By Dympna Callaghan

The query isn't really even if Shakespeare experiences wishes feminism, yet no matter if feminism wishes Shakespeare. this can be the explicitly political strategy taken within the dynamic and newly up-to-date version of A Feminist spouse to Shakespeare.

  • Provides the definitive feminist assertion on Shakespeare for the twenty first century
  • Updates deal with a number of the most recent theatrical andcreative engagements with Shakespeare, supplying clean insights into Shakespeare’s performs and poems, and gender dynamics in early glossy England
  • Contributors come from around the feminist generations and from numerous phases of their careers to deal with what's new within the box when it comes to ancient and textual discovery
  • Explores concerns very important to feminist inquiry, together with race, sexuality, the physique, queer politics, social economies, faith, and capitalism
  • In addition to highlighting adjustments, it attracts awareness to the powerful continuities of scholarship during this box over the process the background of feminist feedback of Shakespeare
  • The prior variation used to be a recipient of a decision impressive educational identify award; this moment version continues its insurance and variety, and bringsthe scholarship correct as much as the current day

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Extra resources for A Feminist Companion to Shakespeare

Example text

The demonization of Tamora and Aaron provides vital support for the play’s restored patriarchal order. 10 Dympna Callaghan Rachana Sachdev’s essay demonstrates the flexibility of feminist reading practices in a postcolonial approach to Sycorax, the fugitive female “other” of The Tempest, by utilizing early modern medical discourse. Sycorax, Sachdev argues, represents both the threat and promise male European travelers found in the foreign procedure of female circumcision with which Algiers, Sycorax’s birthplace, was particularly identified.

The Ladies’ Shakespeare” may be understood as the name for the critical impulse that impelled Clarke and Jameson, as it impels others, to acknowledge their own situatedness vis‐à‐vis Shakespeare. A list of those who have read Shakespeare from a woman’s point of view would ­necessarily include the names of some men – Barrie himself, for example, who played the woman’s part after dinner in Stationers’ Hall in order to charm and disarm his ­colleagues; John Fletcher, whose play The Woman’s Prize, or the Tamer Tam’d was p­ erformed ca.

At the same time, “defunct” femininity in the figure of the aging and ostensibly postmenopausal Hermione is allied to the old wives, who are traditionally the tellers of tales, of implausible fables (such as that of the play itself), and to the time of year in which the tales are told, which also coincides with the seasonal attrition of life in winter. In this way, biologically nonreproductive, “dead” femininity enters the realm of art. In “Monarchs Who Cry: The Gendered Politics of Weeping in the English History Play,” Jean Howard asks what range of meanings can be ascribed to a display of emotion that is traditionally associated with women, despite the monumental historical exception of Christ’s tears in anticipation of his passion: “Et lacrimatus est Jesus” (“And Jesus wept,” John 11:35).

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