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How the suspect sexuality of actors and actresses shaped early modern debates about gender and sexual identity From the Restoration through the eighteenth century, the sexuality of actors and actresses was written about in ways that stirred the public imagination. Actors were frequently suspected of heterosexual promiscuity or labeled effeminate or even as “sodomites,” and actresses were often viewed as prostitutes or sexually ambivalent victims of their profession. Kristina Straub argues that this depiction of players greatly shaped public debates about what made women feminine and men masculine. Considering a wide range of literature by or about players—pamphlets, newspaper reports, theatrical histories, and biographies as well as the public correspondence between Alexander Pope and the famed actor Colley Cibber—she examines the formation of gender roles and sexual identities during a period crucial to modern thinking on these issues. Drawing from feminist-materialist and gay and lesbian theories and historiographies, Sexual Suspects analyzes the complex development of spectacle and spectatorship as gendered concepts. She reveals how national, racial, and class differences contributed to the subjection of players as professional spectacles and how images of race, class, and gender combined to create divisions between “normal” and “deviant” sexuality.
Seminar paper from the year 2004 in the subject American Studies - Literature, grade: 2,0, University of Paderborn, course: John Irving - Selected Novels, language: English, abstract: John Irving’s novelThe World According to Garpgives the reader a view on the lives of its characters and, as a part of it, their attitudes towards lust and sexuality. The description of these aspects is very direct and may be offensive for some more conservative persons. Even for persons who tend to be liberal- minded, Irving’s way of writing about sex can be uncommon, although he uses lust and sexuality only to tell the story and not for sensational reasons. It is strange that after forty years of sexual liberation, or the so called ́sexual revolution ́, so little seems to have changed and people still have these kinds of feelings when reading about sex being described so directly. Despite the fact that people expected more from the sexual liberation in the 1960s and 1970s, there was indeed a change in attitude towards certain aspects, such as premarital and extramarital sex. Studies in the United States in the 1970s revealed “a gradual decrease over time in the percentage of respondents who said that premarital sex is always wrong”. Another important change which derived from the liberation movement was the new female sexuality, especially concerning the sexual fulfilment of women before and during marriage. This is also proved by a decreasing support of the `double standard ́, where men are more or less allowed to be sexual active, including premarital and even extramarital sex, but women are not. You also have to consider the women’s movement, when thinking about female sexual liberation. Both, sexual liberation and feminism, somehow worked together hand in hand to achieve improvement for women’s sexuality. In order to understand the gap between the new achievements and the nevertheless still exis ting resentments towards them, you need to know the situation prior to the 1960s, when the above- mentioned `double standard` and abstinence were in the focus of sexuality.
From the Restoration through the eighteenth century, the sexuality of actors and actresses was written about in ways that stirred the public imagination: actors were frequently suspected of heterosexual promiscuity or labeled effeminate or even as "sodomites," and actresses were often viewed as prostitutes or sexually ambivalent victims of their profession. This depiction of players, argues Kristina Straub, greatly shaped public debates over what made women feminine and men masculine. Considering a wide range of literature by or about players--pamphlets, newspaper reports, theatrical histories, biographies, as well as the public correspondence between Alexander Pope and the famous actor Colley Cibber--she examines the formation of gender roles and sexual identities during a period crucial to modern thinking on these issues. Drawing from feminist-materialist and gay and lesbian theories and historiographies, Straub analyzes the complex development of spectacle and spectatorship as gendered concepts. She also reveals how national, racial, and class differences contributed to the subjection of players as professional spectacles and how images of race, class, and gender combined to create divisions between "normal" and "deviant" sexuality.
A fascinating glimpse into the history of sexual perversions and diversions including fetishism, cross-dressing, 'effeminate' men and 'masculinized' women, sodomy, tribadism, masturbation, necrophilia, rape, paedophilia, flagellation, and sado-masochism, asking how these sexual inclinations were viewed at a particular time in history.
Ways of the World explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investments—global traffic, including the slave trade, and cultural sophistication—this intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism's most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light. Altering standard narratives about Restoration drama, Laura J. Rosenthal shows how the reinvention of theater in this period—including technical innovations and the introduction of female performers—helped make possible performances that held the actions of the nation up for scrutiny, simultaneously indulging and ridiculing the violence and exploitation being perpetuated. In doing so, Ways of the World reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.
Criminal Investigations & Forensic Science
A Race of Female Patriots is a study of tragic drama after the Glorious Revolution of 1688 that yields new insight into women's involvement in the public sphere and the political and aesthetic significance of feeling.
This interdisciplinary project draws on a wealth of sources (visual, material, literary and theatrical) to examine Austen's depiction of female performance, display and desire through her deployment of a culturally and symbolically charged accessory: the muff.
This book explores shifting representations and receptions of the arms-bearing woman on the British stage during a period in which she comes to stand in Britain as a striking symbol of revolutionary chaos. The book makes a case for viewing the British Romantic theatre as an arena in which the significance of the armed woman is constantly remodelled and reappropriated to fulfil diverse ideological functions. Used to challenge as well as to enforce established notions of sex and gender difference, she is fashioned also as an allegorical tool, serving both to condemn and to champion political and social rebellion at home and abroad. Magnifying heroines who appear on stage wielding pistols, brandishing daggers, thrusting swords, and even firing explosives, the study spotlights the intricate and often surprising ways in which the stage amazon interacts with Anglo-French, Anglo-Irish, Anglo-German, and Anglo-Spanish debates at varying moments across the French revolutionary and Napoleonic campaigns. At the same time, it foregrounds the extent to which new dramatic genres imported from Europe –notably, the German Sturm und Drang and the French-derived melodrama– facilitate possibilities at the turn of the nineteenth century for a refashioned female warrior, whose degree of agency, destructiveness, and heroism surpasses that of her tragic and sentimental predecessors.
Queering the Renaissance offers a major reassessment of the field of Renaissance studies. Gathering essays by sixteen critics working within the perspective of gay and lesbian studies, this collection redraws the map of sexuality and gender studies in the Renaissance. Taken together, these essays move beyond limiting notions of identity politics by locating historically forms of same-sex desire that are not organized in terms of modern definitions of homosexual and heterosexual. The presence of contemporary history can be felt throughout the volume, beginning with an investigation of the uses of Renaissance precedents in the 1986 U.S. Supreme Court decision Bowers v. Hardwick, to a piece on the foundations of 'our' national imaginary, and an afterword that addresses how identity politics has shaped the work of early modern historians. The volume examines canonical and noncanonical texts, including highly coded poems of the fifteenth-century Italian poet Burchiello, a tale from Marguerite de Navarre's Heptameron, and Erasmus's letters to a young male acolyte. English texts provide a central focus, including works by Spenser, Shakespeare, Bacon, Donne, Beaumont and Fletcher, Crashaw, and Dryden. Broad suveys of the complex terrains of friendship and sodomy are explored in one essay, while another offers a cross-cultural reading of the discursive sites of lesbian desire. Contributors. Alan Bray, Marcie Frank, Carla Freccero, Jonathan Goldberg, Janet Halley, Graham Hammill, Margaret Hunt, Donald N. Mager, Jeff Masten, Elizabeth Pittenger, Richard Rambuss, Alan K. Smith, Dorothy Stephens, Forrest Tyler Stevens, Valerie Traub, Michael Warner