Search results

You are looking at 1 - 10 of 17 items for :

  • "patriarchal history" x
  • Refine by access: All content x
Clear All

In the Renaissance, the archetype for history was the classical muse Clio, a much-painted figure in an era when the 'history painting' was one of the predominant genres in European visual art. One Renaissance dramatist and poet who never made reference to Clio was William Shakespeare. This book is about official and unofficial versions of the past, histories and counter-histories, in Shakespeare's works and their subsequent appropriations. It builds on a long period in which those of us working in literary and theatre studies have developed an awareness of the extent to which conventional recreations of the past are mediated through the fictionalising structures of narrative. The book explores how the history plays construct counter-historical representations of the dead. It argues that the 'dislocutionary' threat of grief and the performance of the suffering body is a version of the kind of spectator/spectre relationship drawn in any ritualised encounter with the cult of the ancestor. The book combines four historicist readings which explore counter-histories in the early modern period. It examines the relationship between Shakespeare's history plays and alternative dynastic histories. The book also explores questions of history and identity, particularly as they can be configured through performance. It challenges the view that women become progressively marginalised across the histories by arguing that Shakespeare's warlike women enact a power onstage which forces us to rethink official, patriarchal history.

The Ishams of Lamport and their world
Isaac Stephens

To fully understand the ‘Booke of Rememberance’ and, by extension Elizabeth Isham, we must place both within their familial and county contexts. Crucial to this endeavour is the recovery and construction of the historical memory of her life, which requires a juxtaposition of the perspectives that the Isham collection and the autobiography provide on her and her family. Such methodology highlights the stark patriarchal history we find in the family papers, a history overwhelmingly skewed towards Sir John and Sir Justinian Isham because of the ample documentation on them in the collection. If we attempt to reconstruct similar portraits for Elizabeth’s female relations just from the Isham papers, the venture is impossible, particularly in the cases of Lady Isham and Judith Isham. Yet when we turn to the ‘Booke of Rememberance’ these women appear in full scholarly light, and their memory is found and restored, revealing the intimate and mutually supportive relationships they shared as they faced spiritual, emotional, and physical trials and tribulations. The chapter demonstrates the potential power that patriarchy exerts on our historical memory of past women, as well as maps essential contexts for fully analysing Elizabeth Isham, her life-writing, and her world.

in The gentlewoman’s remembrance
Abstract only
Artists, histories and counter-histories
Stuart Hampton-Reeves

enact a power onstage which forces us to rethink official, patriarchal history. Even though the warriors of the first tetralogy are replaced with domesticated women in the second, these figures continue to exercise a particular power, if not through their actions then through their language. In Henry V in particular, the ghost of a warlike woman can be discerned haunting Katherine’s exchanges with

in Shakespeare’s histories and counter-histories
Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo

and the patriarchal history of marriage as an institution had been problematised. The intervention posed by Lila into discourses about marriage is therefore best understood by situating the novel within the history of the genre of the marriage plot and the debates about the politics of marriage in modern and contemporary American culture. The marriage plot In women's Bildungsroman, marriage is often presented as the main objective of a woman's existence: a set of obligations to be fulfilled, a

in Marilynne Robinson
Gendering the foreigner in Emer Martin’s Baby Zero
Wanda Balzano

has an end. It ends right here in the present. It is always ending’ (Martin, 2007: 313). Jardine, quoting Jean-Joseph Goux, proposes that the end of patriarchal history – the most encompassing of master narratives – can only take place with the ‘crossing-over into the place of the Other, the return to the place of signifying productivity, then its conscious extension’ (Jardine, 1986: 86). At the end of history, the gesture of crossing over into the place of the Other, with its stories and its deaths, is a matter of ethics. Only embracing such ethics and her stories

in Literary visions of multicultural Ireland
Kimberly Lamm

permission to reject the imperative to mirror the value of patriarchal culture and remake dominant images of woman.18 It is a careful address to women to create a ‘society’ that will ‘cut up’ and eliminate men and thereby unleash the imaginative possibilities that have been repressed through patriarchal histories. For many readers, these aspects of the manifesto are enough to reject it outright. Only a crazed woman would make such declarations, and only a monster would act upon them. The SCUM Manifesto is, however, a lot more than a call to eliminate men. The skill Solanas

in Addressing the other woman
Abstract only
Two versions of tyrannicide in Richard III
Ann Kaegi

Bereavement (London: Routledge, 1989), p. 34; and David Cressy, Birth, Marriage, and Death: Ritual, Religion, and the Life-Cycle in Tudor and Stuart England (Oxford: Oxford University Press, 1997), pp. 398–403. 5 See ‘Patriarchal History and Female Subversion’, in

in The Renaissance of emotion
Abstract only
Finding and remembering Elizabeth Isham
Isaac Stephens

must acknowledge that Elizabeth and the individuals whom she presents in its pages were actual people shaped and affected by a myriad of early modern contexts. Chapter 2 begins the process of situating Elizabeth in perhaps her most important and immediate contexts – her family and her county. Crucial to this endeavour is the recovery and construction of the historical memory of her life, which requires a juxtaposition of the perspectives that the Isham collection and the autobiography provide on her and her family. Such methodology illustrates the stark patriarchal

in The gentlewoman’s remembrance
Abstract only
Cesare Cuttica

endowed with irrefutable ‘cogency’ (W. H. Greenleaf, ‘Filmer’s Patriarchal History’, HJ, 9 (1966), pp. 157–71, pp. 157–8). 14 schochet, Patriarchalism in Political Thought, p. 276. 15 On the methodological propriety to apply ‘radicalism’ and/or ‘radical’ to pre-1820 contexts see G. Burgess and M. Festenstein (eds), English Radicalism, 1550–1850 (cambridge, 2007), esp. G. Burgess, ‘Introduction’, pp. 1–16. see also chapter 2 below. 16 Filmer explained that ‘at the creation one man alone was made’ (OA, p. 252). For this reason, all ideas of a ‘contract of people’ was

in Sir Robert Filmer (1588-1653) and the patriotic monarch
Women, politics and the private sphere
Heather Laird

male political culture, tend to be assigned a marginal role. State-centred histories, in other words, are invariably patriarchal histories. One of the means employed to counteract this marginalization is to seek out examples of ‘exceptional’ women who did operate in the arena of the state, or close to it, and focus attention on them. This strategy, which most commonly takes the form of the biographical study,3 could be categorized, with reference to the feminist historian Gerda Lerner, as ‘compensatory history’ in that it is concerned 12_Fergus_Ch-8.indd 175 7

in Land questions in modern Ireland