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Providing a useful overview of the current state of black British
writing and pointing towards future developments in the field, this
edited collection examines the formation of a black British Canon
including writers, dramatists, filmmakers and artists. The essays
included discuss the textual, political and cultural history of
black British and the term "black British" itself.
Through an exploration of key women writers of the early modern
period, Marion Wynne-Davies demonstrates the ways in which female
authors were both enabled and constrained by the writing traditions
and influences within their families. The engagement with and
participation in the construction of individual familial discourses
is explained via an analysis of six Renaissance families: the
Mores, Lumleys, Sidneys/Herberts, Carys and Cavendishes. While the
book addresses the writings of male authors from these family
groups, such as Sir Thomas More, John Donne, Philip Sidney, Lucius
Cary and William Cavendish, its primary focus is on Margaret
More/Roper, Gertrude More, Jane Lumley, Mary Wroth, Elizabeth Cary
and Jane, Elizabeth and Margaret Cavendish.
Gathered for the first time in this unique volume are plays and
documents suggesting that, contrary to traditional thinking, women
participated in the theatrical culture of the English
Renaissance--as authors, translators, performers, spectators, and
even as part-owners of theaters. "Renaissance Drama by Women"
includes 4 full length plays--"Love's Victory, The Concealed
Fancies, The Tragedy of Marion, " and "The Tragedy of
Antonie"--along with a fragment of a translation from Seneca by
Queen Elizabeth I, an occasional masque written for performance by
a ladies' school before Queen Anne, and a collection of historical
documents illustration many fascinating ways that women
participated in a range of theatrical activity between the 1570s
and 1660.
This study of women in Arthurian literature covers writings from
the medieval period, the Renaissance, the Victorian age and in
contemporary fiction. Examining the key Arthurian texts, such as
Chaucer's "Wife of Bath's Tale", "Sir Gawain and the Green Knight",
Malory's "Morte D'arthur", Spenser's "The Faerie Queene" and
Tennyson's "Idylls", it also investigates the less well-known works
by women: Lady Charlotte Guest's "Mabinogion", Julia Margaret
Cameron's illustration to Tennyson's works, and the Arthurian women
writers of the 20th century.
Over the last twenty five years, scholarship on Early Modern women
writers has produced editions and criticisms, both on various
groups and individual authors. The work on Mary Wroth has been
particularly impressive at integrating her poetry, prose and drama
into the canon. This in turn has led to comparative studies that
link Wroth to a number of male and female writers, including of
course, William Shakespeare. At the same time no single volume has
attempted a comprehensive comparative analysis. This book sets out
to explore the ways in which Wroth negotiated the discourses that
are embedded in the Shakespearean canon in order to develop an
understanding of her oeuvre based, not on influence and imitation,
but on difference, originality and innovation.
This invaluable guide offers readers an accessible and imaginative approach to the literature of early modern Britain. Exploring the poetry, drama, and prose of the period, Marion Wynne-Davies combines theory and practice, providing a helpful introduction to key theoretical concepts and close readings of individual texts by both canonical and less well-known authors. Amongst other things, Wynne-Davies discusses 16th and 17th century poetry in its political and cultural contexts, considers Renaissance drama in terms of performance space, and uses the early modern map to explain the prose works of writers such as Bunyan and Cavendish.
Marion Wynne-Davies' detailed feminist reading of "The Wife of
Bath's Prologue and Tale" and "The Clerk's Prologue and Tale" is
the first edition to address the social and cultural context of
these poems' production. Her analysis of the original manuscripts
of the tales, and of the questions raised about gender and cultural
history, is accessible and illuminating. With glosses on the page
and a bibliography to assist with further reading, this edition may
be an essential study aid for all students of Chaucer, whether
familiar with the poems or coming to them for the first time.
Over the last twenty five years, scholarship on Early Modern
women writers has produced editions and criticisms, both on various
groups and individual authors. The work on Mary Wroth has been
particularly impressive at integrating her poetry, prose and drama
into the canon. This in turn has led to comparative studies that
link Wroth to a number of male and female writers, including of
course, William Shakespeare. At the same time no single volume has
attempted a comprehensive comparative analysis. This book sets out
to explore the ways in which Wroth negotiated the discourses that
are embedded in the Shakespearean canon in order to develop an
understanding of her oeuvre based, not on influence and imitation,
but on difference, originality and innovation.
This title was first published in 2003. Few would deny that the
Bible is an overwhelmingly patriarchal book that, over the
centuries, has exercised considerable influence on the way in which
women are perceived in society. From the opening chapters of
Genesis, where woman is created to serve as man's "helper", to the
pronouncements of Paul concerning the submission of wives to their
husbands and the silencing of women in communal worship, the
primary emphasis of the Bible is on woman's subordinate status.
Feminist biblical critics raise the obvious question: how should
women in communities of faith respond to the Bible's largely
negative appraisal of women and oppressive patriarchal emphasis?
Eryl Davies introduces the wide range of feminist approaches to the
Hebrew Bible: from critics who recover neglected perspectives in
the biblical tradition and argue that the Bible is not oppressively
patriarchal, to others who reject biblical traditions, arguing that
they are so immersed in a patriarchal culture that no parts are
worth redeeming.
Readings in Renaissance Women's Drama is the most complete
sourcebook for the study of this growing area of inquiry. It brings
together, for the first time, a collection of the key critical
commentaries and historical essays - both classic and contemporary
- on Renaissance women's drama. Specifically designed to provide a
comprehensive overview for students, teachers and scholars, this
collection combines:
* this century's key critical essays on drama by early modern
women by early critics such as Virginia Woolf and T.S. Eliot
* specially-commissioned new essays by some of today's important
feminist critics
* a preface and introduction explaining this selection and
contexts of the materials
* a bibliography of secondary sources
Playwrights covered include Joanna Lumley, Elizabeth Cary, Mary
Sidney, Mary Wroth and the Cavendish sisters.
The first feminist edition of these two tales. Wynne-Davies
addresses the social and cultural context of the poems' production
in a critical commentary to the texts. Also includes a line by line
gloss and a historical introduction.
Renaissance Drama By Women is a unique volume of plays and documents. For the first time, it demonstrates the wide range of theatrical activity in which women were involved during the Renaissance period. It includes full-length plays, a translated fragment by Elizabeth I, a masque, and a substantial number of historical documents. With full and up-to-date accompanying critical material, this collection of texts is an exciting and invaluable resource for use in both the classroom and research. Special features introduced by the editors include: * introductory material to each play * modernized spellings * extensive notes and annotations * biographical essays on each playwright * a complete bibliography Methodically and authoritatively edited by S.P. Cerasano and Marion Wynne-Davies, Renaissance Theatre by Women is a true breakthrough for the study of women's literature and performance.
This book explores the development of familial discourse within a
chronological frame, commencing with the More family and concluding
with the Cavendish group. It explores the way in which the support
of family groups enabled women to participate in literary
production, whilst closeting them within a form of writing that
encompassed style or theme.
This much-needed collection examines the formation of a black
British canon including writers, dramatists, film-makers and
artists. Contributors including John McLeod, Michael McMillan, Mike
Phillips and Alison Donnell discuss the textual, political and
cultural history of black British and the term 'black British'
itself.
This is the first full-length study of the role of women in
Arthurian literature. It covers writing from the medieval period,
the Renaissance, the Victorian age and in contemporary fiction.
Covering the key Arthurian texts, such as Chaucer's Wife of Bath's
Tale, Sir Gawain and the Green Knight, Malory's Morte D'arthur,
Spenser's The Faerie Queene and Tennyson's Idylls, it also
investigates the less well-known works by women: Lady Charlotte
Guest's Mabinogion, Julia Margaret Cameron's illustration to
Tennyson's works and, finally, the Arthurian women writers of the
twentieth century.
In "Sixty Years of Welsh Champions," breed expert Dr Wynne Davies
presents a complete record of equine champions from the Royal Welsh
Show, 1947-2007. Arranged chronologically, each year lists the
female and male champions from each of the four Sections,
displaying their pedigree charts (going back to the
great-great-grandparents), and records details of the breeder and
exhibitor. Each entry is accompanied by a photograph, some of which
have never before appeared in print. In addition, the introduction
to the book offers a brief history of the show, detailing the
changes in the Section classes and the story behind the fluctuation
in the number of entries. Both a beautifully presented book with
numerous stunning photos, and an exhaustive record of the event at
the heart of the Welsh breeders calendar, this is a must have for
every Welsh Pony and Cob enthusiast.
This book traces the chronological development of Atwood’s global
reputation from Canadian nationhood to world-wide politics and from
the role of women to gender identity. Chapters offer a
comprehensive overview of her poetry, novels, shorter fiction,
children’s books, criticism and experimental multi-genre work.
There are more detailed analyses of Atwood’s most influential
writing, from her first novels such as Surfacing and The Edible
Woman, through the works that ensured her international reputation
such as The Handmaid’s Tale, Cat’s Eye and The Robber Bride, to
her most recent work, Alias Grace and Oryx and Crake. Wynne-Davies
presents these works through an overall understanding of Atwood’s
intelligence, humour, linguistic dexterity, breadth of vision and
ethical integrity.
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