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Dissembling disability in early modern English drama

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Dissembling disability in early modern English drama/ by Lindsey Row-Heyveld.
Author:	Row-Heyveld, Lindsey.
Published:	Cham :Springer International Publishing : : 2018.,
Description:	xv, 244 p. :ill., digital ; : 24 cm.;
Contained By:	Springer eBooks
Subject:	English drama - History and criticism. - Early modern and Elizabethan, 1500-1600 -
Online resource:	http://dx.doi.org/10.1007/978-3-319-92135-8
ISBN:	9783319921358

Dissembling disability in early modern English drama
Row-Heyveld, Lindsey.

Dissembling disability in early modern English drama[electronic resource] /by Lindsey Row-Heyveld. - Cham :Springer International Publishing :2018. - xv, 244 p. :ill., digital ;24 cm. - Literary disability studies. - Literary disability studies..

1. Introduction: Dissembling Disability in Early Modern England -- 2. Act the Fool: Antonio's Revenge and the Conventions of the Counterfeit-Disability Tradition -- 3. Double Dissimulation: Counterfeit Disability in Bartholomew Fair -- 4. Feminized Disability and Disabled Femininity in Fair Em and The Pilgrim -- 5. Rules of Charity: Richard III and the Counterfeit-Disability Tradition -- 6. Mandated Masquerade: Disability, Metatheater, and Audience Complicity in The Fair Maid of the Exchange and What You Will -- 7. Conclusion: Early Modern Fantasies and Contemporary Realities.

Why do able-bodied characters fake disability in 40 early modern English plays? This book uncovers a previously unexamined theatrical tradition and explores the way counterfeit disability captivated the Renaissance stage. Through detailed case studies of both lesser-known and canonical plays (by Shakespeare, Jonson, Marston, and others), Lindsey Row-Heyveld demonstrates why counterfeit disability proved so useful to early modern playwrights. Changing approaches to almsgiving in the English Reformation led to increasing concerns about feigned disability. The theater capitalized on those concerns, using the counterfeit-disability tradition to explore issues of charity, epistemology, and spectatorship. By illuminating this neglected tradition, this book fills an important gap in both disability history and literary studies, and explores how fears of counterfeit disability created a feedback loop of performance and suspicion. The result is the still-pervasive insistence that even genuinely disabled people must perform in order to, paradoxically, prove the authenticity of their impairments.

ISBN: 9783319921358

Standard No.: 10.1007/978-3-319-92135-8doiSubjects--Topical Terms:

559694
English drama
--History and criticism.--Early modern and Elizabethan, 1500-1600

LC Class. No.: PR651 / .R694 2018

Dewey Class. No.: 822.309

Dissembling disability in early modern English drama
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505 0 $a 1. Introduction: Dissembling Disability in Early Modern England -- 2. Act the Fool: Antonio's Revenge and the Conventions of the Counterfeit-Disability Tradition -- 3. Double Dissimulation: Counterfeit Disability in Bartholomew Fair -- 4. Feminized Disability and Disabled Femininity in Fair Em and The Pilgrim -- 5. Rules of Charity: Richard III and the Counterfeit-Disability Tradition -- 6. Mandated Masquerade: Disability, Metatheater, and Audience Complicity in The Fair Maid of the Exchange and What You Will -- 7. Conclusion: Early Modern Fantasies and Contemporary Realities.
520 $a Why do able-bodied characters fake disability in 40 early modern English plays? This book uncovers a previously unexamined theatrical tradition and explores the way counterfeit disability captivated the Renaissance stage. Through detailed case studies of both lesser-known and canonical plays (by Shakespeare, Jonson, Marston, and others), Lindsey Row-Heyveld demonstrates why counterfeit disability proved so useful to early modern playwrights. Changing approaches to almsgiving in the English Reformation led to increasing concerns about feigned disability. The theater capitalized on those concerns, using the counterfeit-disability tradition to explore issues of charity, epistemology, and spectatorship. By illuminating this neglected tradition, this book fills an important gap in both disability history and literary studies, and explores how fears of counterfeit disability created a feedback loop of performance and suspicion. The result is the still-pervasive insistence that even genuinely disabled people must perform in order to, paradoxically, prove the authenticity of their impairments.
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