FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2072261105> ?p ?o ?g. }

• W2072261105 endingPage "144" @default.
• W2072261105 startingPage "135" @default.
• W2072261105 abstract "Imagining Aphra: Reinventing a Female Subject Nancy Copeland Aphra Behn (c.1640-1689), the first professional woman playwright in England, has emerged in recent decades from two hundred years of neglect and obscurity to join the canon of Restoration playwrights. A number of her plays have been revived; and The Rover (1677), at least, is frequently taught. Behn's entry into contemporary culture has been taken a further step with two 1991 plays devoted to her life: Aphra, by Nancy Cullen, Alexandria Patience, and Rose Scollard; and A Woman's Comedy, by Beth Herst. These transformations of Behn into a dramatic character offer an opportunity to examine two different approaches to the representation of a seventeenth-century woman within a late twentieth-century context. Indeed, the two plays represent different types of feminist drama. Aphra is a product of a feminist collective, Maenad productions of Calgary, Alberta, whose mandate is vto promote the feminine vision' (Cullen, et al. Maenadic Rites 28). A Woman's Comedy, on the other hand, is, up to a point, an example of what Jill Dolan calls liberal feminism, which resembles liberal humanism in being radically individualistic' and asserting universal human values, and which seeks equal treatment for women and men (Dolan 3). The presentations of the central character that emerge in these plays are, despite a number of similarities, essentially opposed to one another and raise the important question of whether there is a rightway to portray Aphra Behn. Although several accounts of Behn have been written, biographers have found her a fairly unsuitable subject for extended treatment. She produced a large number of plays, poems, and innovative prose fictions, but meagre documentary evidence for the details of her life survives. For example, it is not known precisely when or where she was born, what her maiden name was, or to whom she was married, if, indeed, she married at all (see Doody 3). In lieu of extensive evidence of other kinds, important sources of information about her attitudes and personality are her prefaces and dedications, in which she defends herself from her critics and argues for her right to write in the face of misogynist opposition. It is, however, as Margaret Anne Doody observes, very difficult not to mythologise Aphra while reconstructing her life-story (3). Her recent biographers, Angeline Goreau and Maureen Duffy, do so, in part, by 135 136 Nancy Copeland relying on Behn's fictional works to fill out their pictures of her. The authors of Aphra and A Woman's Comedy have similarly, and more appropriately, turned to Behn's works in constructing their imaginary Aphras, as well, it would seem, as referring to the biographies. Both plays are primarily fictionalized versions of Behn, rather than histories. Aphra is an interpretive picture, not a definitive one, note the Maenad authors (S2), while Herst, the author of A Woman's Comedy, emphasizes that she felt quite free to invent in retelling Behn's story (Aphra's World F3) and, indeed, chose to focus on those aspects of Behn's life about which least was known (Male Plots 77). Selection is, of course, essential in the dramatization of the life of any historical figure, and the authors of Aphra and A Woman's Comedy have made many similar choices. Both plays stress Behn's profession by creating stage imagery that emphasizes her desk, sheets of manuscript, and the physical act of writing. Both emphasize Behn's poverty and the fact that she wrote out of dire need: Virginia Woolf's observation that the importance of the fact that Behn made, by working very hard, enough to live on . . . outweighs anything that she actually wrote (64) seems to have influenced the authors of both plays. Both plays also present their protagonist as an emblem of female victimization by oppressive—indeed, evil—social convention, an approach that reflects Behn's presentation of herself in her prefaces. Both plays also represent Behn as a completed subject through the expedient of dramatizing her life from a posthumous perspective. Both introduce Behn's doggerel epitaph—Here lies a proof that wit can never be/ Defence enough against mortality—near the beginning of the play, and in..." @default.
• W2072261105 created "2016-06-24" @default.
• W2072261105 creator A5069082896 @default.
• W2072261105 date "1994-01-01" @default.
• W2072261105 modified "2023-10-17" @default.
• W2072261105 title "Imagining Aphra: Reinventing a Female Subject" @default.
• W2072261105 cites W1585434867 @default.
• W2072261105 cites W2103628782 @default.
• W2072261105 cites W2117458245 @default.
• W2072261105 cites W375360305 @default.
• W2072261105 cites W2049968802 @default.
• W2072261105 doi "https://doi.org/10.1353/tt.2010.0076" @default.
• W2072261105 hasPublicationYear "1994" @default.
• W2072261105 type Work @default.
• W2072261105 sameAs 2072261105 @default.
• W2072261105 citedByCount "0" @default.
• W2072261105 crossrefType "journal-article" @default.
• W2072261105 hasAuthorship W2072261105A5069082896 @default.
• W2072261105 hasConcept C107038049 @default.
• W2072261105 hasConcept C107993555 @default.
• W2072261105 hasConcept C124952713 @default.
• W2072261105 hasConcept C142362112 @default.
• W2072261105 hasConcept C144024400 @default.
• W2072261105 hasConcept C153606108 @default.
• W2072261105 hasConcept C161191863 @default.
• W2072261105 hasConcept C166957645 @default.
• W2072261105 hasConcept C17022365 @default.
• W2072261105 hasConcept C17744445 @default.
• W2072261105 hasConcept C199539241 @default.
• W2072261105 hasConcept C2775972016 @default.
• W2072261105 hasConcept C2777688943 @default.
• W2072261105 hasConcept C2777855551 @default.
• W2072261105 hasConcept C2778868352 @default.
• W2072261105 hasConcept C2779343474 @default.
• W2072261105 hasConcept C41008148 @default.
• W2072261105 hasConcept C509535802 @default.
• W2072261105 hasConcept C523419034 @default.
• W2072261105 hasConcept C548253320 @default.
• W2072261105 hasConcept C95457728 @default.
• W2072261105 hasConceptScore W2072261105C107038049 @default.
• W2072261105 hasConceptScore W2072261105C107993555 @default.
• W2072261105 hasConceptScore W2072261105C124952713 @default.
• W2072261105 hasConceptScore W2072261105C142362112 @default.
• W2072261105 hasConceptScore W2072261105C144024400 @default.
• W2072261105 hasConceptScore W2072261105C153606108 @default.
• W2072261105 hasConceptScore W2072261105C161191863 @default.
• W2072261105 hasConceptScore W2072261105C166957645 @default.
• W2072261105 hasConceptScore W2072261105C17022365 @default.
• W2072261105 hasConceptScore W2072261105C17744445 @default.
• W2072261105 hasConceptScore W2072261105C199539241 @default.
• W2072261105 hasConceptScore W2072261105C2775972016 @default.
• W2072261105 hasConceptScore W2072261105C2777688943 @default.
• W2072261105 hasConceptScore W2072261105C2777855551 @default.
• W2072261105 hasConceptScore W2072261105C2778868352 @default.
• W2072261105 hasConceptScore W2072261105C2779343474 @default.
• W2072261105 hasConceptScore W2072261105C41008148 @default.
• W2072261105 hasConceptScore W2072261105C509535802 @default.
• W2072261105 hasConceptScore W2072261105C523419034 @default.
• W2072261105 hasConceptScore W2072261105C548253320 @default.
• W2072261105 hasConceptScore W2072261105C95457728 @default.
• W2072261105 hasIssue "2" @default.
• W2072261105 hasLocation W20722611051 @default.
• W2072261105 hasOpenAccess W2072261105 @default.
• W2072261105 hasPrimaryLocation W20722611051 @default.
• W2072261105 hasRelatedWork W1535792287 @default.
• W2072261105 hasRelatedWork W1973525777 @default.
• W2072261105 hasRelatedWork W2084016344 @default.
• W2072261105 hasRelatedWork W2378616588 @default.
• W2072261105 hasRelatedWork W2493848799 @default.
• W2072261105 hasRelatedWork W2606914910 @default.
• W2072261105 hasRelatedWork W2748952813 @default.
• W2072261105 hasRelatedWork W2979455668 @default.
• W2072261105 hasRelatedWork W4235493931 @default.
• W2072261105 hasRelatedWork W1556217676 @default.
• W2072261105 hasVolume "4" @default.
• W2072261105 isParatext "false" @default.
• W2072261105 isRetracted "false" @default.
• W2072261105 magId "2072261105" @default.
• W2072261105 workType "article" @default.