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In the field of seventeenth-century English drama, women
participated not only as spectators or readers, but more and more
as patronesses, as playwrights, and later on as actresses and even
as managers. This study examines English women writers' tragedies
and tragicomedies in the seventeenth century, specifically between
1613 and 1713, which represent the publication dates of the first
original tragedy (Elizabeth Cary's The Tragedy of Mariam) and the
last one (Anne Finch's Aristomenes) written by a Stuart woman
playwright. Through this one-hundred year period, major changes in
dramatic form and ideology are traced in women's tragedies and
tragicomedies. In examining the whole of the century from a gender
perspective, this project breaks away from conventional approaches
to the subject, which tend to establish an unbridgeable gap between
the early Stuart period and the Restoration. All in all, this study
represents a major overhaul of current theories of the evolution of
English drama as well as offering an unprecedented reconstruction
of the genealogy of seventeenth-century English women playwrights.
In the field of seventeenth-century English drama, women
participated not only as spectators or readers, but more and more
as patronesses, as playwrights, and later on as actresses and even
as managers. This study examines English women writers' tragedies
and tragicomedies in the seventeenth century, specifically between
1613 and 1713, which represent the publication dates of the first
original tragedy (Elizabeth Cary's The Tragedy of Mariam) and the
last one (Anne Finch's Aristomenes) written by a Stuart woman
playwright. Through this one-hundred year period, major changes in
dramatic form and ideology are traced in women's tragedies and
tragicomedies. In examining the whole of the century from a gender
perspective, this project breaks away from conventional approaches
to the subject, which tend to establish an unbridgeable gap between
the early Stuart period and the Restoration. All in all, this study
represents a major overhaul of current theories of the evolution of
English drama as well as offering an unprecedented reconstruction
of the genealogy of seventeenth-century English women playwrights.
This Open Access book considers the cultural representation of
gender violence, vulnerability and resistance with a focus on the
transnational dimension of our contemporary visual and literary
cultures in English. Contributors address concepts such as
vulnerability, resilience, precarity and resistance in the
Anglophone world through an analysis of memoirs, films, TV series,
and crime and literary fiction across India, Ireland, Canada,
Australia, the US, and the UK. Chapters explore literary and media
displays of precarious conditions to examine whether these are
exacerbated when intersecting with gender and ethnic identities,
thus resulting in structural forms of vulnerability that generate
and justify oppression, as well as forms of individual or
collective resistance and/or resilience. Substantial insights are
drawn from Animal Studies, Critical Race Studies, Human Rights
Studies, Post-Humanism and Postcolonialism. This book will be of
interest to scholars in Gender Studies, Media Studies, Sociology,
Culture, Literature and History. Grant FFI2017-84555-C2-1-P
(research Project "Bodies in Transit: Genders, Mobilities,
Interdependencies") funded by MCIN/AEI/ 10.13039/501100011033 and
by "ERDF A way of making Europe."
This Open Access book considers the cultural representation of
gender violence, vulnerability and resistance with a focus on the
transnational dimension of our contemporary visual and literary
cultures in English. Contributors address concepts such as
vulnerability, resilience, precarity and resistance in the
Anglophone world through an analysis of memoirs, films, TV series,
and crime and literary fiction across India, Ireland, Canada,
Australia, the US, and the UK. Chapters explore literary and media
displays of precarious conditions to examine whether these are
exacerbated when intersecting with gender and ethnic identities,
thus resulting in structural forms of vulnerability that generate
and justify oppression, as well as forms of individual or
collective resistance and/or resilience. Substantial insights are
drawn from Animal Studies, Critical Race Studies, Human Rights
Studies, Post-Humanism and Postcolonialism. This book will be of
interest to scholars in Gender Studies, Media Studies, Sociology,
Culture, Literature and History. Grant FFI2017-84555-C2-1-P
(research Project "Bodies in Transit: Genders, Mobilities,
Interdependencies") funded by MCIN/AEI/ 10.13039/501100011033 and
by "ERDF A way of making Europe."
The dismantling of "Understanding Canada"-an international program
eliminated by Canada's Conservative government in 2012-posed a
tremendous potential setback for Canadianists. Yet Canadian writers
continue to be celebrated globally by popular and academic
audiences alike. Twenty scholars speak to the government's
diplomatic and economic about-face and its implications for
representations of Canadian writing within and outside Canada's
borders. The contributors to this volume remind us of the obstacles
facing transnational intellectual exchange, but also salute
scholars' persistence despite these obstacles. Beyond
"Understanding Canada" is a timely, trenchant volume for students
and scholars of Canadian literature and anyone seeking to
understand how Canadian literature circulates in a transnational
world. Contributors: Michael A. Bucknor, Daniel Coleman, Anne
Collett, Pilar Cuder-Dominguez, Ana Maria Fraile-Marcos, Jeremy
Haynes, Cristina Ivanovici, Milena Kalicanin, Smaro Kamboureli,
Katalin Kurtosi, Vesna Lopicic, Belen Martin-Lucas, Claire
Omhovere, Lucia Otrisalova, Don Sparling, Melissa Tanti, Christl
Verduyn, Elizabeth Yeoman, Lorraine York
This collection of essays attempts to expand the notion of the
"Black Atlantic" beyond its original racial, geographical,
linguistic and cultural borders while acknowledging its remarkable
ability to disturb established historical truths and to go beyond
traditional dichotomies, thereby providing an essential tool for
cross-cultural understanding. It is divided into four sections,
each of them dealing with a different approach to the question of
the "Black Atlantic". "Definitions" touches on the various
limitations of Gilroy's original concept. "Readings" focuses on how
the "Black Atlantic" can be productively used in readings of
certain literary texts. "Practices" shifts towards the practical
applications of the concept in order to explore the impact it has
had on academic disciplines and examine to what extent it may have
altered their epistemology and working procedures. Finally,
"Dialogues" engages with the "Black Atlantic" from the perspectives
of two creative writers whose work includes transatlantic themes
and characters.
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