Cleopatra. Sexy, sultry, political, and racially ambiguous. Moving fluidly from Shakespeare's England to contemporary LA, Francesca Royster looks at the performance of race and sexuality in a wide range of portrayals of that icon of dangerous female sexuality, Cleopatra. Royster begins with Shakespeare's original appropriation of Plutarch, and then moves on to analyze performances of the Cleopatra icon by Josephine Baker, Elizabeth Taylor, Pam Grier (Cleopatra Jones) and Queen Latifah (in Set It Off ). Royster argues that Cleopatra highlights a larger cultural anxiety about women, sexuality, and race.
Cleopatra. Sexy, sultry, political, and racially ambiguous. Moving fluidly from Shakespeare's England to contemporary LA, Francesca Royster looks at the performance of race and sexuality in a wide range of portrayals of that icon of dangerous female sexuality, Cleopatra. Royster begins with Shakespeare's original appropriation of Plutarch, and then moves on to analyze performances of the Cleopatra icon by Josephine Baker, Elizabeth Taylor, Pam Grier (Cleopatra Jones) and Queen Latifah (in Set It Off ). Royster argues that Cleopatra highlights a larger cultural anxiety about women, sexuality, and race.
The Pulitzer Prize-winning biographer brings to life the most intriguing woman in the history of the world: Cleopatra, the last queen of Egypt. Her palace shimmered with onyx, garnets, and gold, but was richer still in political and sexual intrigue. Above all else, Cleopatra was a shrewd strategist and an ingenious negotiator. Though her life spanned fewer than forty years, it reshaped the contours of the ancient world. She was married twice, each time to a brother. She waged a brutal civil war against the first when both were teenagers. She poisoned the second. Ultimately she dispensed with an ambitious sister as well; incest and assassination were family specialties. Cleopatra appears to have had sex with only two men. They happen, however, to have been Julius Caesar and Mark Antony, among the most prominent Romans of the day. Both were married to other women. Cleopatra had a child with Caesar and -- after his murder -- three more with his protégé. Already she was the wealthiest ruler in the Mediterranean; the relationship with Antony confirmed her status as the most influential woman of the age. The two would together attempt to forge a new empire, in an alliance that spelled their ends. Cleopatra has lodged herself in our imaginations ever since. Famous long before she was notorious, Cleopatra has gone down in history for all the wrong reasons. Shakespeare and Shaw put words in her mouth. Michelangelo, Tiepolo, and Elizabeth Taylor put a face to her name. Along the way, Cleopatra's supple personality and the drama of her circumstances have been lost. In a masterly return to the classical sources, Stacy Schiff here boldly separates fact from fiction to rescue the magnetic queen whose death ushered in a new world order. Rich in detail, epic in scope, Schiff 's is a luminous, deeply original reconstruction of a dazzling life.
While her father is in hiding after attempts on his life, 12-year-old Cleopatra records in her diary how she fears for her own safety and hopes to survive to become Queen of Egypt some day.
Walk, talk, and dress like an Egyptian. When Louise Lambert tries on a lavender Grecian gown during a visit to the mysterious Traveling Fashionista Vintage Sale, she feels a familiar tug and falls back in time, arriving at the dusty base of an enormous pyramid. She has landed in ancient Egypt...or has she? It turns out that Louise is on the legendary Old Hollywood film set of Cleopatra, but her time there is short-lived. Rummaging through the wardrobe tent, Louise gets her hands on a pearl necklace that dates back to 51 BC, and she suddenly finds herself whisked away once more, this time to the ancient city of Alexandria, Egypt. Gold and jewels shimmer in the Egyptian sunlight, but poisonous snakes and dangerous enemies also roam the palace halls. Louise quickly learns that life as a handmaiden to Queen Cleopatra is much more treacherous--and fashionable--than she ever could have imagined.
This collection of twenty original essays will expand the critical contexts in which Antony and Cleopatra can be enjoyed as both literature and theater.
Questions about the meaning of womanhood and femininity loomed large in late nineteenth- and early twentieth-century French culture. In Playing Cleopatra, Holly Grout uses the theater—specifically, Parisian stage performances of the Egyptian queen Cleopatra by Sarah Bernhardt, Colette, and Josephine Baker—to explore these cultural and political debates. How and why did portrayals of Cleopatra influence French attitudes regarding race, sexuality, and gender? To what extent did Bernhardt, Colette, and Baker manipulate the image of Cleopatra to challenge social norms and to generate new models of womanhood? Why was Cleopatra—an ancient, mythologized queen—the chosen vehicle for these spectacular expressions of modern womanhood? In the context of late nineteenth-century Egyptomania, Cleopatra’s eroticized image—as well as her controversial legacy of female empowerment—resonated in new ways with a French public engaged in reassessing feminine sexuality, racialized beauty, and national identity. By playing Cleopatra, Bernhardt, Colette, and Baker did more than personify a character; they embodied the myriad ways in which celebrity was racialized, gendered, and commoditized, and they generated a model of female stardom that set the stage for twentieth-century celebrity long before the Hollywood machine’s mass manufacture of “stars.” At the same time, these women engaged with broader debates regarding the meaning of womanhood, celebrity, and Frenchness in the tumultuous decades before World War II. Drawing on plays, periodicals, autobiographies, personal letters, memoirs, novels, works of art, and legislation, Playing Cleopatra contributes to a growing body of literature that examines how individuals subverted the prevailing gender norms that governed relations between the sexes in liberal democratic regimes. By offering employment, visibility, and notoriety, the theater provided an especially empowering world for women, in which the roles they played both reflected and challenged contemporary cultural currents. Through the various iterations in which Bernhardt, Colette, and Baker played Cleopatra, they not only resurrected an ancient queen but also appropriated her mystique to construct new narratives of womanhood.
The first book of three in a richly imagined ancient world where the course of history is altered by one battle. In this world, Antony and Cleopatra triumph at the Battle of Actium, and Cleopatra emerges as a queen, stateswoman, and politician. Those around her come to life as the reader returns to those days to live them with her.
