Scholars have given increasing amounts of attention to the place of
homosexuality in different periods of English cultural and literary
history. This book is a broad survey of representations of
homosexuality in the English theatre from the Renaissance to the
late 19th century. It draws on scholarship from a wide range of
disciplines, including sociology, history, psychology, literature,
and drama. The first chapter provides a background for the book by
discussing the nature of same-sex behavior in the ancient and
medieval worlds. The chapters that follow discuss such topics as
sodomy and transvestite theatre in the Renaisssance; female
transvestism on the English stage during the 17th century;
bisexuality in 18th-century drama; the rise of English homophobia
and the proliferation of lesbian relationships in England between
1745 and 1790; the homophobic context of English theatre during the
Romantic Movement (1790-1835); and the rebirth of interest in Greek
thought and its associations with same-sex poetry, drama, and
pornography in the Victorian era (1840-1900). Scholars have given
increasing amounts of attention to the place of homosexuality in
English literature and culture. Dramatic works are a reflection of
cultural issues, and thus they sometimes treat homosexual subject
matter. But because plays are enacted, they also represent
homosexual concerns through staging conventions, such as the use of
young boys to play female roles during the Renaissance. While some
scholars have examined homosexuality in particular plays, this
volume is a broad survey of the representation of same-sex
relationships on the English stage from the Renaissance to the
close of the 19th century. It draws on scholarship from a wide
range of fields, including sociology, history, psychology,
literature, and drama to provide a sweeping, multidisciplinary
account of homosexuality and English Drama. Modern drama has its
roots largely in the Renaissance, and Renaissance drama, in turn,
drew heavily from classical culture and medieval dramatic
traditions. Thus the first chapter of the book provides a
background discussion of same-sex behavior in the ancient and
medieval worlds. The chapters that follow discuss such topics as
sodomy and transvestite theatre in the Renaissance; female
transvestism on the English stage during the 17th century;
bisexuality in 18th-century drama; the rise of English homophobia
and the proliferation of lesbian relationships in England between
1745 and 1790; the homophobic context of English theatre during the
Romantic Movement (1790-1835); and the rebirth of interest in Greek
thought and its associations with same-sex poetry, drama, and
pornography in the Victorian era (1840-1900). The playwrights
discussed include major figures such as Marlowe, Shakespeare,
Jonson, Shelley, and Wilde, along with less frequently read authors
such as John Marston, Thomas Dekker, and Barnabe Barnes.
General
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