colonial concern constitute context contrast cosmetics course court critical cultural desire despite difference direct discourse distinct early modern England English especially evidence example exclusion fact female femininity figure gender genitals give hand human identity impersonation instance Ireland Irish John ladies language literally male Malvolio marked material means memory mimesis misogyny namely nature never Night object observes offers Othello performance perhaps play play’s pleasure political position possibility practise present problem production Prospero quoted race racial records refers relation Renaissance representation represented seen sense sexual Shakespeare’s social specifically spectacle spectator stage status structure suggests theatre theatrical thee thing Thomas threat Twelfth visible voice woman women writes young