標(biāo)題: Titlebook: Early Women Dramatists 1550–1801; Margarete Rubik Textbook 1998Latest edition Margarete Rubik 1998 drama.dramatist.Renaissance.women [打印本頁] 作者: Monomania 時間: 2025-3-21 18:48
書目名稱Early Women Dramatists 1550–1801影響因子(影響力)
書目名稱Early Women Dramatists 1550–1801影響因子(影響力)學(xué)科排名
書目名稱Early Women Dramatists 1550–1801網(wǎng)絡(luò)公開度
書目名稱Early Women Dramatists 1550–1801網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Early Women Dramatists 1550–1801被引頻次
書目名稱Early Women Dramatists 1550–1801被引頻次學(xué)科排名
書目名稱Early Women Dramatists 1550–1801年度引用
書目名稱Early Women Dramatists 1550–1801年度引用學(xué)科排名
書目名稱Early Women Dramatists 1550–1801讀者反饋
書目名稱Early Women Dramatists 1550–1801讀者反饋學(xué)科排名
作者: d-limonene 時間: 2025-3-21 22:02 作者: 煩人 時間: 2025-3-22 03:31 作者: Reverie 時間: 2025-3-22 06:03
Women Dramatists at the Turn of the Centuryarp drop in theatre attendance, about which Behn complained in her Prologue to . William III showed no interest in the stage and had no intention of renewing the patronage of his predecessors. The King’s Company collapsed in 1682 owing to financial mismanagement and merged with the Duke’s Company to作者: SEMI 時間: 2025-3-22 10:36
Susanna Centlivreth century. She must have known Pix, Manley and Wiseman personally, since she contributed to collections they edited, or in turn received verses for her own publications. But she started to write later than most of the wits and continued after they had all long ceased. She has been the most successf作者: insincerity 時間: 2025-3-22 13:06
Women Dramatists of the Early Eighteenth Century what might humour theatre-goers, plays became more diversified from the second decade of the century onwards, with ‘reformed’ Restoration comedies, sentimental comedies, farces, harlequinades, romances, tragi-comedies, heroic plays, ‘classical’ tragedies and historical tragedies being performed. Ye作者: insincerity 時間: 2025-3-22 18:16 作者: 不足的東西 時間: 2025-3-23 00:54 作者: Schlemms-Canal 時間: 2025-3-23 01:29 作者: engrossed 時間: 2025-3-23 06:09
Towards a Female Tradition in the Theatreas, and are their works hence indistinguishable from those of men? The question is complicated not only by the diverse and contradictory nature of the material surveyed, but also by fundamental disagreement, even among critics of modern drama, where feminist stances are much more pronounced, as to w作者: 炸壞 時間: 2025-3-23 10:27 作者: 圖表證明 時間: 2025-3-23 15:40
Women Dramatists of the Early Restoration Periodhich regarded publication as the reward of fame, not as a means of achieving it.. In fact, she was more ambitious than talented as a dramatist, but by dint of her feminist outspokenness she has lately received a lot of attention from modern scholars.作者: Calculus 時間: 2025-3-23 20:33
‘All women ought to let flowers fall upon the most prolific playwrights of her time, second only to Dryden in the number of plays she wrote. If one considers that by that time very few writers, male or female, had made a regular profession of writing and that most contemporary successful male dramatists were either from the aristocracy or well作者: Delirium 時間: 2025-3-24 01:58 作者: Musculoskeletal 時間: 2025-3-24 04:35 作者: covert 時間: 2025-3-24 07:44 作者: antidepressant 時間: 2025-3-24 14:06
https://doi.org/10.1007/978-3-642-92618-1 erudition, but not to make a name for themselves in the theatre. This was not only a question of gender but also of class, since aristocrats were expected to be patrons of the arts rather than writers themselves. The gentleman playwright became a prominent figure only in the Restoration period, and作者: AVID 時間: 2025-3-24 18:49 作者: sleep-spindles 時間: 2025-3-24 22:49
https://doi.org/10.1007/978-3-662-40122-4 most prolific playwrights of her time, second only to Dryden in the number of plays she wrote. If one considers that by that time very few writers, male or female, had made a regular profession of writing and that most contemporary successful male dramatists were either from the aristocracy or well作者: cajole 時間: 2025-3-25 01:37 作者: inhibit 時間: 2025-3-25 06:13 作者: Perineum 時間: 2025-3-25 10:18
Grabenwarter Christoph DDr., Univ. Prof.cripts, but in general were unwilling to take risks with untried new playwrights, male or female, and preferred to put on an old favourite, or a play by a dramatist who had already made a name. It was difficult for a woman to establish the necessary connections and to gain an introduction, unless sh作者: 薄膜 時間: 2025-3-25 11:42 作者: Bumble 時間: 2025-3-25 16:58 作者: inspired 時間: 2025-3-25 22:20 作者: Conspiracy 時間: 2025-3-26 02:06 作者: 詼諧 時間: 2025-3-26 04:59 作者: Ebct207 時間: 2025-3-26 12:10
https://doi.org/10.1007/978-3-662-32634-3publish her collected dramatic works in folio editions, in 1662 and 1668 — indeed, the first female playwright ever to bring out her work — was Margaret Lucas Cavendish, Duchess of Newcastle (the stepmother to Elizabeth and Jane, discussed in Chapter 1). Yet, like her aristocratic predecessors, she 作者: cogent 時間: 2025-3-26 15:55
https://doi.org/10.1007/978-3-662-40122-4. Indeed, Behn was the first professional woman playwright who made a regular income from writing for the theatre, ‘forced to write for Bread and not ashamed to owne it,’ as she says in her Address to the Reader in . Whether she was in fact able to support herself by writing is questionable, though.作者: 可用 時間: 2025-3-26 18:33 作者: d-limonene 時間: 2025-3-26 21:30 作者: 啜泣 時間: 2025-3-27 04:13
https://doi.org/10.1007/978-3-662-31513-2 what might humour theatre-goers, plays became more diversified from the second decade of the century onwards, with ‘reformed’ Restoration comedies, sentimental comedies, farces, harlequinades, romances, tragi-comedies, heroic plays, ‘classical’ tragedies and historical tragedies being performed. Ye作者: 浮雕寶石 時間: 2025-3-27 09:06 作者: 削減 時間: 2025-3-27 10:42
https://doi.org/10.1007/978-3-662-40119-4t, background and style, but they were both highly professional and very successful. Both were mainly writers of comedy and, in many ways, exemplified the tastes and fashions of their period. But they were more adroit than their rivals in shaping effective plots, and they were also shrewder in their作者: 煉油廠 時間: 2025-3-27 15:26
. Accordingly, acting was stylised, delivery was declamatory, and set gestures and facial expressions were used to convey specific emotions: a stamp of the foot implied anger, guilt was expressed by eyes cast to one side and head bent low, bashfulness by a hand placed over the mouth.. Most performer作者: 緊張過度 時間: 2025-3-27 17:58 作者: poliosis 時間: 2025-3-28 00:33 作者: compel 時間: 2025-3-28 05:55 作者: 褻瀆 時間: 2025-3-28 08:31
https://doi.org/10.1007/978-3-662-24827-0on improved only when the United Company split up in 1695, and Betterton led a group of star actors to Lincoln’s Inn Field. The sudden new competition between the two playhouses revived the flagging market and also led to a spectacular upsurge in women dramatists in the 11 years between 1695 and 1706.作者: 用肘 時間: 2025-3-28 12:33
the end of the eighteenth century to seat more than 3000 spectators each, performers were dwarfed by these dimensions and returned to a more artificial and melodramatic acting style to make themselves understood in the gallery.作者: Melanoma 時間: 2025-3-28 17:48
Women Dramatists at the Turn of the Centuryon improved only when the United Company split up in 1695, and Betterton led a group of star actors to Lincoln’s Inn Field. The sudden new competition between the two playhouses revived the flagging market and also led to a spectacular upsurge in women dramatists in the 11 years between 1695 and 1706.作者: insolence 時間: 2025-3-28 21:21
Contemporary and Modern Performances of the Playsthe end of the eighteenth century to seat more than 3000 spectators each, performers were dwarfed by these dimensions and returned to a more artificial and melodramatic acting style to make themselves understood in the gallery.
