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dc.contributor.authorCottegnies, Line
dc.date.accessioned2014-02-21T12:17:09Z
dc.date.available2014-02-21T12:17:09Z
dc.date.issued2013
dc.identifier.citationCottegnies, Line. “Gender and Cross-dressing in the Seventeenth Century: Margaret Cavendish Reads Shakespeare.” «Testi e linguaggi» 7(2013): 257-266. [Studi monografici. Letteratura in performance, a cura di A. D’Amelia e A. Piazza]en_US
dc.identifier.issn1974-2886en_US
dc.identifier.urihttp://hdl.handle.net/10556/1141
dc.identifier.urihttp://dx.doi.org/10.14273/unisa-31
dc.description.abstractIs there a woman in Shakespeare? This might sound facetious, but it is not so outlandish in the context of boy actors. Elizabethan drama was after all designed and stagemanaged by men mostly for men. In this context, is there an “essential” woman on the stage? In this essay, I examine issues of gender and sexual identity in Shakespeare’s drama by looking at how one particular woman reader of the seventeenth century, Margaret Cavendish, Duchess of Newcastle, perceived femininity in his plays. In particular, I look at what can be read as a commentary on the ambivalent ending of Measure for Measure in her own Convent of Pleasure (1668) to try and offer a contextualized reflection on notions of gender expectations, and issues of reception.en_US
dc.format.extentP. 257-266en_US
dc.language.isoenen_US
dc.publisherRoma : Carocci
dc.sourceUniSa. Sistema Bibliotecario di Ateneoen_US
dc.subjectShakespeare
dc.subjectCavendish
dc.subjectCross-dressing
dc.titleGender and Cross-dressing in the Seventeenth Century: Margaret Cavendish Reads Shakespeareen_US
dc.typeArticleen_US
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