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• W100295991 abstract "A Feminist Perspective on Renaissance Drama. By Alison Findlay. Oxford and Malden, MA: Blackwell. 1999. vi + 206 pp. 45 [pounds sterling]; $49.95 (paperbound 13.99 [pounds sterling]; $19.95). Enacting Gender on the English Renaissance Stage. Ed. by Viviana Comensoli and Anne Russell. Urbana and Chicago: University of Illinois Press. 1999. vii + 270 pp. $49.95 (paperbound $19.95). Renaissance drama, as Alison Findlay points out, is predominantly written by men. Recognizing this, she argues a strong case for starting from a focus on the historical female audience and using women's writing to supplement the absence of any direct critical commentary from Renaissance women on the plays they attended. This seems a sound project. Subsequent chapters, however, do not consistently carry it out. Female spectatorship recedes from the discussion, and women's writings are used only intermittently as a perspective on that spectatorship. Findlay examines two plays by women, Wroth's Love's Victorie and Cary's Mariam, but the study of female-authored plays offers a different trajectory from the one outlined in the introduction. Where the project announced really is pursued, as in the analysis of Measure for Measure alongside Mary Ward's writings for women in the early seventeenth century, or Epicoene alongside a selection of women's writings on the city and the market, the results are revealing; but elsewhere the approach is both less well documented and less gender-specific. The opening analysis of Dr Faustus, for example, reminds us that women read and sometimes wrote religious works, and argues that the familiar Eve/Mary binary can be used to suggest that the play may be seen as `a tragedy of knowledge which debates women's relationship to learning as much as men's' (p. 15). While this may be true, it does not offer us any very strong sense of how women's responses may have differed in specific ways from men's, and uses the playtext itself, rather than any supplementary material, to mount the argument. The move into psychoanalytic territory with the argument that Mephistopheles is `a feminized figure in that he represents lack' seems to unhinge the connection with historical spectators altogether by simply setting out along a different critical path. Chapters on female self-fashioning and on revenge tragedy as `a feminine genre' (p. 49) explore interesting territory, but the argument is mounted primarily via the plays themselves. The book ultimately fails to bring enough evidence to maintain its proposed agenda; the women's writings cited are quite simply insufficient to anchor the readings of plays within a context of contemporary female self-expression. The collection of essays edited by Viviana Comensoli and Anne Russell makes a more significant contribution to gender studies in relation to Renaissance theatre. All the essays are new, and together they illuminate a wide range of issues across a reasonable spread of plays, though with a recurrent focus on Shakespeare that does not leave a great deal of space for other dramatists. …" @default.
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