Gender and Literacy on Stage in Early Modern England


Product Details

Cambridge University Press
Publish Date
6.0 X 9.0 X 0.75 inches | 1.29 pounds

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About the Author

Anne Barton was the author of Essays, Mainly Shakespearean (1994), Byron: Don Juan (1992), The Names of Comedy (1990), Ben Jonson, Dramatist (1984) and, (as Anne Righter), Shakespeare and the Idea of the Play (1962), as well as many essays and introductions. In 2000, she retired as Professor of English at the University of Cambridge, where she was a Fellow of Trinity College, Cambridge; she had previously been a Fellow of New College, Oxford, and Girton College, Cambridge, and was a Fellow of the British Academy. From the 1960s onwards, her work had a profound influence on the Royal Shakespeare Company and the performance and academic study of early modern drama more generally. Anne Barton died in 2013.


"A sophisticated analysis of how girls and boys learned gender roles as they learned to read and write and how gender differences were supported or critiqued in the English public theater and in writings by women and men. The book is first-rate literary history and first-rate social and cultural history that confronts the connections between gender theory and historical practice. This is fine scholarship." Awards' Committee, The Society for the Study of Early Modern Women
"In a book that will appeal to anyone interested in the process by which subjectivity is gendered, Sanders considers a range of texts - educational teatises and conduct manuals as well as drama, poetry, and autobiographical writing by women - which illustrate the humanist agenda and deviations from their prescriptions." New Theatre Quarterly
"While working to map out a new history of gender and literacy in Renaissance drama, this book also opens up a series of methodological questions about the place of close reading in historicist work today." Shakespeare Quarterly
"Most highly recommended for upper-division undergraduates through faculty." Choice
"[Sanders] presents a nuanced study of how cultural constructions of writing and reading inform complex dramatic characterization and motivate dramatic structures that themselves are as likely to resist as to inculcate the gendered humanist model. Sanders offers genuinely fresh insights..." Renaissance Quarterly