From the 14th until the 19th century the last novella of Boccaccio’s Decameron, also known as the Griselda story, has been translated and adapted countless times in many European languages. This story’s success can be explained by considering it a myth and analysing how this myth engages with contemporary discourses, such as the definition of the ideal wife, the querelle des femmes, the socio-political consequences of social exogamy, and tyranny.
From the 14th until the 19th century the last novella of Boccaccio’s Decameron, also known as the Griselda story, has been translated and adapted countless times in many European languages. This story’s success can be explained by considering it a myth and analysing how this myth engages with contemporary discourses, such as the definition of the ideal wife, the querelle des femmes, the socio-political consequences of social exogamy, and tyranny.
Marlene thinks the eighties are going to be stupendous. Her sister Joyce has her doubts. Her daughter Angie is just frightened. Since its premiere in 1982, Top Girls has become a seminal play of the modern theatre. Set during a period of British politics dominated by the presence of the newly elected Prime Minister Margaret Thatcher, Churchill's play prompts us to question our notions of women's success and solidarity. Its sharp look at the society and politics of the 1980s is combined with a timeless examination of women's choices and restrictions regarding career and family. This new Student Edition features an introduction by Sophie Bush, Senior Lecturer at Sheffield Hallam University, UK prepared with the contemporary student in mind. METHUEN DRAMA STUDENT EDITIONS are expertly annotated texts of a wide range of plays from the modern and classic repertoires. A well as the complete text of the play itself, this volume contains: · A chronology of the play and the playwright's life and work · an introductory discussion of the social, political, cultural and economic context in which the play was originally conceived and created · a succinct overview of the creation processes followed and subsequent performance history of the piece · an analysis of, and commentary on, some of the major themes and specific issues addressed by the text · a bibliography of suggested primary and secondary materials for further study.
Twelve year-old Ante (Antonia) Alganesh has a problem. It’s lunchbreak and Florence’s gang are after her. Desperate for a place to hide, she climbs the forbidden staircase to the old organ loft, where a hundred years ago a boy tumbled to his death. No one will think of looking for her there... Except Florence. Petrified, Ante watches her enemy approach, leaning on the rotten hand-rail. She shouts a warning, but it’s too late. There’s a crash – and a boy appears from nowhere, just as a door opens in the wall behind them. All three find themselves in a tunnel leading to a river bank where people queue to be rowed across by a filthy old ferryman…Forced to bury their differences, Ante and Florence accompany the strange boy, Gil, on a journey he should have taken 100 years ago through the Underworld. Making their way past the Shopping Maul and Multivice Complex, attacked by Cerberus, Harpies, Furies and the Minotaur, all this is bad enough: far worse is the doubt gnawing at Ante’s heart...Ante’s Inferno is a gripping combination of fantasy, Greek mythology and adventure, for children aged 9-12 years old. Author Griselda is inspired by C. S. Lewis and Norton Juster’s The Phantom Tollbooth. Ante's Inferno won the Children's award in the People's Book Prize 2013, and the Silver award in the 9-12 year-old category of the Wishing Shelf Independent Book Awards 2012.
This volume presents the proceedings of the international conference “Theatre Cultures within Globalising Empires: Looking at Early Modern England and Spain”, held in 2012 as part of the ERC Advanced Grant Project Early Modern European Drama and the Cultural Net (DramaNet). Implementing the concept of culture as a virtual network, it investigates Early modern European drama and its global dissemination. The 12 articles of the volume – all written by experts in the field teaching in the United Kingdom, the USA, Russia, Switzerland, India and Germany – focus on a selection of English and Spanish dramas from the sixteenth and seventeenth centuries. Analysing and comparing motifs, formal parameters as well as plot structures, they discuss the commonalities and differences of Early modern drama in England and Spain.
Princess Griselda was so beautiful that almost everyone she met fell head over heels in love with her. And that's not just a saying. They actually lost their heads. In this wonderfully original fairy tale Isol takes on the dangers of narcissism. Griselda not only causes anyone who looks at her to lose his head -- she collects the lost heads, oblivious to the fact that everyone is terrified of looking at her. Eventually she runs out of companions, until she finally finds a prince so myopic that for a short while he is able to be with her (before the inevitable happens). But they are together long enough that at the end of nine months she has an extremely beautiful baby who, for the first time in Griselda's life, takes her out of herself -- unfortunately with the inevitable result.
In the time of a devastating pandemic, seven women and three men withdraw to a country estate outside Florence to give themselves a diversion from the death around them. Once there, they decide to spend some time each day telling stories, each of the ten to tell one story each day. They do this for ten days, with a few other days of rest in between, resulting in the 100 stories of the Decameron. The Decameron was written after the Black Plague spread through Italy in 1348. Most of the tales did not originate with Boccaccio; some of them were centuries old already in his time, but Boccaccio imbued them all with his distinctive style. The stories run the gamut from tragedy to comedy, from lewd to inspiring, and sometimes all of those at once. They also provide a detailed picture of daily life in fourteenth-century Italy.
Why is everything that compromises greatness in art coded as 'feminine'? Has the feminist critique of Art History yet effected real change? With a new preface by Griselda Pollock, this edition of a truly groundbreaking book offers a radical challenge to a women-free Art History. Parker and Pollock's critique of Art History's sexism leads to expanded, inclusive readings of the art of the past. They demonstrate how the changing historical social realities of gender relations and women artists' translation of gendered conditions into their works provide keys to novel understandings of why we might study the art of the past. They go further to show how such knowledge enables us to understand art by contemporary artists who are women and can contribute to the changing self-perception and creative work of artists today. In March 2020 Griselda Pollock was awarded the Holberg Prize in recognition of her outstanding contribution to research and her influence on thinking on gender, ideology, art and visual culture worldwide for over 40 years. Old Mistresses was her first major scholarly publication which has become a classic work of feminist art history.
