Titlebook: Intersectionalities of Class in Early Modern English Drama; Ronda Arab,Laurie Ellinghausen Book 2023 The Editor(s) (if applicable) and The

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Book 2023rly Modern English Drama .e xplores class as a complicated, contingent phenomenon modified by a wider range of social categories apart from those defining terms, including, but not limited to, race, gender, religion, and sexuality. This collection of essays – featuring a range of international contr

贫穷地活

Advancing Him, Subjecting Herself: Class, Gender, and Mixed-Estate Marriages in Early Modern Drama, mixed-estate marriages, . and ., illustrate the way the retention of the discourse of bloodline in early modern English culture minimized a woman’s agency. The concept of inherited class identity bolsters male social mobility through the subjection of the woman who advances a man through marriage.

Lignans

平淡而无味

,Women’s Intersectional Shop Labor in the Royal Exchange,customers but also uphold financial obligations to female employers and negotiate with female consumers of different ranks. Through their interactions with men and women, shop women fashion the Upper Pawn as a feminine place, largely populated, managed, and policed by the economic agency of women.

Watemelon

Working-Class Villains: Iago in the Trump Zeitgeist,ncies of identity to forge multiple sites of resistance, more powerful than a normative redistribution model that has been grounded in a concept of oppression located in the concerns of “white male industrial labor.”

Halfhearted

,“As of Moors, so of Chimney Sweepers”: Blackness, Race, and Class in George Chapman’s ,other man’s wife. This play, performed by the Children of the Chapel at Blackfriars around 1604, features a child actor in blackface: Lorenzo paints himself to emulate Snail’s sooty countenance and go unrecognized as he walks the street. While blackening a face onstage has many connotations, the bla

使腐烂

Working-Class Villains: Iago in the Trump Zeitgeist, zeitgeist. Iterations of .—onstage, and in popular political citations—that evoke a “working-class Iago” sign tensions between a leftist politics grounded in universal class struggle for redistribution and another left, a cultural left, that rejects such “meta narratives” in favor of manifold exige

Microaneurysm

,Filiation and White Freedom: Class, Race, and Sexuality in Brome’s ,engagements with beggars. In doing do, this comedy crafts a vision of racialized Whiteness as an inherited trait of the gentry, and this notion of class-based Whiteness reinforces a socio-economic segregation that will preserve and protect the wealth and freedom of this class as it pursues colonial

Euphonious