“Disruptive Education: The Taming of the Shrew and The Tamer Tamed.” This Rough Magic (Summer 2012).
What are the benefits of using Fletcher’s The Tamer Tamed on stage or in the classroom? Pursuing an answer to this question, the article compares the stage histories and pedagogical receptions of Shakespeare’s play and Fletcher’s sequel, arguing that Tamer‘s alternative representation of feminine education can open the door to more complex classroom debates regarding gender and the ends of education both historically and now.
“Review: Drama and the Succession to the Crown, 1561-1633.” Theatre Survey. Forthcoming.
“Review: What You Will: Gender, Contract, and Shakespearean Social Space.” Early Modern Women: An Interdisciplinary Journal. Forthcoming.
“Closeted Authority in The Tragedy of Mariam.” Studies in English Literature. Forthcoming (52:2) Spring 2012.
Sometimes, Stuart women could appropriate constraining masculine rules to their advantage.
In her Tragedy, Cary reveals that the closet drama form and its proximity to conduct literature didacticism provided a socially protected space for women’s public authorship and acting rather than prohibiting it. Within closet spaces, writing was considered a silent and admissible performance for women because it occurred in ostensibly isolated locations. However, publication and household acting increased the exposure of women’s ideas and authorial agency, allowing women writers to influence audiences beyond their own homes. Whether operating as authors by generating literary texts or as actors through the communal reading of closet dramas, women licensed their public expression by seeming safely enclosed. They generated disruptive compliance. Graphina, whose strategic deployment of silence protects her from patriarchal censure, metadramatically comments on this activity.
“Review: Renaissance Earwitnesses: Rumor and Early Modern Masculinity.” Renaissance Quarterly (63:4) Winter 2010.
“’What Once I Was, and What am Now’: Narrative and Identity Constructions in Samson Agonistes.” JNT: Journal of Narrative Theory (37:1) Winter 2007, 1-26.
Like Milton’s epic poems Paradise Lost and Paradise Regained, Samson Agonistes is a complex narrative that never provides a single, coherent portrayal of its characters or events. Indeed, Samson throws into question whether single, coherent individuals and histories actually exist. Though the text, to some degree, revolves around events that have already occurred, it is not a story that thrives on certainty. Rather, the closet drama produces layers of confusion, positioning the narrative genres of autobiography and epic in opposition not only to each other, but also to the carnivalesque. Such insistent opposition fractures the reader’s experience of Samson as well as Samson’s relationship to the past. As the text relies on a narrative with no physical action, it forces readers to focus on the very origins of Samson’s agon: questions of self-construction and the creation of community history.