Comedies End in Marriage

Schwarz, Kathryn

doi:10.1093/oxfordhb/9780199663408.013.15

Cited by 3 publications

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“…5 Heath's engraving ( Figure 2) suggests that it is this knowledge in fact which awakens Juliet. 5 Recent readings of Romeo and Juliet examine the lovers' preference for heteronormative sameness and staleness; see, for instance, Schwarz (2016). But such readings still link Romeo and Juliet together, even when death-like banishment or sleep-divides them, even when Shakespeare puts Paris in the grave with them.…”

Section: Female Versus Male Endgamesmentioning

confidence: 99%

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2019

Sederi

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This article tries to provide a thorough analysis of Nikolai Leskov's rewriting of Lady Macbeth, the Shakespearean character, in the novella Lady Macbeth of the Mtsensk District, from the perspective of Translation and Adaptation Studies. The focus will be placed on the ideology of the author who, with full knowledge, rewrites a previous work to adapt it to a specific context. Apart from Leskov's work, attention will be also paid to two of its subsequent adaptations: Dmitri Shostakovich's homonymous opera and William Oldroyd's filmic version, Lady Macbeth.Finally, the importance of these processes for the development of target literary systems will be discussed and emphasized.

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Section: Female Versus Male Endgamesmentioning

confidence: 99%

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2019

Sederi

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“…72 As Kathryn Schwarz has recently argued, marriage is a system of interdependence that "does not divide by two." 73 Rather than an "overwhelmingly" male world, the early modern household actually provided ample opportunities for multiple forms of avowed kinship, including between women. 74 Women shared "bed and board" in much the same way men didincluding with their cousins.…”

Section: Unediting Marriagementioning

confidence: 99%

The Place of a Cousin in As You Like It

Crawford¹

2018

Shakespeare Quarterly

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6 Miranda Chaytor's research on households that included (among other things) multigenerational cohabitation, foster parenting, and adoption shows that early modern households could be productively understood as the "point where kin groups joined by marriage shared and redistributed their resources." See "Household and Kinship: Ryton in the Late 16th and Early 17th Centuries," History Workshop Journal 10 (1980): 25-60, esp. 39. One of Chaytor's arguments is that people once deemed "rejects" and "wastage" should be understood as integral parts of households. Bray argues that some historians' insistence on the historical dominance of the restricted patriarchal nuclear family was intended to serve as a limit case on the claims of the social welfare state within their own moment: normative nuclear families had always, and would always, best take care of the needs of society; see Friend, 307-14. Amy Froide's research on the prevalence of single-woman-headed households-the same women once deemed "rejects" or "wastage"-as well as on the revelatory fact that a "woman was likely to be unmarried for twothirds of her life span" drew new attention to the work of feminist historians on the effects of

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“…Recent readings of Romeo and Juliet examine the lovers' preference for heteronormative sameness and staleness; see, for instance,Schwarz (2016). But such readings still link Romeo and Juliet together, even when death-like banishment or sleep-divides them, even when Shakespeare puts Paris in the grave with them.…”

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confidence: 99%

Suffocated mothers, stabbed sisters, drowned daughters: when women choose death on Shakespeare's stage

Mazzola¹

2019

Sederi

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Women who choose death on Shakespeare’s stage often overturn ideas about tragedy as well as challenge the politics which establish which lives are worth sacrificing and which ones are not. Radically altering the relation between bios and zoe, female suicides collapse the divisions between things that grow, breathe, and love, and those things that block such living. In this essay, I draw on thinking about biopolitics along with feminist readings of Shakespeare in order to explore how characters like Goneril, Gertrude, and Juliet refuse the rules which determine how women’s blood must flow or be shed.

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Comedies End in Marriage

Cited by 3 publications

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The Place of a Cousin in As You Like It

Suffocated mothers, stabbed sisters, drowned daughters: when women choose death on Shakespeare's stage

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