Kate Aughterson – författare

What makes Shakespeare's late plays so special? Through detailed analyses of key passages, Kate Aughterson shows how these plays portray a world of political intrigue, familial chaos and crisis, which teeters continually into tragedy: a world we can recognise today.Part I of this engaging study:- Provides stimulating close readings of extracts from The Tempest, The Winter's Tale, Cymbeline and Pericles- Examines major topics such as openings, endings, familial roles, stage properties, spectacle and song- Offers suggestions for further work and summarizes the methods of analysisPart II supplies essential background material, including:- Detailed accounts of Shakespeare's literary and historical contexts- Samples from important critical works and performancesWith a helpful Further Reading section, this illuminating volume is ideal for anyone who wishes to appreciate and explore Shakespeare's late plays for themselves.

What makes Shakespeare's late plays so special? Through detailed analyses of key passages, Kate Aughterson shows how these plays portray a world of political intrigue, familial chaos and crisis, which teeters continually into tragedy: a world we can recognise today.Part I of this engaging study:- Provides stimulating close readings of extracts from The Tempest, The Winter's Tale, Cymbeline and Pericles- Examines major topics such as openings, endings, familial roles, stage properties, spectacle and song- Offers suggestions for further work and summarizes the methods of analysisPart II supplies essential background material, including:- Detailed accounts of Shakespeare's literary and historical contexts- Samples from important critical works and performancesWith a helpful Further Reading section, this illuminating volume is ideal for anyone who wishes to appreciate and explore Shakespeare's late plays for themselves.

Kate Aughterson provides readers with an approachable and fascinating critical guide to the dramatic works of an important seventeenth-century woman writer. Aughterson analyses Aphra Behn's abilities as a playwright, showing particularly how she skillfully employs comic and dramatic conventions to radical ends, and how she forces her audience to engage with issues about gender and sexuality whilst retaining her witty and accessible style.Chapters in the first part of the book provide close readings of the comedies, addressing such topics as openings, endings, character types, staging, and politics and society. In the second part, Aughterson not only examines Behn's literary career and the Restoration contexts of her plays, but also looks at some sample criticism and explores Behn's drama as performance.

An Anthology of Sources and Documents. This comprehensive anthology collects together primary texts and documents relevant to the literature, culture, and intellectual life in England between 1550 and 1660.

Renaissance Woman: A Sourcebook is an invaluable collection of accounts of women and femininity in early modern England. The volume is divided thematically into nine sections, each with an accessible introduction, notes on sources and an annotated bibliography. The sections are:* Theology* Biology* Conduct* Sexuality and Motherhood* Politics and Law* Education* Work* Writing and Speaking* FeminismRenaissance Woman: A Sourcebook brings together sources ranging from medical documents and political pamphlets to sermons and the Bible, as well as literary sources. Providing a historical context to issues of gender in the Renasissance, it will be essential reading for students of the period, gender studies and cultural history.

Renaissance Woman: A Sourcebook is an invaluable collection of accounts of women and femininity in early modern England. The volume is divided thematically into nine sections, each with an accessible introduction, notes on sources and an annotated bibliography. The sections are:* Theology* Biology* Conduct* Sexuality and Motherhood* Politics and Law* Education* Work* Writing and Speaking* FeminismRenaissance Woman: A Sourcebook brings together sources ranging from medical documents and political pamphlets to sermons and the Bible, as well as literary sources. Providing a historical context to issues of gender in the Renasissance, it will be essential reading for students of the period, gender studies and cultural history.

This comprehensive anthology collects in one volume primary texts and documents relevant to literature, culture and intellectual life in England from 1550 to 1660. Through both well-known and forgotten texts that were influential at the time, the volume introduces controversies, ideas, and views on all areas of cultural interest in early modern England. Sections include:* religion and theology* politics and economics* society* education and humanism* literary and cultural theories* science and magic* exploration and traffic.Each section provides historical breadth, showing change and continuity. The English Renaissance enables students to compare the ideology, content and rhetorical strategies of 'literary' and 'aesthetic' texts with 'historical' or 'political' events and texts.

This comprehensive anthology collects in one volume primary texts and documents relevant to literature, culture and intellectual life in England from 1550 to 1660. Through both well-known and forgotten texts that were influential at the time, the volume introduces controversies, ideas, and views on all areas of cultural interest in early modern England. Sections include:* religion and theology* politics and economics* society* education and humanism* literary and cultural theories* science and magic* exploration and traffic.Each section provides historical breadth, showing change and continuity. The English Renaissance enables students to compare the ideology, content and rhetorical strategies of 'literary' and 'aesthetic' texts with 'historical' or 'political' events and texts.

Aphra Behn (1640-1689) is renowned as the first professional woman of literature and drama in English. Her career in the Restoration theatre extended over two decades, encompassing remarkable generic range and diversity. Her last five plays, written and performed between 1682 and 1696, include city comedies (The City-Heiress, The Luckey Chance), a farce (The Emperor of the Moon), a tragicomedy (The Widdow Ranter), and a comedy of family inheritance (The Younger Brother). These plays exemplify Behn's skills in writing for individual performers, and exhibit the topical political engagement for which she is renowned. They witness to Behn's popularity with theatre audiences during the politically and financially difficult years of the 1680s and even after her death. Informed by the most up-to-date research in computational attribution, this fully annotated edition draws on recent scholarship to provide a comprehensive guide to Behn's work, and the literary, theatrical and political history of the Restoration.

Shakespeare and Gender guides students, educators, practitioners and researchers through the complexities of the representation of gender and sexuality in Shakespeare’s work. Informed by contemporary and early modern debates and insights into gender and sexuality, including intersectionality, feminist geography, queer and performance studies and fourth-wave feminism, this book provides a lucid and lively discussion of how gender and sexual identity are debated, contested and displayed in Shakespeare’s plays and sonnets. Using close textual analysis hand-in- hand with diverse contextual materials, the book offers an accessible and intelligent introduction to how gender debates are integral to the plays and poems, and why we continue to read and perform them with this in mind.Topics and themes discussed include gendering madness, paternity and the patriarchy, sexuality, anxious masculinity, maternal bodies, gender transgression, and kingship and the male body politic.

Shakespeare and Gender guides students, educators, practitioners and researchers through the complexities of the representation of gender and sexuality in Shakespeare’s work. Informed by contemporary and early modern debates and insights into gender and sexuality, including intersectionality, feminist geography, queer and performance studies and fourth-wave feminism, this book provides a lucid and lively discussion of how gender and sexual identity are debated, contested and displayed in Shakespeare’s plays and sonnets. Using close textual analysis hand-in- hand with diverse contextual materials, the book offers an accessible and intelligent introduction to how gender debates are integral to the plays and poems, and why we continue to read and perform them with this in mind.Topics and themes discussed include gendering madness, paternity and the patriarchy, sexuality, anxious masculinity, maternal bodies, gender transgression, and kingship and the male body politic.

This is the second book in the Performance and Communities series.  An edited collection from academics and artists engages with both these notions of performance – that of identities in and through time and space - and of more formal instances of specific time-limited performances; textual, embodied, visual and communal.Each chapter focuses on an individual or group’s mode of working and methodological practice of performance across a range of modes, disciplines and media – from community opera to online queer performance, from anti-racist class-room pedagogy to 1980s cabaret in nightclubs, from community art projects in schools to community writing projects in transport interchanges, the performers, writers and creators represented here all engage and grapple with contemporary performance as a situated practice and as a problematic.The personal perspective of each performer – directors, librettists, producers, writers, performers – is explicitly located in a community and the book offers a series of case studies detailing socially engaged work that aligns with concepts of performance and community.

Performing Maternities is a collection of essays, creative work, images and scripts which emerged out of an online international symposium held at Brighton University in November 2020. Collectively, the contributors challenge, celebrate and share the normative, the queer, the transgressive, the joy and the pain of performing maternity. The book asks key questions about the construction of maternal identities and mythologies in the contemporary world, the ways these impact on individuals in different social, economic and sexual identities, and the ways in which - as mothers, writers, artists, parents and grandparents -we can challenge and address those identities.

This is a unique essay collection on Jim Crace, locating his writing within contemporary philosophical, cultural and political debates. This timely first critical collection of essays on Crace’s work provides a retrospective on his work to date, locating his work within a number of contemporary interdisciplinary critical and cultural perspectives and concerns, including post-humanism, post-millennial pastoralism, post-post feminism and gender, intersections between science and literary theory, environmental politics, the symbiotics of authorial and critical archival work, and the context of the burgeoning world of literary prizes. It includes additional contextual material in the form of an interview with Jim Crace and the re-publication of a seminal critical essay on “Craceland” by Adam Begley. As such this critical essay collection will be essential reading for anyone interested in contemporary fiction, and Crace’s unique writing.

Women writers have long used different narratives and modes of writing as a way of critiquing worlds and stories that they find themselves at odds with, but at the same time, as a way to participate in such spaces.

Women writers have long used different narratives and modes of writing as a way of critiquing worlds and stories that they find themselves at odds with, but at the same time, as a way to participate in such spaces.

This collection of essays, covering a broad historical range, shows that women working in theatre and drama since the time of Aphra Behn have been engaged in pushing the boundaries of conventional representation and dramaturgical convention.