東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The madwoman in the theatre: A re-ev...

Talia, Lia Marie.

Linked to FindBook

Google Book

Amazon

博客來

The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977./
Author:	Talia, Lia Marie.
Description:	282 p.
Notes:	Source: Dissertation Abstracts International, Volume: 71-05, Section: A, page: 1640.
Contained By:	Dissertation Abstracts International71-05A.
Subject:	History, Canadian. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR59524
ISBN:	9780494595244

The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977.
Talia, Lia Marie.

The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977. - 282 p.

Source: Dissertation Abstracts International, Volume: 71-05, Section: A, page: 1640.

Thesis (Ph.D.)--University of Ottawa (Canada), 2009.

The period 1966-1977 saw the emergence of both the Canadian feminist movement and a new Canadian drama. This thesis explores how the work of four English Canadian female playwrights reflected both in their groundbreaking early work. Aviva Ravel, Beverley Simons, Carol Bolt, and Sharon Pollock were each concerned with women's roles and changing conventional perceptions of women. This may in part explain why critics view the early work of these four playwrights as proto-feminist rather than feminist. All four playwrights, although they often disavowed a feminist intent, wrote plays that reflected the ideological tenets of second-wave Anglo-American feminism. However, their plays also often depict a decidedly vexed feminist vision. They critiqued restrictions imposed on women, while simultaneously arguing for the importance of women's empowered contribution to society, but often their message is obscured by ambiguous characterizations, structures, and conclusions. In this way, these playwrights asserted a feminist vision and challenged authority and stereotypical depictions of women on stage, while attempting to evade the antipathy of audiences and critics.

ISBN: 9780494595244Subjects--Topical Terms:

1017564
History, Canadian.

The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977.
LDR:02733nam 2200289 4500 001 1405931
005 20111213102338.5
008 130515s2009 ||||||||||||||||| ||eng d
020 $a 9780494595244
035 $a (UMI)AAINR59524
035 $a AAINR59524
040 $a UMI $c UMI
100 1 $a Talia, Lia Marie. $3 1685354
245 1 4 $a The madwoman in the theatre: A re-evaluation of Canadian women playwrights and the English Canadian Dramatic Canon, 1966-1977.
300 $a 282 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-05, Section: A, page: 1640.
502 $a Thesis (Ph.D.)--University of Ottawa (Canada), 2009.
520 $a The period 1966-1977 saw the emergence of both the Canadian feminist movement and a new Canadian drama. This thesis explores how the work of four English Canadian female playwrights reflected both in their groundbreaking early work. Aviva Ravel, Beverley Simons, Carol Bolt, and Sharon Pollock were each concerned with women's roles and changing conventional perceptions of women. This may in part explain why critics view the early work of these four playwrights as proto-feminist rather than feminist. All four playwrights, although they often disavowed a feminist intent, wrote plays that reflected the ideological tenets of second-wave Anglo-American feminism. However, their plays also often depict a decidedly vexed feminist vision. They critiqued restrictions imposed on women, while simultaneously arguing for the importance of women's empowered contribution to society, but often their message is obscured by ambiguous characterizations, structures, and conclusions. In this way, these playwrights asserted a feminist vision and challenged authority and stereotypical depictions of women on stage, while attempting to evade the antipathy of audiences and critics.
520 $a The feminist reflections of these four female playwrights during the initial stages of the second-wave feminist movement in Canada provide a fascinating glimpse into how these writers were able to create a role for themselves in Canadian theatre against the backdrop of the women's liberation movement. They may have concealed their feminist sympathies to varying degrees; however, they nonetheless put women's concerns centre-stage and began an examination of identity politics and gender socialization, especially in relation to the notion examination of identity politics of the performance of gender roles, that has continued for decades.
590 $a School code: 0918.
650 4 $a History, Canadian. $3 1017564
650 4 $a Literature, Canadian (English). $3 1022372
650 4 $a Women's Studies. $3 1017481
650 4 $a Theater. $3 522973
690 $a 0334
690 $a 0352
690 $a 0453
690 $a 0465
710 2 $a University of Ottawa (Canada). $3 1017488
773 0 $t Dissertation Abstracts International $g 71-05A.
790 $a 0918
791 $a Ph.D.
792 $a 2009
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR59524