The Rover by Aphra Behn
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Jane Spencer
Behn and the Canon Jane Spencer The publication of a book on teaching Oroonoko-the present volume-is one indication of how far Aphra Behn has traveled since the 1970s. Back then, when I was an undergraduate, she was not part of the canon of university-studied litera1y works. Still, universities harbored a few fo1ward-thinking enthusiasts for her writing. one of her works was set reading for my university course in English literature, but I was introduced to her because my tutor, James Booth, included an optional lecture on her in a course on seventeenth-century litera ture. This was about the time that Maureen Duffy's biography sparked new interest in Behn, fostered by the growth of women's literature courses. Over the next few decades, Behn had a remarkable revival on the stage, in print, and in the academy, where she was increasingly taught, usually as a pioneering female writer: the first woman professional writer, an early woman dramatist, an early woman novelist. In 1986, Mary Ann O'Donnell, introducing the first edition of her Behn bibliography, urged us to study her "not because she is a woman writer, but because she is an important writer" (Aphra Behn 11). I!ow have we responded? Behn is certainly a major presence in the more diverse and dispersed canon of early-twenty-first-century university courses. A brief survey of Web sites in dicates that in the academic year 2009-10, undergraduates were studying her in many places and under many headings. At the University of Pennsylvania, they might read her alongside Rochester, Wycherley, Cleland, and Boswell in Liter ary Erotics in the Eighteenth Century or with Rowe, Richardson, and Burney as part of Epistolary Fiction; at Loughborough University, they might choose an optional module devoted to her. -
The Theatre of Aphra Behn Pdf, Epub, Ebook
THE THEATRE OF APHRA BEHN PDF, EPUB, EBOOK D. Hughes | 230 pages | 20 Feb 2001 | Palgrave MacMillan | 9780333760307 | English | Basingstoke, United Kingdom The Theatre of Aphra Behn PDF Book Visit Home Events Exhibitions Library. Tonson, Hugh James Rose. Her parentage has been traced to Wye, and tradition has it that she was born in This suggests the importance of visual spectacle, that the lighting effects and music and their splendour were as important to the dramatic experience as the plays itself. In this characterization, the country, wholesome and clean, promises to be a refuge from the temptations and evils of London for the puritanical Sir Patient Fancy in the play of the same name. Further, since that by which society defines sex is not found in the female form, that is, women do not have the necessary physical equipment to consummate what is culturally considered "the sex act," love between women is, by definition, "innocent," and therefore not subject to censure. Show More. Holt for Will. Although he made many vows, he betrayed her. The efforts to bar James from succeeding his brother spawned several dangerous plots, the most infamous of which was the Popish plot, which purported that Catholic insiders in Whitehall were planning to assassinate the King. See a problem on this page? Sir Patient Fancy: A Comedy. The speaker of the poem takes delight in his ability to play the game of love in appearances only, exempting himself from serious hurt. Public spaces and places are for the men, where they can meet, scheme, fight with each other, serenade ladies, or outwit fools. -
What Is FOP? a Guidebook for Families)
What is FOP? Fibrodysplasia Ossifi cans Progressiva A Guidebook for Families © International FOP Association (IFOPA) • Winter Springs, Florida Th ird Edition, 2009 Editor: Sharon Kantanie Medical Editors: Patricia L.R. Delai, M.D., Frederick S. Kaplan, M.D., Eileen M. Shore, Ph.D. ii r This book is dedicated to all of the families who live with FOP every day. iii About the cover The painting on the cover of this book is called ‘‘The Circle of Life.’’ I had a number of reasons for picking this title for my butterfly painting. The butterfly to me is a symbol of hope and new beginnings. It is a subject that everyone can relate to, and everyone has seen a butterfly. Showing the cycle of the monarch butterfly tells of the changes in life which also occur with FOP. I picked the detailed work of a butterfly in watercolor to show what can be done after my adapting to FOP. I was a right handed painter until two years ago when my right elbow locked, forcing me to now do most of my painting with my left hand. This painting was the first time I had painted an open-winged monarch butterfly using my left hand. I consider this one of the more difficult butterflies to paint. Through my artwork, I also want to show with my painting that people with FOP can have productive lives. It’s important to have a special interest such as painting is to me. Jack B. Sholund Bigfork, Minnesota 1995 (for the first edition of What is FOP? A Guidebook for Families) iv Contents Foreword ....................................................... -
FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244. -
Introduction: Virginity and Patrilinear Legitimacy 1
Notes Introduction: Virginity and Patrilinear Legitimacy 1. Boswell, volume III, 406. 2. Pregnancy makes sex more verifiable than celibacy but it does not necessarily reveal paternity. 3. Bruce Boehrer has an important essay on this topic, in which he argues that an ideal “wedded chastity” emerges as a strategy for promoting marriage and procreation in a society that has traditionally idealized celibacy and virginity; “indeed,” he continues, “at heart the concept of wedded chastity is little more than the willful destabi- lizing of an inconvenient signifier, calculated to serve the procreative demands of an emergent political economy” (557). 4. For an important discussion of divine right of kings, see Figgis, 137–177, and for an analysis of the different strands of patriarchalist thought, see Schochet, 1–18. 5. See Boehrer for a discussion of Elizabeth’s legitimacy issues, which he uses as a context for reading Spencer. He argues that a “Legend of Chastity” functions as a displacement of the anxiety of legitimacy (566). On Elizabeth’s virginity, see also Hackett; and John King. On early modern virginity generally, see Jankowski; Kathleen Coyne Kelly; Loughlin; Scholz; and Schwarz. 6. Marie Loughlin argues for the relationship between Stuart political projects and virginity. James I had a habit of visiting married couples after the wedding night because, according to Loughlin, in the moment when the virgin daughter becomes the chaste bride “James’s configuration of the patriarchal state and his various political projects are materialized” (1996), 847. 7. For more on this, see McKeon (1987), 209. 8. Since the determination of firstborn son was not clear, firstborn ille- gitimate children often held some stake to the birth-right of the heir. -
Osric: Waterfly, Lapwing, Chough, and Claudius's Final Instrument Osric Is
Osric: Waterfly, Lapwing, Chough, and Claudius’s Final Instrument Osric is a late-entering character, like the Gravediggers and Fortinbras, but like the latter, he is crucial to the play’s finale. He does not show his face until most of the king’s tools—the meddlesome Polonius as well as Rosencrantz and Guildenstern— have found out that “to be too busy is some danger.” Osric’s entry takes audiences by surprise, and it is only after a good deal of distractingly amusing repartee with Hamlet that he mentions Laertes, the fencing match, or the king’s “wager.”1 But audiences know that Osric’s business is somehow connected with the mousetrap that the king and Laertes have elaborately fashioned for Hamlet, and they are acutely aware that it is Laertes himself, at his own request to be Claudius’s “instrument,” who will be physically wielding the instrument of premeditated murder. Osric, then, seems a shadow-Laertes, a figure with his own agenda of advancement who is also being used by Claudius to lure Hamlet into the final duel. Though a minor character, a mere court functionary satirized as the apotheosis of courtly decadence, Osric is the last and surely the most idiosyncratic and puzzling in a long line of those whom the king has used for his deadly purposes—and the only survivor. There are different emphases and opinions about details of Osric’s ostentatious “words, words, words” and of Shakespeare’s grander design in sending such an emissary from the king, but there is little critical disagreement about the basic character of Osric—his buffoonish sycophancy and its comic/satirical ramifications—as he makes his first appearance in 5.2. -
Making Space: the Case for Amatory Fiction, 1660-1740
MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ A Dissertation Presented to The Faculty of the Department Of English University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Chrisoula M. Gonzales May, 2017 MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _________________________ Chrisoula M. Gonzales APPROVED: _________________________ Ann Christensen, Ph.D. Committee Chair _________________________ David Mazella, Ph.D. _________________________ Maria Gonzalez, Ph.D. _________________________ Lynn Voskuil, Ph.D. _________________________ Robert Shimko, Ph.D. University of Houston _________________________ Antonio D. Tillis, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of Hispanic Studies ii MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of Psychology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _____________ By Chrisoula M. Gonzales May, 2017 ABSTRACT This dissertation explores amatory fiction as a genre significant to English literary history. I ground the study of amatory fiction in literary history, specifically exploring the ways that amatory fiction participates in the development of the novel. In amatory fiction, female characters express desire in a public setting, a feature that distinguishes amatory fiction from the novel, where characters more often express themselves in private, domestic spaces. By analyzing the various expressions of female desire in the works of Aphra Behn, Delarivier Manley, Eliza Haywood, and Daniel Defoe, I show that female characters are motivated to inhabit public space because they seek to know themselves as sexual, social, and political agents. -
A Study of the Philosophical Thought and Background in Hamlet
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1954 A Study of the Philosophical Thought and Background in Hamlet Thomas E. Porter Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Porter, Thomas E., "A Study of the Philosophical Thought and Background in Hamlet" (1954). Master's Theses. 1211. https://ecommons.luc.edu/luc_theses/1211 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1954 Thomas E. Porter A STUDY OF THE PHILOSOPHICAL THOUGH'!' AID BACKGROUND .. III HAMLE'l b,. Thoma, E. Poptep. S.J. A The.l, Submitted to the Faculty of the Graduate School ot Loyola UId"'epslt)" 1n Panla1 Fult11lment of the Requirements ot the Degree of lIa.ter ot Al'ts LIPB Thomas B. Porter, 5.J. was born at Cleveland, Ohio on the 13th ot Janua1"J. 1928. He gJl'aeluate4 tPem St. Joseph's Semlna1'7. Cleveland, in 1941 and enteNel St. Ignatiwa Hlgh School, Cleveland, 1n the same ,.eaJl'. Upon graduation 1n 194$, he entered the Soolet7 ot Jesus at Mlltord Novltiate, MIlford, Ohio. Here he was enrolled 1n the College of Arts ot Xavler University, 01noinnati, Ohio. In Sept.mber ot 1949 he trans terred to west Baden College ot Loyola University, where he re celved the Bachelor ot Art. -
"Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World
Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 "Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World Jarred Wiehe Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the English Language and Literature Commons Recommended Citation Wiehe, Jarred, ""Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World" (2011). Theses and Dissertations. 148. https://csuepress.columbusstate.edu/theses_dissertations/148 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/playyourfanexploOOwieh "Play your fan": Exploring Hand Props and Gender on the Restoration Stage Through The Country Wife, The Man of Mode, The Rover, and The Way of the World By Jarred Wiehe A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program For Honors in the Degree of Bachelor of Arts In English Literature, College of Letters and Sciences, Columbus State University x Thesis Advisor Date % /Wn l ^ Committee Member Date Rsdftn / ^'7 CSU Honors Program Director C^&rihp A Xjjs,/y s z.-< r Date <F/^y<Y'£&/ Wiehe 1 'Play your fan': Exploring Hand Props and Gender on the Restoration Stage through The Country Wife, The Man ofMode, The Rover, and The Way of the World The full irony and wit of Restoration comedies relies not only on what characters communicate to each other, but also on what they communicate to the audience, both verbally and physically. -
Print This Article
JOURNAL OF ENGLISH STUDIES – VOLUME 17 (2019), 127-147. http://doi.org/10.18172/jes.3565 “DWINDLING DOWN TO FARCE”?: APHRA BEHN’S APPROACH TO FARCE IN THE LATE 1670S AND 80S JORGE FIGUEROA DORREGO1 Universidade de Vigo [email protected] ABSTRACT. In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer. Keywords: Aphra Behn, farce, commedia dell’arte, Restoration England, deception, physical comedy. 1 The author wishes to acknowledge funding for his research from the Spanish government (MINECO project ref. FFI2015-68376-P), the Junta de Andalucía (project ref. P11-HUM-7761) and the Xunta de Galicia (Rede de Lingua e Literatura Inglesa e Identidade III, ref. ED431D2017/17). 127 Journal of English Studies, vol. 17 (2019) 127-147 Jorge Figueroa DORREGO “DWINDLING DOWN TO FARCE”?: LA APROXIMACIÓN DE APHRA BEHN A LA FARSA EN LAS DÉCADAS DE 1670 Y 1680 RESUMEN. -
The Whore and the Breeches Role As Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn. Mary Katherine Politz Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Politz, Mary Katherine, "Masked Criticism: the Whore and the Breeches Role as Articulators of Sexual Economic Theory in the Intrigue Plays of Aphra Behn." (2000). LSU Historical Dissertations and Theses. 7163. https://digitalcommons.lsu.edu/gradschool_disstheses/7163 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor qualify illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. if Also,unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit “Gender Relations in Selected Restoration Comedies in the Mirror of Sociological Role Theory“ Verfasserin Johanna Holzer, Bakk. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil) Wien, 2012 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuer: Univ.-Prof. Dr. Ewald Mengel 2 to <3 3 Contents 1 Introduction ............................................................................................................. 5 2 Role Theory ............................................................................................................ 9 2.1 Introduction & Definition .................................................................................... 9 2.2 Role-play ........................................................................................................ 11 2.3 Self-monitoring ................................................................................................ 12 2.4 Inner Nature .................................................................................................... 14 2.4.1. Asides ........................................................................................................ 14 2.4.2. Body Language and Reactions .................................................................. 15 3 Restoration Comedy ............................................................................................