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| Titre : | The Golden Thread: Irish Women Playwrights, 1716-2016, Volume 1 (1716-1992) |
| Auteurs : | David CLARE, Directeur de publication ; Fiona McDonagh, Directeur de publication ; Justine Nakase, Directeur de publication |
| Type de document : | Livre |
| Éditeur et lieu d'édition : | Liverpool : Liverpool University Press, 2021 |
| ISBN/ISSN/EAN : | 978-1-80085-946-3 |
| Format : | 334 p. |
| Langues: | Anglais |
| Mots-clés : | |
| Note de contenu : |
Introduction
“There’s no Place like old England”: National and Regional Identities in Mary Davys’s The Northern Heiress; Or, the Humours of York (1716) “Some tender scenes demand the melting tear”: Frances Sheridan’s The Discovery (1763) and the Vindication of “Sentimental Comedy” Irish Wit on the London Stage: Elizabeth Griffith’s The Platonic Wife (1765) Deceptive Disabilities in Maria Edgeworth’s The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body Reimagining Maria Edgeworth’s The Knapsack (1801) for a Contemporary Young Audience Mary Balfour’s Kathleen O’Neil (1814): An Expression or Betrayal of Her Ulster Scots Background? Justice and the “Triple Goddess” Archetypes in Anna Maria Hall’s Mabel’s Curse (1837) Operas without a Hero: A Comic Trilogy (1876–1879) by Elena Norton and Mary Heyne “Petticoats! – Petticoats! Petticoats!”: Sartorial Economics in Clotilde Graves’s A Mother of Three (1896) From Gort to Antarctica: Lady Gregory’s Audiences and The Rising of the Moon (1903) Lady Gregory’s Grania (1912): Myth and Mythology “You have let the play go to pieces”: Geraldine Cummins and Susanne R. Day’s Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre “Something left over from the Eighteenth Century, undergoing a slow process of decay”: The Impotence of the Ascendancy in Mary Manning’s Youth’s the Season–? (1931) Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy’s The King of Spain’s Daughter (1935) The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre Corruption and Socio-Political Tensions in Christine Longford’s Tankardstown (1948) Social Class, Space, and Containment in 1950s Ireland: Maura Laverty’s “Dublin Trilogy” (1951–1952) Máiréad Ní Ghráda’s An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name? (1989) Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984) A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan’s Eclipsed (1988/1992) Coda – What the Woman Sees: Waking Up to Feminist Aesthetics |
| Pays de publication : | Grande-Bretagne (Royaume Uni) |
| Fonds : | Médiathèque |
| Titre suivant : |
Exemplaires (1)
| Cote | Support | Localisation | Section | Disponibilité |
|---|---|---|---|---|
| 820.9 CLA | Livre | Médiathèque - sur demande | Littérature | Empruntable Sorti jusqu'au 02/09/2024 |
