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Les femmes dans la critique et l'histoire littéraire
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ISBN: 9782745322326 274532232X Year: 2011 Volume: 1 Publisher: Paris Champion

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Que les femmes auteurs aient été maltraitées par la critique et l`histoire littéraire, que leur présence ait été assez généralement condamnée sous des prétextes divers et leur travail contesté, minoré puis souvent oublié, n`est désormais plus ignoré de personne. Au fil des siècles, le fossé s`est creusé entre la réalité (le nombre de femmes actives en littérature, la nature des œuvres produites ) et les discours tenus sur elle, non seulement par la critique mais aussi par l`histoire littéraire telle qu`elle s`est peu à peu constituée, escortée d`une profusion de recueils, d`anthologies et de dictionnaires. Mémoire, héritage, patrimoine sont, quand il est question des femmes auteurs, bien mal servis, et ce, aujourd`hui encore. Le présent volume souhaite interroger cette situation par le biais d`observations qui vont de la Renaissance au XXe siècle. Au fil d`analyses ponctuelles, il entend ainsi participer à l`élaboration d`une histoire de la réception des femmes auteurs qui, pour l`heure, continue de faire défaut

Gender in play on the Shakespearean stage : boy heroines and female pages
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ISBN: 0472105671 0472084054 0472904248 Year: 1996 Publisher: Ann Arbor, Mich. University of Michigan Press

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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.

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