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Accounts current are the closest documents to probate records in
Pittsylvania County. The entries in Book 4 were recorded from 1805
to 1812, but some of the accounts predate 1805, as they could take
several years to settle. Accounts current contain record
Feminist Theories for Dramatic Criticism provides a number of
useful approaches for analyzing works for the stage from a feminist
perspective. Each chapter outlines key feminist theories in a
specific field, covering literary criticisms, anthropology,
psychology, and film, and then applies these theories in a detailed
criticism of one or two plays. Plays by Eugene O'Neill, Arthur
Miller, Lillian Hellman, Jane Bowles, Sam Shepard, and Alice
Childress-all produced after World War II-are reexamined through
the lenses of feminist theorist Judith Fetterley, Gayle Rubin,
Nancy Chodorow, and Laura Mulvey, each a key figure in her
respective field.The introduction provides a framework for the
discussion of feminist dramatic criticism by presenting the
multiple political perspectives within feminism. The contributions
of black and lesbian feminists to the question of theory are
explored, as are the evolutionary stages of feminist criticism as
they have been occurring in other fields. Theater has been slower
than most fields to move through these stages, and its trajectory
thus far is briefly traced. For the sake of clarity, each of the
central chapters treats theories from a particular discipline, but
the conclusion reminds us that in practice the theories are most
often combined. The book will appeal to theater scholars and
practitioners interested in finding their way into feminist theory
for the first time, or in expanding their knowledge of its insights
for use in teaching, research, and production. Those in women's
studies and other fields will find it shows ways to include plays
among the texts they analyze.
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