Renaissance Earwitnesses examines how maintaining masculinity on the early modern stage is intimately tied to 'earwitnessing,' or a sense of 'judicious listening' in his reading of plays by Marlowe, Shakespeare, Cary, and Jonson. Seller Inventory LHB More information about this seller Contact this seller. Book Description Palgrave Macmillan, Seller Inventory mon Seller Inventory APC Never used! This item is printed on demand. Seller Inventory X.
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Seller Inventory zkX. Ships with Tracking Number! Buy with confidence, excellent customer service!. Straznicky taps into the division between the private and public spheres that structured the contexts within which early modern women, such as Cary, wrote drama and in which they were read. By extension, the ambiguous nature of the closet drama undermines the stability of the division between read text and performed text and the division between private and public spheres. Moreover, the nature of closet drama is quite complicated and rather subversive, especially when considering questions of sound and silence, aspects that ostensibly belong to performed texts where oral cues can be rendered acoustically.
Despite the complications of closet drama, the genre also affords early modern women a sense of authority as writers in this patriarchal epoch. Indeed, the closet drama form grants a sense of freedom to early modern women dramatists in being able to write drama under their own authorial regulations. Up until , women were not permitted to act on the commercial, public stage. As such, closet dramas, such as Mariam , may have been performed in a private, household, communal setting allowing for female actors to act female roles.
Moreover, while closet dramas may have given early modern women a sense of agency in being able to stage plays in a household, private setting, closet dramas also underscore a profound tension between read text and performed text that becomes further amplified when considering how sound is reverberated in a play that is not meant to be performed.
Mariam creates a tension between read text and performed text whilst simultaneously creating a tension between the oral and the visual. Therefore, the closet drama problematizes my exploration of the acoustics of female silence in The Tragedy of Mariam. Silence cannot be witnessed acoustically in such a read text.
Rather, silence is delivered to a textual, material, and embodied audience using the oral and visual account of male dramatis personae in the play, thereby demonstrating that silence is rendered visually through dramatic visual reports. Through the construction of such visual reports, one can hypothesize the body language of Graphina and Mariam in their moments of apparent silence. The Vociferous Salome Before I delve into an analysis of Graphina and Mariam as compelling representations of female silence and acoustic agency, I will address the presence of female vociferousness in the tragedy, which is represented by Salome.
In Act I, Mariam and Salome state their positions. In an impassioned soliloquy, Salome expresses her desire to divorce Constabarus:. Why should such privilege to men be given? Or given to them, why barred from women then? Are men than we in greater grace with heaven? Or cannot women hate as well as men? She recognizes that her gender renders her inadequate in society, which is why she cannot obtain a divorce.
Nonetheless, Salome is vociferous and determined, and as such, she enables herself a strong sense of acoustic agency as a female speaker in a patriarchal oral and social context. Herod has an innate fear of deception, and when Salome convinces him that Mariam has been unfaithful, he believes her 4. Herod, a political figure, has less control and authority than Salome in this moment. Moreover, Salome assumes a compelling position of acoustic agency in the play, as her vocal autonomy gives her greater autonomy as a female speaker.
Her acoustic agency thus profoundly contrasts with Mariam and Graphina, who embody acoustic agents of female silence. Moreover, Graphina finds ways to communicate and establish a sense of acoustic agency by engraving silence into her reserved demeanour.
Graphina is nevertheless able to use her passivity as a constructive rhetorical tool. While Graphina feels her speech reveals her inadequacy as a low-born woman, her resulting silence becomes powerful assertion of agency in her exchange with Pheroras in the second act of the play. Wherein the holy priest with hallowed rite,. The happy long-desired knot shall tie,. Why speakst thou not fair creature?
Move thy tongue,. For silence is a sign of discontent. Mistake me not my lord. That I should say too little when I speak,. But since you will my imperfections bear,. In spite of doubt I will my silence break. This exchange between Graphina and Pheroras in 2. Moreover, Graphina assumes a position of acoustic agency as she manages to express herself orally in addition to the moments where she lacks speech, which Pheroras renders visually through his brief oral report of her silence.
As Katherine R. She remains silent, as she feels she is an inadequate speaker largely because of her low-born lineage. This exchange takes a curious turn in the culminating moments of the scene when Graphina justifies her silence.
Pheroras subtly suggests that he only requires Graphina to be a visual and listening body, rather than a sounding, acoustic body. The book renaissance earwitnesses rumor for those who are. The Machine gain takes free. Who is Krishna? The book is automatically found. Your Web component 's not formed for light.
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Book Renaissance Earwitnesses Rumor And Early Modern Masculinity 2009
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