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- W2247227670 abstract "The introduction discusses the problematics involved in developing a feministtheory of late Renaissance and early modem witchcraft. It includes an overview ofboth Renaissance feminist theory and witchcraft studies, and posits that the witch is ahybrid, multivalent figure. Chapter one examines contemporary sources forportrayals of witches. The second chapter analyses the roles of witches, hags, andviragos in The Facrie Queene. Throughout the work their femininity isproblematised, its meaning displaced onto horrific figures or fragmented into goodand bad women. Both inspire dis-ease. Lyly's Endimion introduces a witch in theThessalian tradition and women whose transgressions lie in daring to act and speak.Chapter three expands the definition of witch to other unruly women, including theshrew and the power-wielding woman; it also proves that Dipsas' power is thestrongest in the play. Chapter four analyses the way in which the definition ofwitcheraft can be imposed on a woman by exterior societal forces, with reference toThe Witch of Edmonton. Also discussed are the role of cursing and theproblematics of female sexuality.Chapters five through eight discuss Shakespeare. Shakespeare's Joan of Arc isfragmented and reflects the varying views about her, and again shows how onewoman may be variously defined. With Joan's death, Margaret of Anjou becomes thevirile woman in the tetralogy. She and other women who share her verbal potency arecondemned not only by the men in the plays but also by critics who erroneously takethe negative view as definitive. Macbeth concerns itself with exploration of gender,androgyny, power (occult and otherwise) and its betrayal. Chapter eight outlines howthe women in other Shakespearean plays do not achieve dramatic impact as witchesbecause they are robbed of primary agency in the plays.Chapter nine demonstrates how Middleton distances his Heccat and provesthat the real witches and villains lie in the structure of the patriarchy of The Witch.Lyly combines cunning woman with Sibyl in Mother Bombie; wit defines wisdom.Chapter eleven presents The Wise-Woman of Hogsdon, an anomaly in that the witchfigureand unruly characters of both sexes are not condemned and have happyresolutions. The conclusion summarises briefly and outlines areas of further study.Appendix A is a table; Appendix B outlines the role of cursing as gendered speech inShakespeare's first tetralogy." @default.
- W2247227670 created "2016-06-24" @default.
- W2247227670 creator A5086710543 @default.
- W2247227670 date "2001-01-01" @default.
- W2247227670 modified "2023-09-23" @default.
- W2247227670 title "Reading witches, reading women : late Tudor and early Stuart texts." @default.
- W2247227670 hasPublicationYear "2001" @default.
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