In the Posture of a Whore: Changing Attitudes to 'bad' Women in Elizabethan and Jacobean Drama, Volume 2 |
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Page 185
... enter the male sphere of public ( often armed ) contention . Elizabethans admitted that women could sometimes bear arms , but generally condemned female militarism . In Shakespeare's I Henry VI Joan's sturdy nationalism seems admirable ...
... enter the male sphere of public ( often armed ) contention . Elizabethans admitted that women could sometimes bear arms , but generally condemned female militarism . In Shakespeare's I Henry VI Joan's sturdy nationalism seems admirable ...
Page 258
... enter alone she is , in soliloquizing with the letter , isolated , only minimally affected by external agents . ( Macbeth needs external , socially oriented agents to prompt imagination - news that he is Thane of Cawdor , praise from ...
... enter alone she is , in soliloquizing with the letter , isolated , only minimally affected by external agents . ( Macbeth needs external , socially oriented agents to prompt imagination - news that he is Thane of Cawdor , praise from ...
Page 271
... enter the male sphere of politics , inevitably fall back into the private sphere where licentiousness is the motive and sexual satisfaction is proof of success , and where women die either on men's swords or consumed by flames of lust ...
... enter the male sphere of politics , inevitably fall back into the private sphere where licentiousness is the motive and sexual satisfaction is proof of success , and where women die either on men's swords or consumed by flames of lust ...
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action Amazon ambiguity Antony appears associated attitude beauty becomes Bowers Caesar called Cambridge cause characters Christian claim Cleopatra comedy comic concerned condemned considered conventional created Cressida dangerous death defined depicted desire drama effect Elizabeth Elizabethan emphasises encouraged England English evil female final Fletcher George Helen helps Henry Heywood honour husband idea imagination important individual instance John kill kind King Lady Macbeth less lover lust Macbeth male marriage Mary merely Middleton moral murder nature Noble Oxford Paris partly pattern perhaps play political potentially presented provides punished Queen relation remains Renaissance represented revenge Robert role Roman rprt rule satiric scene seems seen sense sexual Shakespeare shows Sisters social society stage Studies suggests Thomas tradition Tragedy translated Troilus Troy ultimately virtuous Waller whore wife witchcraft witches woman women York