Ziegler, Dolan, and Roberts' "attention is directed specifically to the representations of Shakespeare's women in the Victorian era, rather than on the Elizabethan stage ... [They have] culled from the [Folger] Library's vast holdings a remarkably varied and illuminating array of books, manuscripts, and illustrations which provide a new understanding of how Shakespeare's heroines came to embody, reflect, and refract the values and assumptions of nineteenth-century English society."--Foreword, p.7.
The first sustained study of girls and girlhood in early modern literature and culture. Jennifer Higginbotham makes a persuasive case for a paradigm shift in our current conceptions of the early modern sex-gender system. She challenges the widespread assumption that the category of the 'girl' played little or no role in the construction of gender in early modern English culture. And she demonstrates that girl characters appeared in a variety of texts, from female infants in Shakespeare's late romances to little children in Tudor interludes to adult 'roaring girls' in city comedies. This monograph provides the first book-length study of the way the literature and drama of the sixteenth and seventeenth centuries constructed the category of the 'girl'.
The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken in the dynamic and newly updated edition of A Feminist Companion to Shakespeare. Provides the definitive feminist statement on Shakespeare for the 21st century Updates address some of the newest theatrical andcreative engagements with Shakespeare, offering fresh insights into Shakespeare’s plays and poems, and gender dynamics in early modern England Contributors come from across the feminist generations and from various stages in their careers to address what is new in the field in terms of historical and textual discovery Explores issues vital to feminist inquiry, including race, sexuality, the body, queer politics, social economies, religion, and capitalism In addition to highlighting changes, it draws attention to the strong continuities of scholarship in this field over the course of the history of feminist criticism of Shakespeare The previous edition was a recipient of a Choice Outstanding Academic Title award; this second edition maintains its coverage and range, and bringsthe scholarship right up to the present day
This study removes some of the critical puzzles that Shakespeare's comedies of love have posed in the past. The author shows that what distinguishes the comedies is not their similarity but their variety.
Shakespeare and Women situates Shakespeare's female characters in multiple historical contexts, ranging from the early modern England in which they originated to the contemporary Western world in which our own encounters with them are staged. In so doing, this book seeks to challenge currently prevalent views of Shakespeare's women-both the women he depicted in his plays and the women he encountered in the world he inhabited. Chapter 1, "A Usable History," analyses the implications and consequences of the emphasis on patriarchal power, male misogyny, and women's oppression that has dominated recent feminist Shakespeare scholarship, while subsequent chapters propose alternative models for feminist analysis. Chapter 2, "The Place(s) of Women in Shakespeare's World," emphasizes the frequently overlooked kinds of social, political, and economic agency exercised by the women Shakespeare would have known in both Stratford and London. Chapter 3, "Our Canon, Ourselves," addresses the implications of the modern popularity of plays such as The Taming of the Shrew which seem to endorse women's subjugation, arguing that the plays--and the aspects of those plays--that we have chosen to emphasize tell us more about our own assumptions than about the beliefs that informed the responses of Shakespeare's first audiences. Chapter 4, "Boys will be Girls," explores the consequences for women of the use of male actors to play women's roles. Chapter 5, "The Lady's Reeking Breath," turns to the sonnets, the texts that seem most resistant to feminist appropriation, to argue that Shakespeare's rewriting of the idealized Petrarchan lady anticipates modern feminist critiques of the essential misogyny of the Petrarchan tradition. The final chapter, "Shakespeare's Timeless Women," surveys the implication of Shakespeare's female characters in the process of historical change, as they have been repeatedly updated to conform to changing conceptions of women's nature and women's social roles, serving in ever-changing guises as models of an unchanging, universal female nature.
Named One of Esquire's 50 Best Biographies of All Time The Pulitzer Prize and National Book Award finalist, reissued with a new afterword for the 400th anniversary of Shakespeare’s death. A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.
Serves both as a script for performance and as a text for high school and college theater and English classes. This self-contained script brings together different scenes from Shakespeare's plays to portray women "in all their infinite variety." Two narrators, a man and a woman, introduce and comment on these scenes, weaving together the different characters and situations. This book combines literary and theatrical techniques in examining Shakespeare's women. Its promptbook format provides clear, helpful stage directions on pages facing each of the scenes. Also helpful are concise glosses and footnotes to define difficult words and phrases plus a commentary to explain each scene in its dramatic context. Other features include sheet music for each song in the play, a bibliography on the topic of women in Shakespeare's plays, and suggestions for directors who wish to stage the play.
In a study that explodes the assumption that early modern comic culture was created by men for men, Pamela Allen Brown shows that jest books, plays, and ballads represented women as laugh-getters and sought out the laughter of ordinary women. Disputing the claim that non-elite women had little access to popular culture because of their low literacy and social marginality, Brown demonstrates that women often bested all comers in the arenas of jesting, gaining a few heady moments of agency. Juxtaposing the literature of jest against court records, sermons, and conduct books, Brown employs a witty, entertaining style to propose that non-elite women used jests to test the limits of their subjection. She also shows how women's mocking laughter could function as a means of social control in closely watched neighborhoods. While official culture beatified the sheep-like wife and disciplined the scold, jesting culture often applauded the satiric shrew, whether her target was priest, cuckold, or rapist. Brown argues that listening for women's laughter can shed light on both the dramas of the street and those of the stage: plays from The Massacre of the Innocents to The Merry Wives of Windsor to The Woman's Prize taught audiences the importance of gossips' alliances as protection against slanderers, lechers, tyrants, and wife-beaters. Other jests, ballads, jigs, and plays show women reveling in tales of female roguery or scoffing at the perverse patience of Griselda. As Brown points out, some women found Griselda types annoying and even foolish: better be a shrew than a sheep.
Labors Lost offers a fascinating and wide-ranging account of working women's behind-the-scenes and hitherto unacknowledged contributions to theatrical production in Shakespeare's time. Natasha Korda reveals that the purportedly all-male professional stage relied on the labor, wares, ingenuity, and capital of women of all stripes, including ordinary crafts- and tradeswomen who supplied costumes, props, and comestibles; wealthy heiresses and widows who provided much-needed capital and credit; wives, daughters, and widows of theater people who worked actively alongside their male kin; and immigrant women who fueled the fashion-driven stage with a range of newfangled skills and commodities. Combining archival research on these and other women who worked in and around the playhouses with revisionist readings of canonical and lesser-known plays, Labors Lost retrieves this lost history by detailing the diverse ways women participated in the work of playing, and the ways male players and playwrights in turn helped to shape the cultural meanings of women's work. Far from a marginal phenomenon, the gendered division of theatrical labor was crucial to the rise of the commercial theaters in London and had an influence on the material culture of the stage and the dramatic works of Shakespeare and his contemporaries.
The Folger Shakespeare Library includes among its holdings the largest collection of materials in North America relating to Elizabeth I, including 38 documents signed by the queen. On the occasion of the 400th anniversary of Elizabeth's death in March 1603, the Folger Library mounted an ambitious exhibition of more than one hundred books, manuscripts, and works of art from its collections. stunning detail, as affectionate stepdaughter and censorious cousin, as humanist prince, as powerful and often capricious patroness, and as a private person. She was the centre not only of national culture but also of a vibrant court culture with complex ritual practices such as elaborate New Year's gift exchanges and summertime progresses through the countryside. Her self-fashioning literally involved the use of fashion. She dressed to be seen; her clothes made a statement about her power as a female ruler and about the stability and strength of her nation. The many portraits of Elizabeth which survive, including the 1579 Sieve portrait featured on the cover, suggest the complex interplay between the queen's politics of self-display and her powerful vanity. Sheila Ffolliott, and Barbara Hodgdon explore Elizabeth's life, her books, her portraits, the many documents in the Folger Library relating to her, and her continuing charismatic power in British and American culture.
