简介
This wide-ranging study investigates the intersections of erotic desire and dramatic form in the early modern period, considering to what extent disruptive desires can successfully challenge, change, or undermine the structures in which they are embedded. Through close readings of texts by Marlowe, Shakespeare, Webster, Middleton, Ford, and Cavendish, Haber counters the long-standing New Historicist association of the aesthetic with the status quo, and argues for its subversive potential. Many of the chosen texts unsettle conventional notions of sexual and textual consummation. Others take a more conventional stance; yet by calling our attention to the intersection between traditional dramatic structure and the dominant ideologies of gender and sexuality, they make us question those ideologies even while submitting to them. The book will be of interest to those working in the fields of early modern literature and culture, drama, gender and sexuality studies, and literary theory.
目录
Contents 9
Acknowledgments 11
Textual note 13
Introduction: consummate play 15
Part I \ 25
Chapter 1 Genre, gender, and sexuality in \ 27
Delights of the mind 27
\u201cVaunts substantial\u201d 31
Chapter 2 Submitting to history: Edward II 41
Chapter 3 \ 53
Chapter 4 \ 64
Part II Desiring women in the seventeenth century 73
Chapter 5 \ 75
Chapter 6 \ 85
Chapter 7 \ 101
Chapter 8 \ 117
Chapter 9 The passionate shepherdess: the case of Margaret Cavendish 131
\u201cNo plots, nor designs, nor subtil contrivances\u201d 132
Young virgins\u2019 tales 139
Afterword: for(e)play 145
Notes 148
INTRODUCTION: CONSUMMATE PLAY 148
GENRE, GENDER, AND SEXUALITY IN \u201cTHE PASSIONATE SHEPHERD\u201d AND TAMBURLAINE 152
SUBMITTING TO HISTORY: EDWARD II 157
\u201cTRUE-LOVES BLOOD\u201d: NARRATIVE AND DESIRE IN HERO AND LEANDER 162
\u201cTHUS WITH A KISS\u201d: A SHAKESPEAREAN INTERLUDE 167
\u201cHOW STRANGELY DOES HIMSELF WORK TO UNDO HIM\u201d: (MALE) SEXUALITY IN THE REVENGER\u2019S TRAGEDY 169
\u201cMY BODY BESTOW UPON MY WOMEN\u201d: THE SPACE OF THE FEMININE IN THE DUCHESS OF MALFI 172
\u201cI(T) COULD NOT CHOOSE BUT FOLLOW\u201d: EROTIC LOGIC IN THE CHANGELING 182
\u201cOLD MEN\u2019S TALES\u201d: LEGACIES OF THE FATHER IN \u2019TIS PITY SHE\u2019S A WHORE 190
THE PASSIONATE SHEPHERDESS: THE CASE OF MARGARET CAVENDISH 196
AFTERWORD: FOR(E)PLAY 202
Works cited 204
Index 223
Acknowledgments 11
Textual note 13
Introduction: consummate play 15
Part I \ 25
Chapter 1 Genre, gender, and sexuality in \ 27
Delights of the mind 27
\u201cVaunts substantial\u201d 31
Chapter 2 Submitting to history: Edward II 41
Chapter 3 \ 53
Chapter 4 \ 64
Part II Desiring women in the seventeenth century 73
Chapter 5 \ 75
Chapter 6 \ 85
Chapter 7 \ 101
Chapter 8 \ 117
Chapter 9 The passionate shepherdess: the case of Margaret Cavendish 131
\u201cNo plots, nor designs, nor subtil contrivances\u201d 132
Young virgins\u2019 tales 139
Afterword: for(e)play 145
Notes 148
INTRODUCTION: CONSUMMATE PLAY 148
GENRE, GENDER, AND SEXUALITY IN \u201cTHE PASSIONATE SHEPHERD\u201d AND TAMBURLAINE 152
SUBMITTING TO HISTORY: EDWARD II 157
\u201cTRUE-LOVES BLOOD\u201d: NARRATIVE AND DESIRE IN HERO AND LEANDER 162
\u201cTHUS WITH A KISS\u201d: A SHAKESPEAREAN INTERLUDE 167
\u201cHOW STRANGELY DOES HIMSELF WORK TO UNDO HIM\u201d: (MALE) SEXUALITY IN THE REVENGER\u2019S TRAGEDY 169
\u201cMY BODY BESTOW UPON MY WOMEN\u201d: THE SPACE OF THE FEMININE IN THE DUCHESS OF MALFI 172
\u201cI(T) COULD NOT CHOOSE BUT FOLLOW\u201d: EROTIC LOGIC IN THE CHANGELING 182
\u201cOLD MEN\u2019S TALES\u201d: LEGACIES OF THE FATHER IN \u2019TIS PITY SHE\u2019S A WHORE 190
THE PASSIONATE SHEPHERDESS: THE CASE OF MARGARET CAVENDISH 196
AFTERWORD: FOR(E)PLAY 202
Works cited 204
Index 223
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