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"Like other English Renaissance writers and dramatists, Shakespeare was attracted to the heroine in male disguise. Gender in Play on the Shakespearean Stage examines the use of this type of character--man playing woman playing man--by framing five plays by Shakespeare against readings of some of the other "female page" plays written by other playwrights of the period. The many variations Michael Shapiro traces are placed in the context of female cross-dressing as a social phenomenon and in the context of female impersonation as the standard way of representing women on the Shakespearean stage. Shakespeare's use of the female page spanned his entire career: The Two Gentlemen of Verona (an early comedy), The Merchant of Venice, As You Like It, Twelfth Night (mature romantic comedies), and Cymbeline (a late romance). Shapiro deploys several modes of literary criticism to establish the distinctiveness of each of Shakespeare's five disguised heroine plays and to trace the subtle and ingenious variations on the motif by such writers as Greene, Fletcher, Chapman, Middleton, Jonson, and Ford. The popularity of the "female page" is examined as a playful literary and theatrical way of confronting, avoiding, or merely exploiting issues such as the place of women in a patriarchal culture and the representation of women on stage. Looking beyond and behind the stage for the cultural anxieties that cross-dressing London women being punished as prostitutes and speculation that the apprentices who played female roles in adult companies engaged in homoerotic practices. [This book] will appeal not only to scholars of Renaissance drama but to any reader interested in the historical construction and analysis of gender and sexuality, both on- and offstage"-- Back cover.
Theatrical science --- Thematology --- Shakespeare, William --- Theâtre --- Rôle selon le sexe --- Women in the theater. --- Women in literature. --- Theater --- Theater. --- Sex role in literature. --- Gender identity in the theater. --- Gender identity in literature. --- Disguise in literature. --- Cross-dressing in literature. --- Child actors. --- Travestisme dans la litterature. --- Femmes dans la litterature. --- Deguisement dans la litterature. --- Rôle selon le sexe dans la litterature. --- Identite de genre dans la litterature. --- Enfants acteurs --- Femmes au theâtre --- Identite de genre au theâtre --- Child actors --- Women in the theater --- Gender identity in the theater --- Identite sexuelle --- Dans la litterature. --- Casting. --- Histoire --- Distribution artistique --- History --- Casting --- Shakespeare, William, --- Characters --- Women. --- Dramatic production. --- Stage history --- England.
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With The Sense of Grammar, Peircean studies take a giant step forward, moving from a preoccupation with textual exegesis into the battleground of linguistic analysis. Working along the lines suggested by Peirce's theory of signs, as interpreted within the context of the philosopher's entire oeuvre, Michael Shapiro proposes a major reorientation of linguistic theory and a shift in the ultimate goals of the study of language structure. Part One provides a theoretical dissection of Peirce's semeiotic and evaluates its importance to structural linguistics. In it Shapiro grapples with the main differences between the theory of signs as Peirce held it before and after 1906. He then applies Peirce's semeiotic to the development of a new theory of grammar, which he tests in Part Two. Drawing examples primarily from the Russian language, Shapiro demonstrates how Peircean semeiotics engages the actual problems of linguistic structure subtended by real data and resolves them in the areas of phonology, morphophonemics, and morphology and semantics.
Grammaire comparee et generale. --- Semiotique. --- Grammar, Comparative and general. --- Semiotics. --- Peirce, Charles S. --- Linguistics
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