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 contemporary - on Renaissance women's drama. Specifically designed to provide a comprehensive overview for students, teachers and scholars, this collection combines:
* this century's key critical essays on drama by early modern women by early critics such as Virginia Woolf and T.S. Eliot
* specially-commissioned new essays by some of today's important feminist critics
* a preface and introduction explaining this selection and contexts of the materials
* a bibliography of secondary sources
Playwrights covered include Joanna Lumley, Elizabeth Cary, Mary Sidney, Mary Wroth and the Cavendish sisters.
Readings in Renaissance Women's Drama brings together, for the first time, a significant collection of critical and historical essays. Authors include: Joanna Lumley, Elizabeth Cary, Mary Sidney, Mary Wroth and the Cavendish sisters.
Introduction PART I Early commentaries, Introduction 1 Mary Sidney is
Praised to Elizabeth I (1594) 2 Samuel Daniel to Mary Sidney (1594) 3 John
Davies of Hereford Commends Mary Sidney and Elizabeth Cary (1612) 4 William
Sheares to Elizabeth Cary (1633) 5 Jonson and Wroth (1640) 6 Elizabeth Carys
Biography (16439) 7 Celebrating Several Ladies (1752) 8 The Cavaliers Lady
and her Plays (1872) 9 The First Scholarly Edition of Mary Sidneys Antonie
(1897) 10 Lumleys Play First Published (1909) 11 The First Modern Edition of
Mariam (1914) 12 Early Critical Recognition of Elizabeth Cary and Margaret
Cavendish (1920) 13 Woolf on Margaret Cavendish (1925) 14 T.S.Eliot on
Senecan Drama (1927) 15 Virginia Woolf on Judith Shakespeare (1929) 16 The
First Edition of The Concealed Fancies (1931) 17 Cary and A Womans Duty
(1940) 18 Mary Sidney: Philips Sister (1957) PART II Contexts and issues,
Introduction 1 Women playwrights in England: Renaissance noblewomen 2 The
Arts at the English Court of Anna of Denmark 3 My seeled chamber and dark
parlour room: the English country house and Renaissance women dramatists 4
Women as patrons of English Renaissance drama 5 Women as spectators,
spectacles, and paying customers 6 Women as theatrical investors: three
shareholders and the second Fortune Playhouse 7 Why may not a lady write a
good play?: plays by Early Modern women reassessed as performance texts PART
III Early Modern women dramatists, Introduction ELIZABETH I 1 We princes, I
tell you, are set on stages: Elizabeth I and dramatic self-representation
JANE/JOANNA LUMLEY 2 Joanna Lumley (1537?-1576/77) ELAINE V. BEILIN 3 Jane
Lumleys Iphigenia at Aulis: multum in parvo, or, less is more 4 Patronesse
of the Muses MARGARET P. HANNAY 5 Mary Herbert: Englishing a purified
Cleopatra ELIZABETH CARY 6 Elizabeth Cary (15851639) 7 The spectre of
resistance: The Tragedy of Mariam (1613) MARGARET W. FERGUSON 8 Resisting
tyrants: Elizabeth Carys tragedy BARBARA KIEFER LEWALSKI 9 An unknown
continent: Lady Mary Wroths forgotten pastoral drama, Loves Victorie
MARGARET ANNE MCLAREN 10 Like one in a gay masque: the Sidney cousins in
the theaters of court and country JANE CAVENDISH AND ELIZABETH BRACKLEY 11
To be your daughter in your pen: the social functions of literature in the
writings of Lady Elizabeth Brackley and Lady Jane Cavendish MARGARET J.M.
EZELL 12 She gave you the civility of the house: household performance in
The Concealed Fancies MARGARET CAVENDISH 13 My brain the stage: Margaret
Cavendish and the fantasy of female performance 14 A woman write a play!:
Jonsonian strategies and the dramatic writings
S. P. Cerasano is in the English Department at Colgate University, and Marion Wynne-Davies is in the English Department at the University of Dundee. They co-edited Renaissance Drama by Women, published by Routledge, 1996.
Daugiau apie elektronines knygas