Alexandra Coller is Associate Professor and Director of the Italian Program at Lehman College, City University of New York, USA.

"The intriguing glimpses into unknown plays, both male- and female-authored, plus the richly documented scholarship make this work very useful and likely to lead to many future explorations." - Janet Levarie Smarr, University Of California, San Diego

• CONTENTSAcknowledgmentsIntroductionPart I. Women as Protagonists in Male-Authored Drama: Comedy and TragedyChapter 1: Fathers, Daughters, Crossdressing, and Names: Women, Rhetoric, and Education in Commedia EruditaCoda to Chapter 1: Margherita Costa’s Li buffoni (1641): The First (Extant) Female-Authored Scripted ComedyChapter 2: Fashioning a Genealogy: The Rhetoric of Friendship and Female Virtue in Italian Renaissance TragedyCoda to Chapter 2: Valeria Miani’s Celinda (1611) Among Fin de Siècle Italian TragediesPart II. Women as Authors/ Women as Protagonists: Pastoral TragicomedyChapter 3: Women Writers and the Canon: Satyr Scenes in Female-Authored Pastoral DramaChapter 4: Isabetta Coreglia’s Dori (1634): Writing Pastoral Drama Against the Backdrop of the Male Canon and an Incipient Female-Authored TraditionChapter 5: Isabetta Coreglia’s Erindo il fido (1650) and Isabella Andreini’s Mirtilla (1588): Using A Female-Authored Classic as ParadigmAppendix: excerpts from Isabetta Coreglia’s Raccolta manuscriptBibliographyIndex

Alexandra Coller is Associate Professor and Director of the Italian Program at Lehman College, City University of New York, USA.

"The intriguing glimpses into unknown plays, both male- and female-authored, plus the richly documented scholarship make this work very useful and likely to lead to many future explorations." - Janet Levarie Smarr, University Of California, San Diego

• CONTENTSAcknowledgmentsIntroductionPart I. Women as Protagonists in Male-Authored Drama: Comedy and TragedyChapter 1: Fathers, Daughters, Crossdressing, and Names: Women, Rhetoric, and Education in Commedia EruditaCoda to Chapter 1: Margherita Costa’s Li buffoni (1641): The First (Extant) Female-Authored Scripted ComedyChapter 2: Fashioning a Genealogy: The Rhetoric of Friendship and Female Virtue in Italian Renaissance TragedyCoda to Chapter 2: Valeria Miani’s Celinda (1611) Among Fin de Siècle Italian TragediesPart II. Women as Authors/ Women as Protagonists: Pastoral TragicomedyChapter 3: Women Writers and the Canon: Satyr Scenes in Female-Authored Pastoral DramaChapter 4: Isabetta Coreglia’s Dori (1634): Writing Pastoral Drama Against the Backdrop of the Male Canon and an Incipient Female-Authored TraditionChapter 5: Isabetta Coreglia’s Erindo il fido (1650) and Isabella Andreini’s Mirtilla (1588): Using A Female-Authored Classic as ParadigmAppendix: excerpts from Isabetta Coreglia’s Raccolta manuscriptBibliographyIndex

Alexandra Coller is Associate Professor and Director of the Italian Program at Lehman College, City University of New York, USA.

"The intriguing glimpses into unknown plays, both male- and female-authored, plus the richly documented scholarship make this work very useful and likely to lead to many future explorations." - Janet Levarie Smarr, University Of California, San Diego

• CONTENTSAcknowledgmentsIntroductionPart I. Women as Protagonists in Male-Authored Drama: Comedy and TragedyChapter 1: Fathers, Daughters, Crossdressing, and Names: Women, Rhetoric, and Education in Commedia EruditaCoda to Chapter 1: Margherita Costa’s Li buffoni (1641): The First (Extant) Female-Authored Scripted ComedyChapter 2: Fashioning a Genealogy: The Rhetoric of Friendship and Female Virtue in Italian Renaissance TragedyCoda to Chapter 2: Valeria Miani’s Celinda (1611) Among Fin de Siècle Italian TragediesPart II. Women as Authors/ Women as Protagonists: Pastoral TragicomedyChapter 3: Women Writers and the Canon: Satyr Scenes in Female-Authored Pastoral DramaChapter 4: Isabetta Coreglia’s Dori (1634): Writing Pastoral Drama Against the Backdrop of the Male Canon and an Incipient Female-Authored TraditionChapter 5: Isabetta Coreglia’s Erindo il fido (1650) and Isabella Andreini’s Mirtilla (1588): Using A Female-Authored Classic as ParadigmAppendix: excerpts from Isabetta Coreglia’s Raccolta manuscriptBibliographyIndex