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The Public Theater as Grammar School Education in Early Modern England : = An Exploration of Women's Spectatorship and the New Comic Pattern in Renaissance Comedy.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Public Theater as Grammar School Education in Early Modern England :/
其他題名:	An Exploration of Women's Spectatorship and the New Comic Pattern in Renaissance Comedy.
作者:	Lang, Amanda E.
面頁冊數:	1 online resource (379 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
Contained By:	Dissertations Abstracts International85-08A.
標題:	English literature. -
電子資源:	click for full text (PQDT)
ISBN:	9798381723540

The Public Theater as Grammar School Education in Early Modern England : = An Exploration of Women's Spectatorship and the New Comic Pattern in Renaissance Comedy.
Lang, Amanda E.

The Public Theater as Grammar School Education in Early Modern England :An Exploration of Women's Spectatorship and the New Comic Pattern in Renaissance Comedy. - 1 online resource (379 pages)

Source: Dissertations Abstracts International, Volume: 85-08, Section: A.

Thesis (Ph.D.)--University of Rochester, 2023.

Includes bibliographical references

In this dissertation, I argue that the public theaters in early modern England offered spectators access to a kind of engagement that was analogous to student participation in the humanist grammar schools that were accessible to the young male populace. I additionally contend that the New Comic theater in early modern England further encouraged women spectators in particular to participate in ways that are analogous to student participation in the early modern grammar schools. I explain that this analogous access was most crucial for women spectators who were absolutely excluded from the humanist grammar schools and, in popular conduct books like Juan Luis Vives' Instructions of a Christian Woman, were discouraged from engaging in the grammar school exercises that were potentially recreated in the public theaters. This investigation responds to discussions from feminist scholars like Phyllis Rackin, Dympna Callaghan, Natasha Korda, and Jean E. Howard who, I critically contend, interpret women's spectatorship narrowly in terms of whether or not it allowed women to make artistic contributions to the plays produced and performed in the period.My analyses of three early modern comedies (John Lyly's Campaspe, Thomas Middleton and Thomas Dekker's The Roaring Girl, and William Shakespeare's Measure for Measure) in this dissertation affirm these broader claims that are carefully delineated in Chapter One. These analyses showcase how each of these plays lead spectators to contemplate debates of political and social import immediately related to the lives of women in early modern England, and, in doing so, invite women spectators in particular to engage in a kind of intellectual deliberation that is analogous to the kinds of engagement students regularly accessed in the humanist grammar schools.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798381723540Subjects--Topical Terms:

555406
English literature.
Subjects--Index Terms:

Grammar schoolsIndex Terms--Genre/Form:

554714
Electronic books.

The Public Theater as Grammar School Education in Early Modern England : = An Exploration of Women's Spectatorship and the New Comic Pattern in Renaissance Comedy.
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520 $a In this dissertation, I argue that the public theaters in early modern England offered spectators access to a kind of engagement that was analogous to student participation in the humanist grammar schools that were accessible to the young male populace. I additionally contend that the New Comic theater in early modern England further encouraged women spectators in particular to participate in ways that are analogous to student participation in the early modern grammar schools. I explain that this analogous access was most crucial for women spectators who were absolutely excluded from the humanist grammar schools and, in popular conduct books like Juan Luis Vives' Instructions of a Christian Woman, were discouraged from engaging in the grammar school exercises that were potentially recreated in the public theaters. This investigation responds to discussions from feminist scholars like Phyllis Rackin, Dympna Callaghan, Natasha Korda, and Jean E. Howard who, I critically contend, interpret women's spectatorship narrowly in terms of whether or not it allowed women to make artistic contributions to the plays produced and performed in the period.My analyses of three early modern comedies (John Lyly's Campaspe, Thomas Middleton and Thomas Dekker's The Roaring Girl, and William Shakespeare's Measure for Measure) in this dissertation affirm these broader claims that are carefully delineated in Chapter One. These analyses showcase how each of these plays lead spectators to contemplate debates of political and social import immediately related to the lives of women in early modern England, and, in doing so, invite women spectators in particular to engage in a kind of intellectual deliberation that is analogous to the kinds of engagement students regularly accessed in the humanist grammar schools.
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