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Female acts of violence: French rev...

Nielsen, Wendy Christine.

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Female acts of violence: French revolutionary theater in British and German Romantic drama.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Female acts of violence: French revolutionary theater in British and German Romantic drama./
作者:	Nielsen, Wendy Christine.
面頁冊數:	351 p.
附註:	Director: Gail Finney.
Contained By:	Dissertation Abstracts International62-09A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3026686
ISBN:	0493389857

Female acts of violence: French revolutionary theater in British and German Romantic drama.
Nielsen, Wendy Christine.

Female acts of violence: French revolutionary theater in British and German Romantic drama. - 351 p.

Director: Gail Finney.

Thesis (Ph.D.)--University of California, Davis, 2001.

My dissertation compares British, German, and French Romantic drama, emphasizing women writers' plays about female combatants in the French Revolution. The term French Revolutionary Theater denotes an extended metaphor for examining the drama of death, war, and political protest on European political, theatrical stages between 1790 and 1820. A subsidiary line of inquiry traces the role women play in nation building and the new republic idealized by writers at the turn of the century. The production of ‘national identity’ in Britain and Germany relies on opposition to or affinity with republican ideals. My thesis posits that female, dramatic figures such as the woman warrior, domestic victim, assassin, and patricidal daughter embody national anxieties about the contagious effects of Revolutionary thought.

ISBN: 0493389857Subjects--Topical Terms:

530051
Literature, Comparative.

Female acts of violence: French revolutionary theater in British and German Romantic drama.
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245 1 0 $a Female acts of violence: French revolutionary theater in British and German Romantic drama.
300 $a 351 p.
500 $a Director: Gail Finney.
500 $a Source: Dissertation Abstracts International, Volume: 62-09, Section: A, page: 3039.
502 $a Thesis (Ph.D.)--University of California, Davis, 2001.
520 $a My dissertation compares British, German, and French Romantic drama, emphasizing women writers' plays about female combatants in the French Revolution. The term French Revolutionary Theater denotes an extended metaphor for examining the drama of death, war, and political protest on European political, theatrical stages between 1790 and 1820. A subsidiary line of inquiry traces the role women play in nation building and the new republic idealized by writers at the turn of the century. The production of ‘national identity’ in Britain and Germany relies on opposition to or affinity with republican ideals. My thesis posits that female, dramatic figures such as the woman warrior, domestic victim, assassin, and patricidal daughter embody national anxieties about the contagious effects of Revolutionary thought.
520 $a This comparative analysis of French, British and German dramatists hypothesizes that acts of female aggression during the French Revolution become the symbol throughout Europe for sustaining the exclusion of women from Revolutionary ideals (<italic>liberté, faternité</italic>, and <italic>égalité </italic>). The problematic representation of violence in the theater also shapes the direction of my dissertation. The first chapter introduces feminist, social activist, and dramatist Olympe de Gouges, author of <underline>La Déclaration des Droits de la Femme et de la Citoyenne</underline> (1791). Her play, <underline> L'Entrée de Dumouriez à Bruxelles</underline> (1793), glorifies female soldiers, causing riots. The second chapter scrutinizes Elizabeth Inchbald's self-censored and posthumously published play <underline>The Massacre</underline> (1792) in conjunction with polemical texts by Edmund Burke, Mary Wollstonecraft, and Mary Robinson. The third chapter discusses Christine Westphalen's tragedy <underline> Charlotte Corday</underline> (1804) through the lens of nationalist, progressive German writers (Friedrich Schiller, Wilhelm von Humboldt). The fourth chapter compares Karoline von Günderrode and Heinrich von Kleist's female, dramatic warriors (<underline>Hildgund</underline> and <underline>Penthesilea</underline>, respectively). The final chapter analyzes Percy Bysshe Shelley's tragedy <underline> The Cenci</underline> (1819). Shelley's allusions to the Revolution in his essays about the death penalty, colonial Ireland, and philosophy and <underline> The Cenci</underline> invite sympathy with violated humanity. This project contends that women's participation on the bloody stages of Paris incites European writers to rethink the issues of female citizenship, defenselessness, and national importance.
590 $a School code: 0029.
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Germanic. $3 1019072
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
650 4 $a Women's Studies. $3 1017481
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