DOCSLIB.ORG

Shakespeare and Renaissance Literature Before Heterosexuality.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shakespeare and Renaissance Literature Before Heterosexuality.Pdf 1403976546ts01.qxd 12-1-07 02:48 PM Page i Shakespeare and Renaissance Literature before Heterosexuality 1403976546ts01.qxd 12-1-07 02:48 PM Page ii Previously Published: Colonial Transformations: The Cultural Production of the New Atlantic World 1580–1640, Palgrave, 2000. 1403976546ts01.qxd 12-1-07 02:48 PM Page iii Shakespeare and Renaissance Literature before Heterosexuality Rebecca Ann Bach 1403976546ts01.qxd 12-1-07 02:48 PM Page iv SHAKESPEARE AND RENAISSANCE LITERATURE BEFORE HETEROSEXUALITY © Rebecca Ann Bach, 2007. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2007 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN-13: 978–1–4039–7654–3 ISBN-10: 1–4039–7654–6 Library of Congress Cataloging-in-Publication Data Bach, Rebecca Ann. Shakespeare and Renaissance literature before heterosexuality / by Rebecca Ann Bach. p. cm. Includes bibliographical references and index. Contents: Before heterosexuality—The homosocial King Lear : sex, men, and women before the valorization of lust and greed—Restoration Shakespeare 1: adultery and the birth of heterosexuality—Restoration Shakespeare 2: friends and libertines—“Domestic tragedy” and emerging heterosexuality—Othello in the seventeenth and eighteenth centuries and the colonial origins of heterosexuality. ISBN 1–4039–7654–6 (alk. paper) 1. English drama—Early modern and Elizabethan, 1500–1600—History and criticism. 2. Heterosexuality in literature. 3. English drama—17th century–History and criticism. 4. Heterosexuality—England—History. 5. Shakespeare,William, 1564—1616—Criticism and interpretation. 6. Sex in literature. 7. Adultery in literature. 8. Lust in literature. I. Title. PR658.H44B33 2007 822’.309353—dc22 2006051371 A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: April 2007 10987654321 Printed in the United States of America. 1403976546ts01.qxd 12-1-07 02:48 PM Page v For Julia This page intentionally left blank 1403976546ts01.qxd 12-1-07 02:48 PM Page vii Contents Acknowledgments ix Introduction: Before Heterosexuality 1 1 The Homosocial King Lear: Sex, Men, and Women before the Valorization of Lust and Greed 25 2 Restoration Shakespeare 1: Adultery and the Birth of Heterosexuality 49 3 Restoration Shakespeare 2: Friends and Libertines 81 4 “Domestic Tragedy” and Emerging Heterosexuality 107 5 Othello in the Seventeenth and Eighteenth Centuries and the Colonial Origins of Heterosexuality 153 Notes 183 Bibliography 211 Index 237 This page intentionally left blank 1403976546ts01.qxd 12-1-07 02:48 PM Page ix Acknowledgments am fortunate to have a long list of institutions, colleagues, friends, and family to thank for their contributions (witting Iand unwitting) to this book. Without the boon of a year-long National Endowment for the Humanities Fellowship at the Newberry Library, I would never have had either the resources or the time to write it. My year at the Newberry (2000–2001) was a delight from start to finish. The staff provided materials, guidance, and general col- legiality in all situations, including an initiatory emergency room visit. Despite my disturbing the peace that way, the staff embraced me from the beginning of my year to the end. Thanks so much to Jim Grossman, Sara Austin, and Hjordis Halvorson, among others. No one at the Newberry was ever anything but a huge help. I could not have accepted that grant from the NEH without the kind cooperation and the sabbatical leave provided by the University of Alabama at Birmingham. In addition, my Dean at UAB provided a grant for travel to the Furness Shakespeare library at the University of Pennsylvania as well as the subvention that enabled me to index the book. I very much appreciate that support. I did the preliminary research for the book and additional research and writing at Furness. Furness and the Walter and Leonore Annenberg Rare Book Library at Penn are glorious places to work, thanks to the depth and breadth of their collections and to their superb staff. I owe thanks in particular to John Pollack, Dan Traister, and Lynne Farrington, who have so amply supported my work over the years. Work at these libraries was made wonderful as well by the people working alongside me. The group of scholars at the Newberry with me fertilized my scholarship and provided care and support as well as extracurricular enrichment. For lunches, dinners, conversations, baseball games, shoe shopping, and general fun, I want to thank April Alliston, Catherine Brown, Alan Frantzen, David Gants, Deborah Kanter, Victoria Kirkham, Ellen McClure, Peggy McCracken, and Carolyn Podruchny. At Furness, I often worked across two desks 1403976546ts01.qxd 12-1-07 02:48 PM Page x x Acknowledgments from Beth McGowan. Sharing work space, living space, and childcare in summers with her has vastly improved my life and work and even saved my sanity when times were very rough. I owe my ability to keep working to her. Conferences and workshops also enriched this project immeasur- ably. The University of Chicago Renaissance Workshop invited me to present an earlier version of chapter 5, and our energetic discussion, especially with Richard Strier, helped me to think through objections to the project. Over the years, I have presented a number of other pieces from the book and related work at conferences of the Group for Early Modern Cultural Studies, the Shakespeare Association, and at the Waterloo Elizabethan Theatre conference. I thank the audiences at those conferences, whose questions have helped me to develop my ideas. Thanks are due also to the participants in my seminar “Early Modern Texts and the History of Sexuality” at SAA in 2001. I want to thank especially the group of Renaissance women who have traveled, roomed, and eaten with me through these last ten years or so: Mary Bly, Alison Chapman, Julie Crawford, Kim Hall, Liz Hanson, Natasha Korda, Beth, Mary Janell Metzger, and Cristine Varholy. A larger community of Shakespeareans and scholars has embraced my work, shared ideas, and kept me from too many bloopers—all that remain are certainly my own. I thank Mario DiGangi, Fran Dolan, George Haggerty, Jean Howard, Lynne Magnusson, Jeffrey Masten, Susan O’Malley, Nick Radel, Rick Rambuss, Peter Stallybrass, Goran Stanivukovic, Valerie Traub, and Ginger Vaughan. Scholarly debts to them and to many others are recorded in the text and notes, but I also very much appreciate their personal encouragement as I labored to get this book right. My most significant scholarly debt is, as always, to Phyllis Rackin—her intellect and imagination have inspired and guided me from the start. Many of my colleagues in the English department at UAB have cheered me on, read my chapters, and offered me their professional and personal strength. For crucial assistance and administrative know-how, I thank my two great department chairs—Marilyn Kurata and Elaine Whitaker. I also thank Tracey Baker for her generosity and for conversations about administration and children’s books. Randy Blythe and Bob Collins have been supermen when I needed them most. Dan Butcher has been a wonderful across-the-hall neighbor, and I much appreciate my conversations with Jody Stitt. Cassandra Ellis, Danielle Glassmeyer, Randa Graves, Sue Kim, Cynthia Ryan, Danny Siegel, and Gale Temple have been great friends and colleagues, and 1403976546ts01.qxd 12-1-07 02:48 PM Page xi Acknowledgments xi I do not think I will ever pay my personal and professional debts to Alison. She has read every word that I have written (and improved every sentence); she has listened endlessly through bright and very dark days; she is the best colleague and friend I could imagine. My students at UAB have listened patiently while I rehearsed all the ideas in this book in my classes. They have pushed me to think about texts in entirely new ways—I am very grateful. I need to thank especially my research assistant, Miranda Wade, and a group of quite remarkable students including, but by no means limited to, Monica Bland, Andy Blanks, Vic Camp, Lucy Dorn, Geoff Evans, Ron Guthrie, Heather Helms, Molly Hurley, Clay Isbell, Carolyn Lam, Natalie McCall, Josh Moore, Sarah Ray, Adrianne Roberts, Catherine Roth, Sarah Noel Sheffield, Jason Slatton, Monica Ssenkoloto, Madison Stubblefield, Adam Vines, and all of the students in my honors History of Sexuality course. This book reached maturity during immensely challenging years. I thank my friends and family and Lee Ascherman so much for helping me through. I have thanked Beth above but never enough. I want to also thank Marni Bonnin and David Lee, Louise Cecil, Deborah Feingold, Vance Lehmkuhl, Carol Neuman, Nancy Sokolove, Marc Stein, and Cindy Way. Many thanks are due to Warren and Annie Weisberg, our loving Chicago family, and also to our amazing extended New York family, Steve and Carolyn Ellman, Delia and Eugene Mahon, and Lynne Rubin. I am grateful for the love and sup- port of Brendan Helmuth, and Eric Helmuth and Judy Filc (my friend and now my sister-in-law as well). I owe so much to my beloved father and mother, Sheldon Bach and Phyllis Beren, and to my brother, Matthew. Julia Alison Bach is the most amazing girl in the world— Julia, this one is for you.
Load more

Recommended publications
  • The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
    MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1.
    [Show full text]
  • University of Groningen Brief Affairs Van Der Werf, Pieternella Elizabeth
    University of Groningen Brief affairs van der Werf, Pieternella Elizabeth IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2009 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): van der Werf, P. E. (2009). Brief affairs: Narrative strategies in female adultery stories by Kate Chopin and Edith Wharton. [S.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 28-09-2021 Brief Affairs Narrative Strategies in Female Adultery Stories by Kate Chopin and Edith Wharton Els van der Werf Front cover illustration: Egon Schiele, Wally in roter Bluse mit erhobenen Knien [Wally in a red blouse with raised knees], 1913. Cover design: Pablo ter Borg, 2009 Printed by: GrafiMedia, Groningen © Els van der Werf ISBN: 978-90-367-3718-0 RIJKSUNIVERSITEIT GRONINGEN BRIEF AFFAIRS Narrative Strategies in Female Adultery Stories by Kate Chopin and Edith Wharton Proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen op gezag van de Rector Magnificus, dr.
    [Show full text]
  • The London Merchant; Or, the History of George Barnwell, and Fatal
    T^testtdeb to rftlje ^niiJersit^ of 'Qloroitta The Estate of the late Professor A.S.P. '.Toodhouse > 'Bj €6e ^AWMmu^ J>erie^ SECTION III THE ENGLISH DRAMA FROM ITS BEGINNING TO THE PRESENT DAY GENERAL EDITOR GEORGE PIERCE BAKER rSOFBSSOK OF DRAMATIC IJTKRATO»« IN HAKVAKD UHIVKSSITV From Perin in Cornwall; OF A mod Bloody and vn-exampled Murthcr »ery latcJ; coniii)itted by a Father on his owne SoniK (»*# WitUtilf rttariui frim thi l»ijti) it ihe InAiguion of a mcccilefle Stcp-aothcr* Tt^etitr wilt titirftiUTtltmtJI viritetedemits. Mug all pcrfoimcdin tiic Month of Scptem- LONDON Ptiotcdb7£.4f.tadatc(aticfoldcaiCi>itCiwiigKCaIfl8» HE LONDON MERCHANT OR THE HISTORY OF GEORGE BARNWELL AND FATAL CURIOSITY By GEORGE LILLO EDITED BY ADOLPHUS WILLIAM WARiJ, Litt.D., F.B.A. MASTER OF PETERHOUSE COLLEGE CAMBRIDGE, ENGLAND BOSTON, U.S.A., AND LONDON D. C. HEATH & CO., PUBLISHERS COPYRIGHT, 1906, BY D. C. HEATH ft Ott ALL SIGHTS RESERVED 2 EO ppin , l3fograpi^r Very little is known concerning the personal life of George Lillo, the author of the two plays which are re- (irinted in this volume, and each of which may be said to have a place of its own in the history of the modem drama. His name is Flemish, and he was very probably a descendant of refugees whom religious persecution had driven to this country. ' Lillo ' was the name of the fort that stood above Antwerp on the northern bank of the Scheldt." On the occasion of the marriage, in 1734, of the Prin- cess Royal of Great Britain (Anne, daughter of King George II) to the Prince of Orange (William IV), Lillo produced a masque entitled Britannia and Bata'via.
    [Show full text]
  • Masculinization of Tragedy in Joseph Addison's Cato and George Lillo's
    Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi Litera: Journal of Language, Literature and Culture Studies Litera 2018; 28(2): 233-252 DOI: 10.26650/LITERA2018-0006 Research Article Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi Sinan GÜL1 ABSTRACT During the 18th century, the development of gender and sexuality in the modern Western world was under tremendous impact of visual and literary culture. Considering this, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine features of the characters of 18th-century tragedies in England and investigates the reasons behind the dismissal and belittlement of love scenes and feminine qualities in those tragedies. In comedies, women and their qualities were openly ridiculed, while in tragedies, masculine values and patriarchal rules were overtly protected. Depicting societal norms and ideals, Cato and The London Merchant portray the evolving notions of masculinity. Despite increasing female influence in political and social culture, love, often associated with feminine qualities, was belittled in domestic and public domains. In doing so, playwrights either entirely ignored the idea of using female characters in their plays, thus creating contextual errors of portraying husbands without wives or sons without mothers, or depicted women as the sources of passion that could potentially destroy society, men in particular. Therefore, the concept of love was neglected, undervalued, or dismissed, with playwrights rather offering patriotic or capitalist virtues to substitute the idea of love so that their plays would be deemed as appropriate for public appreciation.
    [Show full text]
  • A Dictionary of Literary and Thematic Terms, Second Edition
    A DICTIONARY OF Literary and Thematic Terms Second Edition EDWARD QUINN A Dictionary of Literary and Thematic Terms, Second Edition Copyright © 2006 by Edward Quinn All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Quinn, Edward, 1932– A dictionary of literary and thematic terms / Edward Quinn—2nd ed. p. cm. Includes index. ISBN 0-8160-6243-9 (hc : alk. paper) 1. Criticism—Terminology. 2. Literature— Terminology. 3. Literature, Comparative—Themes, motives, etc.—Terminology. 4. English language—Terms and phrases. 5. Literary form—Terminology. I. Title. PN44.5.Q56 2006 803—dc22 2005029826 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fi nd Facts On File on the World Wide Web at http://www.factsonfi le.com Text design by Sandra Watanabe Cover design by Cathy Rincon Printed in the United States of America MP FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. Contents Preface v Literary and Thematic Terms 1 Index 453 Preface This book offers the student or general reader a guide through the thicket of liter- ary terms.
    [Show full text]
  • The Woman Painter in Victorian Literature
    The Woman Painter in Victorian Literature The Woman Painter in Victorian Literature A NTONI A L OS A NO The Ohio State University Press Columbus Cover: Dante Gabriel Rossetti, A Parable of Love (Love’s Mirror). Reproduced by permis- sion of the Birmingham Museums & Art Gallery. Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Losano, Antonia Jacqueline. The woman painter in Victorian literature / Antonia Losano. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1081-9 (cloth : alk. paper) ISBN-10: 0-8142-1081-3 (cloth : alk. paper) 1. English fiction—19th century—History and criticism. 2. English fiction—Women authors—History and criticism. 3. Art and literature—Great Britain—History—19th century. 4. Women artists in literature. 5. Aesthetics in literature. 6. Feminism in litera- ture. 7. Art in literature. I. Title. PR878.W6L67 2008 823.009'9287—dc22 2007028410 This book is available in the following editions: Cloth (ISBN 978-0-8142-1081-9) CD-ROM (ISBN 978-0-8142-9160-3) Cover design by Melissa Ryan Type set in Adobe Garamond Pro Type design by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 In Memoriam Sarah Louise DeRolph Wampler 1908–2000 - C ONTENTS , List of Illustrations ix Acknowledgments xiii Introduction Chapter One Prevailing
    [Show full text]
  • ETHICAL DESIRE: BETRAYAL in CONTEMPORARY BRITISH FICTION a Dissertation by SOO YEON KIM Submitted to the Office of Graduate
    ETHICAL DESIRE: BETRAYAL IN CONTEMPORARY BRITISH FICTION A Dissertation by SOO YEON KIM Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Major Subject: English ETHICAL DESIRE: BETRAYAL IN CONTEMPORARY BRITISH FICTION A Dissertation by SOO YEON KIM Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee David McWhirter Committee Members Mary Ann O’Farrell Theodore George Elizabeth Ho Head of Department M. Jimmie Killingsworth May 2010 Major Subject: English iii ABSTRACT Ethical Desire: Betrayal in Contemporary British Fiction. (May 2010) Soo Yeon Kim, B.A., Seoul National University; M.A., Seoul National University Chair of Advisory Committee: Dr. David McWhirter This dissertation investigates representations of betrayal in works by Hanif Kureishi, Salman Rushdie, Irvine Welsh, and Alan Hollinghurst. In rethinking “bad” acts of betrayal as embodying an ethical desire not for the good but for “the better,” this dissertation challenges the simplistic good/bad binary as mandated by neo-imperialist, late capitalist, and heteronormative society. In doing so, my project intervenes in the current paradigm of ethical literary criticism, whose focus on the canon and the universal Good gained from it runs a risk of underwriting moral majoritarianism and judgmentalism. I argue that some contemporary narratives of betrayal open up onto a new ethic, insofar as they reveal the unethical totalization assumed in ethical literary criticism’s pursuit of the normative Good.
    [Show full text]
  • Ballad Opera in England: Its Songs, Contributors, and Influence
    BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.
    [Show full text]
  • Introduction 1
    Notes Introduction 1. The heterosexuality of the “it” in Porter’s song is indicated by lines such as, “folks in Siam do it; think of Siamese twins” and “why ask if shad do it; waiter bring me shad roe.” Of course, the song leaves other options open: “some say in Boston even beans do it.” Noel Coward’s new lyrics for “Let’s Do It” pursue homosexual implications (see Hoare 288, 417). See also Clum. 2. For a crucial expansion on Foucault’s formulation, see Arnold Davidson. 3. See, among others, Bly, Bredbeck, DiGangi, Dollimore, Goldberg, Guy-Bray, Haggerty, Lanser, Masten, Orgel, Rambuss, Sinfield, Bruce Smith, Stallybrass, Traub, and James Grantham Turner; also see the collections edited by Goldberg, and Fradenburg and Freccero. 4. For historical work, see Abelove, Bray, Chauncy, Duberman et al., Halperin, Jonathan Ned Katz, and Trumbach; theoretical work includes Berlant, Bersani, Butler, Arnold Davidson, Rubin, Eve Kosofsky Sedgwick, and Michael Warner. 5. Trumbach argues forcefully for the appearance of modern heterosex- uality in the late seventeenth century. He is not concerned with representation or with cause. 6. See Traub, Renaissance, especially 265–270, and Rackin “Foreign Country.” In relation to the Middle Ages, see especially Schultz and Lochrie. 7. See Lochrie’s important discussion on the natural and the normal (Heterosyncracies, especially xxii–xxiii). 8. I am using “dominant” and “emergent” as Raymond Williams defines these terms. See Marxism 121–127. 9. This, of course, is not the only function that these rewritings served. See Dobson, Marsden (Re-Imagined ), Strier (Resistant), Taylor. 10. The discounting of rank as ultimately significant has also been true in relation to texts from the Middle Ages—see Schultz’s work particularly.
    [Show full text]
  • Author: Publisher: Description: 100 (Monologues)
    Title: 100 (monologues) Author: Bogosian, Eric Publisher: Theatre Communications Group 2014 Description: Monologues – American “100 (monologues)” collects all of Eric Bogosian’s monologues, originally performed as part of his six Off-Broadway solo shows, including “Sex, Drugs, Rock & Roll,” “Pounding Nails in the Floor with My Forehead,” “Wake Up and Smell the Coffee,” “Drinking in America,” “funhouse,” “Men Inside,” and selections from his play “Talk Radio.” For these shows, first performed between 1980 and 2000, Bogosian was awarded three Obie Award and a Drama Desk Award—earning him living-icon status in the downtown theater scene. Contains monologues from the following plays by Eric Bogosian: Men Inside ; Voices of America ; Men in Dark Times ; Advocate ; Funhouse ; Drinking in America ; Talk Radio ; Sex, Drugs, Rock & Roll ; Notes From Underground ; Pounding Nails in the Floor With My Forehead ; 31 Ejaculations ; Wake Up and Smell the Coffee ; This is Now! ; Orphans Title: 100 Great Monologues from the Neo-Classical Theater Author: Publisher: Smith and Kraus 1994 Description: Monologues – auditions - classics Contains monologues from the following plays and playwrights: Women’s monologues: All for Love – John Dryden ; Andromache – Jean Racine ; The Beaux’ Stratagem – George Farquhar ; The Burial of Danish Comedy – Ludvig Holberg ; Cato – Joseph Addison ; The Careless Husband – Colley Cibber ; Careless Vows – Marivaux ; Cinna – Pierre Cornielle ; The Clandestine Marriage – George Coleman and David Garrick ; The Contrast – (2) Royall
    [Show full text]
  • Charlotte Charke, Deviant Bodies, and Disguise in George Lillo’S the London Merchant by Molly Marotta, Florida State University, United States
    “Instrument and Screen of All Your Villainies:” Charlotte Charke, Deviant Bodies, and Disguise in George Lillo’s The London Merchant By Molly Marotta, Florida State University, United States Abstract George Lillo’s The London Merchant, 1731, was required viewing for leagues of apprentices due to its seemingly straightforward moral: men and women should do as their positions, masters, law, and God require; transgressions are not to be tolerated. However, Millwood, the play’s powerful prostitute, rails against the aforementioned ideals, pointing out how men consume all that is beneficial to them, and how they subsequently dispose of the rest. She seduces and manipulates George Barnwell and uses him to lie, steal, and murder. At the play’s end, Millwood and George are hanged. This suggests that her ideas and those influenced by them die with her. Since this play was so widely viewed, it is important to take note of which actors were filling which roles in the production. Charlotte Charke—a notorious cross-dresser—played the role of George in 1734 and 1744. She played the role of Millwood twice in 1735. In the role of George, Charke’s performances imbue the role with a sense of deviance, if not ridiculousness, before his encounter with Millwood, who is unfairly blamed for his transgressions. Millwood crafts a story of abandonment for economic survival; Charke’s lived experiences as a women abandoned by her husband, her father, and her family, imbue this role with authenticity. While scholars have respectively discussed Charke’s life and autobiography and The London Merchant’s morality, the intersection of this actress’s personal history and her performance in this play has not been analyzed.
    [Show full text]
  • Reading London: the Literary Representation of the City's Pleasures, 1700-1782
    Reading London: the Literary Representation of the City’s Pleasures, 1700-1782 Leya Landau Thesis submitted for the degree of Doctor of Philosophy University College London London University February 1999 ProQuest Number: U643575 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U643575 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This dissertation investigates the representation, in fiction, of Lxindon’s spaces of pleasure, in the period between 1700 and 1782. It examines the way that these literary depictions both reflect and create their own imaginary versions of familiar urban sites. The thesis engages with recent work by social historians and theorists of eighteenth-century culture, and argues that a gradual shift in cultural sensibilities, from polite urbane respectability to a more bourgeois and feminine sentimentalism, is articulated through literary portrayals of London’s urban spaces. My reading of ‘the city as text’ treats London as a place to be deciphered by the reader, and considers historical detail and peculiarities, rather than theoretical and ahistorical interpretation, as integral to the discussion.
    [Show full text]