000			02722cam a2200277zu 4500
001			88845143
003			FRCYB88845143
005			20250107144630.0
006			m o d
007			cr un
008			250107s2017 fr | o|||||0|0|||eng d
020			_a9783034326490
035			_aFRCYB88845143
040			_aFR-PaCSA _ben _c _erda
100	1		_aArena, Tiziana Febronia
245	0	1	_aMasking the Drama _bA Space for Revolution in Aphra Behn's "The Rover" and "The Feign'd Courtezans" _c['Arena, Tiziana Febronia']
264		1	_bPeter Lang _c2017
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aArena, Tiziana Febronia
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88845143 _qtext/html _a
520			_a«Masking the Drama: A Space for Revolution in Aphra Behn’s The Rover and The Feign’d Courtezans» pursues an in-depth investigation of the process whereby female identity was performatively negotiated on the Restoration stage by women playwrights such as Aphra Behn and of how a new articulation of social space contributed to the formation of a potentially emancipatory sense of gendered selfhood understood as a flexible and porous instantiation of performative roles. The author interrogates the prominent role played among Restoration women playwrights by the tropes of theatrical performativity as providing an alternative path to feminist revision and thus offering new perspectives on and challenges to existing scholarship on early modern women’s studies and the status of Aphra Behn studies in this scholarly context and stressing how women challenged, transgressed and subverted heteropatriarchal normativity by stepping outside their allotted social roles to appropriate a female space within the public domain of the theatre. From within a widely-argued critical discourse concerning masking and masquerade, the book takes a novel look at Behn’s internal and external mental conditionings, arguing that they still lived on even though the political divisions which had sustained their ideological rationale were no longer in place. One of the thesis’s critical edges lies here: rather than fixing Behn’s representational discourse within a rigid revolutionary/conservative dialectics, even when such a narrative of difference partly informs the plays analysed, the author convincingly argues against any monolithic view, thus eschewing the risk of ideological reductionism. The book brilliantly fashions a novel narrative of cultural phenomena especially relevant to the discussion of such a self-contradictory artist as Aphra Behn arguably is.
999			_c35546 _d35546