Never Lik'd Thee Half So Well in Petticoats": The Disguise of Gender in Restoration Drama

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Never Lik'd Thee Half So Well in Petticoats": The Disguise of Gender in Restoration Drama

Popis výsledku v původním jazyce

The arrival of actresses during the Restoration greatly affected the presentation of female characters, since the body of the woman on the stage was heavily sexualised. Actresses concretised the erotics of the Restoration playhouse and theatregoers took much pleasure in seeing actresses perform in roles that were fashioned to exploit the possibilities offered by the presence of women. Dramatists often put women in trousers, in what were known as &quot;breeches roles&quot;, as a way of displaying women&apos;s bodies. Compared to the multi-layered functions of cross-dressing in Renaissance drama, such disguise became frequently a titillating device. However, there are several plays in this period that employ the cross-dressing motif to offer a more subversive critique of conventional attitudes toward female sexuality. This article will focus on Aphra Behn&apos;s The Widdow Ranter (1690) and Thomas Southerne&apos;s Sir Anthony Love (1691), plays which feature an androgynous central figure, a woman whose male dress is not a temporary disguise, a mask, but an expression of her character. Sir Anthony Love/Lucia uses the freedom of male dress to enjoy, express and enrich herself, and lay her own snares. An androgynous figure of a different type plays a prominent part in the comic plotline of Behn&apos;s tragicomic The Widdow Ranter. Ranter swears, smokes a pipe, drinks punch and plans to fight a duel with her lover as a way of courting him. Such Amazon figures are often introduced in Restoration drama only to be ultimately subdued by men. As this article intends to prove, that is not the case in these two plays.However, subverting the double standard by ignoring it is possible only because of the plays&apos; settings: fantasy France and pastoral America.

Název v anglickém jazyce

Never Lik'd Thee Half So Well in Petticoats": The Disguise of Gender in Restoration Drama

Popis výsledku anglicky

The arrival of actresses during the Restoration greatly affected the presentation of female characters, since the body of the woman on the stage was heavily sexualised. Actresses concretised the erotics of the Restoration playhouse and theatregoers took much pleasure in seeing actresses perform in roles that were fashioned to exploit the possibilities offered by the presence of women. Dramatists often put women in trousers, in what were known as &quot;breeches roles&quot;, as a way of displaying women&apos;s bodies. Compared to the multi-layered functions of cross-dressing in Renaissance drama, such disguise became frequently a titillating device. However, there are several plays in this period that employ the cross-dressing motif to offer a more subversive critique of conventional attitudes toward female sexuality. This article will focus on Aphra Behn&apos;s The Widdow Ranter (1690) and Thomas Southerne&apos;s Sir Anthony Love (1691), plays which feature an androgynous central figure, a woman whose male dress is not a temporary disguise, a mask, but an expression of her character. Sir Anthony Love/Lucia uses the freedom of male dress to enjoy, express and enrich herself, and lay her own snares. An androgynous figure of a different type plays a prominent part in the comic plotline of Behn&apos;s tragicomic The Widdow Ranter. Ranter swears, smokes a pipe, drinks punch and plans to fight a duel with her lover as a way of courting him. Such Amazon figures are often introduced in Restoration drama only to be ultimately subdued by men. As this article intends to prove, that is not the case in these two plays.However, subverting the double standard by ignoring it is possible only because of the plays&apos; settings: fantasy France and pastoral America.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60205 - Literary theory

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Acta Universitatis Carolinae. Philologica

ISSN

0567-8269

e-ISSN

2464-6830

Svazek periodika

2022

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

11

Strana od-do

39-49

Kód UT WoS článku

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EID výsledku v databázi Scopus

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