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​This book examines plays produced in England in the 1890s and early 1900s and the ways in which these plays responded to changing perceptions of marriage. Bernard Shaw, Oscar Wilde, and other late-Victorian dramatists challenged romanticized ideals of love and domesticity, and, in the process, these authors appropriated and rewrote the genre conventions that had dominated English drama for much of the nineteenth century. In their plays, theater became a forum for debating the problems of traditional marriage and envisioning alternative forms of partnership. This book is written for scholars specializing in the areas of Victorian studies, dramatic literature, theater history, performance studies, and gender studies.
Women's Theatre Writing in Victorian Britain is the first book to make a comprehensive study of women playwrights in the British theatre from 1820 to 1918. It looks at how women playwrights negotiated their personal and professional identities as writers, and examines the female tradition of playwriting which dramatises the central experience of women's lives around the themes of home, the nation, and the position of women in marriage and the family. The book also includes an extensive Appendix of authors and plays, which will be a useful reference tool for students and scholars in nineteenth-century studies and theatre historians.
Shaw emerged as a playwright in the politically charged environment of 1892, for both female suffrage and Irish independence. His plays quickly advocated for societal changes with regard to women’s roles, while expanding this advocacy into considerations of Ireland. Shaw’s engagement with marriage and union as a personal contract with nationhood have never before been considered as a methodology with which to view his work. This book demonstrates that Shaw was deeply engaged with and committed to the Irish question and to social and gender issues.
This book focuses on two important topics in Shaw’s Major Barbara and Pygmalion that have received little attention from critics: language and metadrama. If we look beyond the social, political, and economic issues that Shaw explored in these two plays, we discover that the stories of the two “Shavian sisters”— Barbara Undershaft and Eliza Doolittle—are deeply concerned with performance and what Jacques Derrida calls “the problem of language.” Nearly every character in Major Barbara produces, directs, or acts in at least one miniature play. In Pygmalion, Henry Higgins is Eliza’s acting coach and phonetics teacher, as well as the star of an impromptu, open-air phonetics show. The language content in these two plays is just as intriguing. Did Eliza Doolittle have to learn Standard English to become a complete human being? Should we worry about the bad grammar we hear at Barbara Undershaft’s Salvation Army shelter? Is English losing its precision and purity? Meanwhile, in the background, Shaw keeps reminding us that language and theatre are always present in our everyday lives—sometimes serving as stabilizing forces, and sometimes working to undo them.
Honorable Mention for the 2023 Francis Richardson Keller-Sierra Prize 2023 Judy Grahn Award-Publishing Triangle Finalist Restores queer suffragists to their rightful place in the history of the struggle for women’s right to vote The women’s suffrage movement, much like many other civil rights movements, has an important and often unrecognized queer history. In Public Faces, Secret Lives Wendy L. Rouse reveals that, contrary to popular belief, the suffrage movement included a variety of individuals who represented a range of genders and sexualities. However, owing to the constant pressure to present a “respectable” public image, suffrage leaders publicly conformed to gendered views of ideal womanhood in order to make women’s suffrage more palatable to the public. Rouse argues that queer suffragists did take meaningful action to assert their identities and legacies by challenging traditional concepts of domesticity, family, space, and death in both subtly subversive and radically transformative ways. Queer suffragists also built lasting alliances and developed innovative strategies in order to protect their most intimate relationships, ones that were ultimately crucial to the success of the suffrage movement. Public Faces, Secret Lives is the first work to truly recenter queer figures in the women’s suffrage movement, highlighting their immense contributions as well as their numerous sacrifices.