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What Rosalind Likes begins with the strange ferocity of Elizabethan responses to poetry: a woman named Rosalind expresses scorn for a shepherd's poems, and a character in a play loses his temper and storms off stage at the sound of a blank verse line. What are these people so angry about? Thus begins a journey into a world where the details of poetic form and vagaries of Latin translation are caught up in the dynamics of gender, sexuality, class, and race, and power, where too much alliteration, for example, could destabilize your gender or pose a threat to national security. Situated in the crucial final two decades of the sixteenth century, What Rosalind Likes takes three figures named "Rosalind" in works by Spenser (The Shepheardes Calender), Lodge (Rosalynde), and Shakespeare (As You Like It) to create a new approach to literary history and feminist criticism. The development and emergence of Rosalind as one of the most famous and beloved characters in the Shakespeare canon is thus connected to the troubled history of Virgilian reception, to tensions between aesthetics and sexual empowerment and powerlessness, to methodology associated with postcritique, including surface reading and the valorization of negative emotions, and to queer theology. The book ends by thinking about Rosalind with respect to the poetry of Mary Wroth, and examining depictions of Rosalind on stage and screen by Dora Jordan and Katharine Hepburn.
The critically acclaimed biography of Shakespeare's most enduring heroine, Rosalind, now in paperback.Into the spotlight steps Rosalind, the actor-manager of As You Like It.She's alive. She's modern. She's also a fiction.Played by a boy actor in 1599, she's a girl who gets into men's clothes to investigate the truth about love.Both male and female, imaginary and real, her intriguing duality gives her a special role.What is a man? What is a woman?We are all Rosalind now.This book is for everyone who has ever loved Shakespeare. Like Rosalind, his most innovative heroine, he can never die. She too is timeless. There is no clock in the Forest of Arden where Rosalind finds herself and applies her mercurial wit to teach her lover, Orlando, how to become her perfect partner, issues which consume men and women today.This highly original 'biography' of Rosalind contains exclusive new interviews with Juliet Rylance, Sally Scott, Janet Suzman, Juliet Stevenson, Michelle Terry, award-winning director Blanche McIntyre, as well as insights from Michael Attenborough, Kenneth Branagh, Greg Doran, Rebecca Hall, Adrian Lester, Pippa Nixon, Vanessa Redgrave and Fiona Shaw. Angela Thirlwell explores the fictitious life and the many after-lives of Rosalind, Shakespeare's progressive new heroine, and her perennial influence on drama, fiction and art.
Shakespeare's As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? "What would you say to me now an [that is, "if"] I were your very, very Rosalind?" (4.1.64-65). "Much virtue in 'if'," as one of its characters declares near the play's end; 'if' is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change? In As You Like It, unlike Shakespeare's other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were-and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in 'if' as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. Their audiences are not exempt. As You Like It doesn't tell us that it knows what we like and will give it to us. It pushes us to find out. Over the course of the play, characters and audiences experiment with other ways the world could be and come closer to learning what they do like, and how their world can be more as they like it. By exploring ways the world can be different than it is, the characters of As You Like It strive to make the world a place in which they can be at home, not as a utopia-Arden may promise that, but certainly doesn't fulfill it-but as an ongoing work of living. We get a sense at the play's end not that things have been settled once and for all, but that the characters have taken time to breathe-to live in their new situations until they discover better ones, or until they discover newer desires. As You Like It, in other words, is a kind of essay: a set of tests or attempts to be differently in the world, and to see what happens. These essays in As If: As You Like It, originally commissioned as an introductory guide for students, actors, and admirers of the play, trace the force and virtue of someof the claims of the play that run counter to what is the case-its 'ifs.' William N. West is Associate Professor of English, Classics, and Comparative Literary Studies at Northwestern University, where he is also chair of the Department of Classics and co-editor of the journal Renaissance Drama. He is co-editor (with Helen Higbee) of Robert Weimann's Author's Pen and Actor's Voice: Writing and Playing in Shakespeare's Theatre (Cambridge, 2000) and (with Bryan Reynolds) of Rematerializing Shakespeare: Authority and Representation on the Early Modern Stage (Palgrave, 2005). In addition to his book Theatres and Encyclopedias in Early Modern Europe (2002), he has recently published articles on Romeo and Juliet's understudies, irony and encyclopedic writing before and after the Enlightenment, Ophelia's intertheatricality (with Gina Bloom and Anston Bosman), humanism and the resistance to theology, Shakespeare's matter, and conversation as a theory of knowledge in Browne's Pseudodoxia. His work has been supported by grants from the NEH and the Beinecke, Folger, Huntington, and Newberry libraries.
Contains the complete scripts, a running synopsis of the action, explanations of unfamiliar words, and a variety of classroom-tested activities.
Memoir in graphic format of an abusive relationship and its psychological component.
"Brings to life Franklin's grit and spirit...an important contribution to the historical record." —The Washington Post The new novel from the New York Times bestselling author of The Mystery of Mrs. Christie! She changed the world with her discovery. Three men took the credit. Rosalind Franklin has always been an outsider—brilliant, but different. Whether working at the laboratory she adored in Paris or toiling at a university in London, she feels closest to the science, those unchanging laws of physics and chemistry that guide her experiments. When she is assigned to work on DNA, she believes she can unearth its secrets. Rosalind knows if she just takes one more X-ray picture—one more after thousands—she can unlock the building blocks of life. Never again will she have to listen to her colleagues complain about her, especially Maurice Wilkins who'd rather conspire about genetics with James Watson and Francis Crick than work alongside her. Then it finally happens—the double helix structure of DNA reveals itself to her with perfect clarity. But what unfolds next, Rosalind could have never predicted. Marie Benedict's powerful new novel shines a light on a woman who sacrificed her life to discover the nature of our very DNA, a woman whose world-changing contributions were hidden by the men around her but whose relentless drive advanced our understanding of humankind. Also By Marie Benedict: The Other Einstein Carnegie's Maid The Only Woman in the Room Lady Clementine The Mystery of Mrs. Christie