dc.contributor.author | Serrano González, Raquel | |
dc.contributor.author | Martínez-García, Laura | |
dc.date.accessioned | 2014-12-23T14:42:49Z | |
dc.date.available | 2014-12-23T14:42:49Z | |
dc.date.issued | 2014-11 | |
dc.identifier.issn | 1641-4233 | |
dc.identifier.other | DOI: 10.2478/ipcj-2014-0007 | |
dc.identifier.uri | http://hdl.handle.net/11089/5986 | |
dc.description.abstract | Despite the shifting ideologies of gender of the seventeenth century,
the arrival of the first actresses caused deep social anxiety: theatre gave women
a voice to air grievances and to contest, through their own bodies, traditional
gender roles. This paper studies two of the best-known actresses, Nell Gwyn and
Anne Bracegirdle, and the different public personae they created to negotiate
their presence in this all—male world. In spite of their differing strategies, both
women gained fame and profit in the male—dominated theatrical marketplace,
confirming them as the ultimate “gender benders,” who appropriated the male
role of family’s supporter and bread-winner. | pl_PL |
dc.description.sponsorship | FICYT the research
grant Severo Ochoa (BP 10-028) | pl_PL |
dc.language.iso | en | pl_PL |
dc.publisher | Lodz University Press | pl_PL |
dc.relation.ispartofseries | (16)2014; | |
dc.subject | Actresses | pl_PL |
dc.subject | Restoration | pl_PL |
dc.subject | Bracegirdle | pl_PL |
dc.subject | Gwyn | pl_PL |
dc.subject | gender notions | pl_PL |
dc.subject | deployment of alliance | pl_PL |
dc.subject | deployment of sexuality | pl_PL |
dc.title | How to Represent Female Identity on the Restoration Stage: Actresses (Self) Fashioning | pl_PL |
dc.type | Article | pl_PL |
dc.page.number | 97–110 | pl_PL |
dc.contributor.authorAffiliation | University of Oviedo | pl_PL |
dc.identifier.eissn | 2300-8695 | |
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dc.contributor.authorEmail | serranoraquel@uniovi.es | pl_PL |