Arts and Humanities Commons^™

Out Of The Closet And Into The Classroom: Teaching Anne Finch's Plays, Diana Solomon

ABO: Interactive Journal for Women in the Arts, 1640-1830

The publication of the Cambridge Edition of the Works of Anne Finch, Countess of Winchilsea makes it possible to teach not only a much wider assorted of her edited poetry, but also Finch’s two dramas: the tragicomedy The Triumphs of Love and Innocence, and the tragedy Aristomenes. This essay proposes integrating Finch’s plays into a course on Restoration and eighteenth-century drama by proposing a class, “Genre Trouble,” which sets them in dialogue with frequently-taught plays of the era. Included herein are a syllabus of primary and secondary sources, suggestions for discussing Finch’s plays and dramatic paratexts in comparison to works …

Rosalind's Masculine Self: As You Like It And Criticism Of Male Communities, Faith Langford

Merge

No abstract provided.

Review Of Women, Performance, And The Material Of Memory: The Archival Tourist, 1780-1915, By Laura Engel, Leslie Ritchie

ABO: Interactive Journal for Women in the Arts, 1640-1830

No abstract provided.

Shakespeare's Problem Comedies As Self-Critique, John-Paul Spiro

Dissertations, Theses, and Capstone Projects

I argue that Measure for Measure and All’s Well That Ends Well reveal underexplored features common to Shakespeare’s comedies. Often interpreted as “problem plays,” they are more representative of the genre than previously acknowledged. I suggest that Shakespeare wrote them to de-nature and de-familiarize his own practices. The plays present the coercion inherent in the normativizing of marriage as the basis for social and political order. The “happiness” achieved—or at least gestured towards—at the end of Shakespearean comedy restricts human possibilities and is often presented as an imposition or injunction rather than a reflection of spontaneous, collective emotion. In particular, …

"Within The Hollow Crown": Performing Kingship In Richard Ii And Henry Iv Part One, Angeline Morris

Electronic Theses and Dissertations

This paper examines the parallels and connections between Richard II and Prince Hal in Shakespeare’sRichard II and 1 Henry IV and what the results would be if the characters were cross-cast, or played by the same actor onstage, in performance. Criticism on the plays has often addressed the parallels between the two characters, but as of yet no one has examined ways to show this in performance. This paper acts as a form of critical introduction for a proposed combined performance text of both Richard II and 1 Henry IV, arguing that the textual parallels between the two …

Folklore-In-The-Making: Analyzing Shakespeare's The Tempest And Adaptations As Folklore, Heather Talbot

Student Works

This paper explores the similarities between folklore and Shakespeare's play,The Tempest. Not only is The Tempest an example of a folkloric story, this paper looks at how this play calls to attention the importance of story and the need for story to adapt in order to survive. Folklore is an oral tradition that is living, or continually adapting. Shakespeare's plays, while written are also performances which can be adapted through interpretations and by adapting to new genres. It is this adaptability which allows Shakespeare's works to continue to thrive and it is this adaptability which will determine how …

The Cognition And Performance Of Resonant Temporalities In Richard Iii, Joe Keener

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

The Taming Of The Shrew And Coriolanus: Re-Interpretations And Adaptations After The Major Western Ideological Revolutions, David George

Selected Papers of the Ohio Valley Shakespeare Conference

No abstract provided.

Review Of Royal Shakespeare Company Production Of Mary Pix’S The Beau Defeated, Retitled The Fantastic Follies Of Mrs. Rich, Aparna Gollapudi

ABO: Interactive Journal for Women in the Arts, 1640-1830

Jo Davies’s reprise of Mary Pix’s comedy The Beau Defeated, Or The Lucky Younger Brother,performed by the Royal Shakespeare Company at Swan Theatre in Stratford-upon-Avon under the title The Fantastic Follies of Mrs. Rich refocuses the comedy from its original engagement with primogeniture and middling class masculinity towards the female characters. It also diffuses Pix’s Whiggish moralism in Mrs. Rich's portrayal, highlighting instead her energy and verve. Overall, a very successful production, the performance is more Restoration comedy than the transitional work that Pix's play was when it opened in 1700.

Belligerent Mothers And The Power Of Feminine Speech In _The Owl And The Nightingale_, Wendy A. Matlock

Medieval Feminist Forum: A Journal of Gender and Sexuality

The Middle English poem The Owl and the Nightingale famously records the dispute between a hostile Nightingale and a bellicose Owl. Within that dialogue the birds reproduce themselves in word and egg, in rhetoric and body. Their digressions on bodies and scatology and on childbearing and childrearing become fertilizer that expands maternal authority into public, intellectual discourse. In addition to calling forth their own communicative powers, both characters aggressively recount narratives best known from the work of Marie de France, a voice feminist scholars have successfully restored to the canon, to condemn their foe. In this light, I argue, The …

Anna Larpent And Shakespeare, Fiona Ritchie

ABO: Interactive Journal for Women in the Arts, 1640-1830

Anna Larpent (1758-1832) is a crucial figure in theater history and the reception of Shakespeare since drama was a central part of her life. Larpent was a meticulous diarist: the Huntington Library holds seventeen volumes of her journal covering the period 1773-1830. These diaries shed significant light on the part Shakespeare played in her life and contain her detailed opinions of his works as she experienced them both on the page and on the stage in late eighteenth- and early nineteenth-century London. Larpent experienced Shakespeare’s works in a variety of forms: she sees Shakespeare’s plays performed, both professionally and by …

Theatrical Weddings And Pious Frauds: Performance And Law In Victorian Marriage Plots, Adrianne A. Wojcik

Dissertations (1934 -)

This study investigates how key Victorian novelists, such as Anne and Charlotte Brontë, Elizabeth Gaskell, Charles Dickens, Wilkie Collins, Mary Elizabeth Braddon, George Eliot, and Thomas Hardy, emphasize performativity in their critiques of marriage. Given the performative nature of wedding ceremonies, this project focuses on wedding descriptions in select novels by the aforementioned authors. Such a focus highlights an interesting dilemma. Although we often think of Victorian novels as overwhelmingly concerned with marriage, the few wedding descriptions found in Victorian fiction are aborted, unusually short or announced after the fact. Those Victorian novelists who do feature weddings often describe them …

Gestural Ekphrasis: Toward A Phenomenology Of The Moving Body In Joyce And Woolf, Lauren Nicole Benke

Electronic Theses and Dissertations

This theoretical project seeks to introduce a new critical methodology for evaluating gesture - both represented in text and paratextual - in the works of Virginia Woolf - specifically The Voyage Out (1915), Orlando (1928), The Waves (1931), and Between the Acts (1941) - and James Joyce - particularly Ulysses (1922) and Finnegans Wake (1939). Though gesture studies has developed significantly as an interdisciplinary field in recent decades and performance studies has elaborated on the moving body's significance to both text and performance, literary scholarship itself has not yet adequately incorporated possibilities for specific critical attention to gesture. Gesture is …

A Gold Rush Twelfth Night In Cincinnati, Niamh J. O'Leary

Faculty Scholarship

A long-format review of the Cincinnati Shakespeare Company's fall 2018 production of Shakespeare's Twelfth Night.

Theatres Of War: Performing Queer Nationalism In Modernist Narratives, Elise Swinford

Doctoral Dissertations

Queer writers in Britain during the early twentieth century found themselves in a fraught geopolitical context formed by imperial violence and the First World War. In this dissertation, I argue that many queer modernist artists employed performative strategies in order to navigate the increasingly narrow vision of WWI-era British national culture that accompanied this historical context. While performance allowed them to express queer politics and desires without risking total exposure and persecution, their performative aesthetic depended on a problematic use of racial tropes through which these desires were channeled. By attending to moments of national and gendered performances in the …

Intelligent Bodies And Embodied Minds: Reading Religious Performance In Middle English Writing From Syon Abbey, Nicholas Love, William Langland, And John Gower, Paul Holchak

Dissertations, Theses, and Capstone Projects

This dissertation argues for a new reading of the relationship that texts have to performance, bodies have to agency, and that social construction has to literary criticism as these matters relate to the study of religious practice in late medieval England. The project first asks what it meant to participate in religious practice in two, early fifteenth-century Middle English prose texts, The Myroure of Oure Ladye and The Mirror of the Blessed Life of Jesus Christ. The former work is a gloss of the Divine Service performed by the Brigittine sisters at Syon Abbey, and the latter consists of …

"The Sense Of An Ending": The Destabilizing Effect Of Performance Closure In Shakespeare's Plays, Megan Lynn Selinger

Electronic Thesis and Dissertation Repository

What makes a good ending? How do we know when something ends? In performance, it is difficult to characterize that nebulous and highly subjective — yet nonetheless theatrically powerful — “sense” of an ending. Previous scholarly work on Shakespearean endings, even when emphasizing performance, has largely focused on understanding endings from a narrative viewpoint, questioning how endings reach textual closure. These works examine the lingering questions or problems at the end of Shakespeare’s texts, and discuss how performance tackles these issues.

This dissertation takes performance as its starting point. It argues that Shakespearean performance endings naturally trouble textual conclusiveness, as …

The Many Faces Of Cleopatra: How Performance And Characterization Change Cleopatra In Geoffrey Chaucer's "The Legend Of Good Women," William Shakespeare's The Tragedy Of Antony And Cleopatra, And John Dryden's All For Love; Or, The World Well Lost, Rebecca Piazzoni Chatham

Graduate Theses and Dissertations

Geoffrey Chaucer, William Shakespeare, and John Dryden presented the character of Cleopatra differently, through both the written language of their pieces and their own and others’ performances of her, in order to meet the demands of their respective audiences and performance conditions. Chaucer, in “The Legend of Cleopatra,” portrays and performs Cleopatra comically. Shakespeare, in his Tragedy of Antony and Cleopatra, characterizes Cleopatra as a complex woman. In All for Love; or, The World Well Lost, Dryden characterizes Cleopatra as sentimental, but the performance of her on stage by female actresses added depth to the role. For Chaucer and Dryden, …

“He Was The Mirror Of The World”: Social Constructivist Reflections In Le Roman De Silence, Hillary O'Brien

Seton Hall University Dissertations and Theses (ETDs)

This essay attempts to clarify the purpose of ambiguity and indecision within Heldris of Cornwall's Roman de Silence. Using the framework laid out by Judith Butler, it seeks to understand the way that the protagonist's performance of gender and class reflects the social context in which she lives.

Teaching Willmore, James Evans

ABO: Interactive Journal for Women in the Arts, 1640-1830

Teaching Aphra Behn’s The Rover for nearly four decades, I have witnessed a considerable shift in students’ attitudes toward the play, especially toward Willmore. More positive about his character in the 1970s and 1980s, they have had a much more negative assessment since then. The only available video version, the Women’s Theatre Trust production, compounds my pedagogical problem through filming techniques and choice of actor; emphasizing male violence against women, its interpretation parallels feminist criticism of the 1990s. Asking students to examine theater history may lead them to see that Behn does not completely match this ideological paradigm. The original …

The Secret Life Of Archives: Sally Siddons, Sir Thomas Lawrence, And The Material Of Memory, Laura Engel

ABO: Interactive Journal for Women in the Arts, 1640-1830

This essay is in two parts, in the first I attempt to map out strategies for considering archival materials through the lens of performance, and in the second I enact or perform some of those strategies through a close reading of a letter from Sally Siddons, daughter of the famous actress Sarah Siddons, to the renown portrait painter and rakish bad boy, Sir Thomas Lawrence. I present a methodology that considers archival researchers as tourists who approach archival objects and images as material for curating a virtual exhibition. I argue that this strategy allows us to recognize and attempt to …

Reining Over Reality: Power And Performance In Shakespeare's Henry Viii And Richard Iii, Katherine A. Cahill

English Publications and Other Works

Plots. Hidden motives. Subtlety, falseness, treachery: Richard III, Wolsey—each of these leaders engage in the craft of deception, in subtle avenues of power-wielding, to preserve authority. Wolsey flatters, double deals, and eliminates other favorites with King Henry VIII in his desire to achieve the papacy. Similarly, Richard III lies, betrays, kills, and flatters his way to the throne. William Shakespeare’s Henry VIII and Richard III each, in following its respective monarch, examine performance as it’s used to gain, maintain, and wield power.

As the term “performance” carries with it many definitions and connotations, I will define it here as deliberate …

Human Automata, Identity And Creativity In George Du Maurier's Trilby And Raymond Roussel's Locus Solus, Adrienne M. Orr

Electronic Thesis and Dissertation Repository

George Du Maurier’s Trilby (1895) and Raymond Roussel’s Locus Solus (1914) feature a unique figure, the human automaton, a human being who has been transformed into a machine. Rather than becoming objectified and dehumanized, thus transformed they produce great music and art defined by the single quality supposedly irreproducible by machines—variability. Drawing multiplicity from the sameness of exact repetition in their art, the human automata’s identities are equally capable of embodying otherness and oppositions in a plural identity that remains uniquely singular. This challenges contemporary attitudes towards automation as a fixative, deterministic and reductive, and ultimately dehumanizing transformation. Linking automatism, …

Monstrous!: Actors, Audiences, Inmates, And The Politics Of Reading Shakespeare, Matt Kozusko

English Faculty Publications

This essay considers the use of Shakespeare as marker of authenticity and as a therapeutic space for performers and audiences across a number of genres, from professional actors in training literature to prison inmates in radio and film documentaries. It argues that in the wake of recent academic trends—the critique of "Shakespeare" as an author figure; the privileging of the text as a source of multiple, potentially conflicting readings—Shakespeare's function as cultural capital has shifted sites, from "Shakespeare" to the playtexts themselves.