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Titlebook: Early Women Dramatists 1550–1801; Margarete Rubik Textbook 1998Latest edition Margarete Rubik 1998 drama.dramatist.Renaissance.women

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书目名称Early Women Dramatists 1550–1801
编辑Margarete Rubik
视频videohttp://file.papertrans.cn/301/300822/300822.mp4
概述Analyses hitherto neglected authors and works, including the key texts of the major female authors of the period. Discusses the works in relation to contemporary culture and provides historical summar
丛书名称English Dramatists
图书封面Titlebook: Early Women Dramatists 1550–1801;  Margarete Rubik Textbook 1998Latest edition Margarete Rubik 1998 drama.dramatist.Renaissance.women
描述A comprehensive survey of women‘s drama between the Renaissance and the end of the eighteenth century, assessing the plays‘ characteristic features and the ruptures in the text indicating the writers‘ precarious social and artistic position and ambiguous stances to their own creativity and sex.Chapters are devoted to individual writers as well as to general developments in specific periods.The most significant plays are analysed in detail and related to the male literary canon of the time in order to stress both their originality and the existence of an, albeit tentative, female literary tradition.
出版日期Textbook 1998Latest edition
关键词drama; dramatist; Renaissance; women
版次1
doihttps://doi.org/10.1007/978-1-349-26275-5
copyrightMargarete Rubik 1998
The information of publication is updating

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Women Dramatists at the Turn of the Centuryarp drop in theatre attendance, about which Behn complained in her Prologue to . William III showed no interest in the stage and had no intention of renewing the patronage of his predecessors. The King’s Company collapsed in 1682 owing to financial mismanagement and merged with the Duke’s Company to
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Susanna Centlivreth century. She must have known Pix, Manley and Wiseman personally, since she contributed to collections they edited, or in turn received verses for her own publications. But she started to write later than most of the wits and continued after they had all long ceased. She has been the most successf
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Women Dramatists of the Early Eighteenth Century what might humour theatre-goers, plays became more diversified from the second decade of the century onwards, with ‘reformed’ Restoration comedies, sentimental comedies, farces, harlequinades, romances, tragi-comedies, heroic plays, ‘classical’ tragedies and historical tragedies being performed. Ye
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Towards a Female Tradition in the Theatreas, and are their works hence indistinguishable from those of men? The question is complicated not only by the diverse and contradictory nature of the material surveyed, but also by fundamental disagreement, even among critics of modern drama, where feminist stances are much more pronounced, as to w
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