Cordelia as Prince: Gender and Language in King Leardoi:10.1179/104125789790507933WhittierGayleingentaconnectExemplaria
This paper examines gender and minority roles on non‐traditional network primetime programming. In all, 39 shows, 24 comedies and 15 dramas, were analyzed... Glascock,Jack - 《Communication Quarterly》 被引量: 30发表: 2003年 How to Have Theory in an Epidemic: Cultural Chronicles of AIDS (...
By the time she was eighteen, gender roles within the settler community in Albany had become more deeply entrenched as the local settler population © The Author(s) 2019 T. Hammel, Shaping Natural History and Settler Society, Cambridge Imperial and Post-Colonial Studies Series, https://...
One hundred fourteen publications were included. Overall the literature mostly focused on international students, and among migrants, migration history/status and length of time in country were not considered with regards to challenges, coping or interventions. Females and males, respectively, were includ...
Cordelia as Prince: Gender and Language in King Leardoi:10.1179/104125789790507933Gayle WhittierExemplaria
Schofield, Barbara Day
This thesis examines the various connections between male friendship, family bonds and service by analysing two Shakespearean tragedies, King Lear and Othello. Chapter One introduces male friendship and connects it to marriage, emphasizing that both rely on constant reinscription through a system of ...
L ike King Lear, the role of Prospero in The Tempest is considered by critics and performers to be one of the greatest Shakespearean roles, and is associated with eminent male actors in the twilight of their careers. Many scholars and theater practitioners, believing that The Tempest was ...
She did it for life - 40 years in the British army, of all places!" Kathryn Hunter is talking about Dr James Barry, aka Margaret Bulkley, the 18th- century surgeon who spent her entire adult life in disguise. Already famous for her male roles, Hunter is preparing to play the Irish ...
Extending Judith Butler's concept of gender performativity to family roles ("brother," "sister," "mother," "father," etc. are gendered terms), I argue for new readings of three of Shakespeare's plays: King Lear, Hamlet, and The Winter's Tale. In each, maternal figures present and ...