parts – the difference, say, between Mistress Quickly in Henry V (63 lines) and Cleopatra (678) – and also informs the structuring of a part’s relations to others, most importantly, McMillin observes, in terms of cues. One condition of part-playing is that it demands a high state of attentiveness and mental agility: equipped only with a short cue that is not identified by its speaker, the player

in As You Like It

Savage, King interprets attacks by Haywood on Sansom as being primarily literary and commercial in nature, caused by a shift by Hill from Haywood to Sansom as his literary patron and benefactor, not mistress. As King concludes, ‘literary rivalry can be a potent force as well, as we know from countless squabbles between Augustan male writers, and Haywood’s [representation of Sansom] is, significantly, scathing in its assessment of Sansom’s poetic abilities’.18 Interestingly, these two examples also demonstrate the complexities of the relationship between the realm of

in Early modern women and the poem

repetition of this Christian name in Behn’s play surely makes the possibility that she played Flauntit more likely’.41 It is interesting here to consider the extent to which Behn capitalised on Currer’s success in Crowne’s play and tailored Flauntit to exploit Currer’s talents and the audience’s expectation – made clear by using the familiar ‘Betty’ to reinforce the point. Currer’s next two roles in Behn plays build on her comic gifts and evidently play into the mistress/whore roles she had made her own. In The Counterfeit Bridegroom (1677) Currer appears in the first of

in Treading the bawds

Deceased Sisters (1935), pp. 107–8. 62 SND: ‘Clapham Annals II: Notre Dame in England’, 1851–1860. 63 SMG: I/D ‘Beaumont’, 1875, p. 24. 64 Cecil Kerr, Memoir of a Sister of Charity: Lady Etheldreda Fitzalan Howard (London, Burns Oates & Washbourne, 1928), p. 20. 66 Developing identities in Brighton. Potter found that she did not quite ‘fit’ with the Mercy style of spirituality. Her novice mistress believed she was better suited to a contemplative life. Mary Potter left the Sisters of Mercy in Brighton and eventually became founder of the Little Company of Mary.65

in Contested identities
The afterlife of Brunias’s imagery

a rather remarkable depiction of people of colour in eighteenth-century art as something other than marginal attendants serving their white masters and mistresses. An initial major ­­selling point for the Brooklyn acquisition was that the painting ‘documents ­­ a particular reality that the Museum’s collections currently cannot: women of colour as “ladies of the manor” standing at the top of the socio-racial British colonial pyramid’.22 In other words, the museum understood Brunias’s picture as offering a unique representation of Afro-Caribbean agency and elite

in Colouring the Caribbean
Abstract only

Thatcherite mayor who welcomes him to the city. Cosmo is opposed by Finney (Sting), the owner of a club situated in the middle of that area to be redeveloped, but who refuses to sell out. Caught between the two is the fugitive couple, Brendan (Sean Bean), a young drifter who becomes Finney’s eyes and ears, and Kate (Melanie Griffiths) Cosmo’s mistress. Figgis saw Brendan’s role as pivotal, moving from ‘adulation for all things

in European film noir

was damaging the lay– clerical relationship and that parishioners could use it to manoeuvre against their clergy. Lay women led the way in managing local gossip. John O’Sullivan problematised women’s unruly words and actions during the 1840s and 1950s. His unpublished diaries and writings, including a training manual for novice priests, relate numerous instances of female gossip and what he liked to categorise as disorderliness.49 Although women gossiped about almost every aspect of parish life, they sometimes targeted other parishioners, and even other women, with

in Irish women and the creation of modern Catholicism, 1850–1950
St Thérèse of Lisieux, St Bernadette Soubirous and the Forty Martyrs

effective psychological exploration of Bernadette was in fictionalised, dramatic form in John Kerr’s play, Mistress of Novices (1973). Exploring the antipathy between Bernadette and Mother Marie-Thérèse Vauzou that had been briefly touched upon in The Song of Bernadette, Kerr’s dramatisation of the later, adult years of Bernadette’s life in the convent of Nevers was a psychological exploration of modern scepticism, the limitations of science, jealousy, pride, doubt and human frailty.142 Thérèse was also given modernised and psychologised treatment in John Tavener’s opera

in Faith in the family

for the abuse they had suffered. In this spirit, the head missionary, the Rev. Isenberg, reported on the solemnity of the punishment procedure with all its ghoulishness and humiliation: When consulting with Messrs Appagi and Rutttongi … & Miss Dowman [Mistress of the Girls’ Orphanage] we all agreed in the propriety and

in Learning femininity in colonial India, 1820–1932

for future ventures: scriptwriters Aurenche and Bost, veteran actors Philippe Noiret and Jean Rochefort and novice actress and fellow Lyonnaise Christine Pascal, cinematographer Pierre-William Glenn, and composer Philippe Sarde. Noiret’s solidarity was particularly crucial. When an interested producer offered financing if the fledgling filmmaker would consent to relocate his story from Lyon to Paris, Tavernier flatly refused. This was no whim. That his conception of his first film is deeply rooted in Lyon is demonstrated by many

in Bertrand Tavernier