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Sex, class, and the theatrical archi...

Sikes, Alan.

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Sex, class, and the theatrical archive = erotic economies /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sex, class, and the theatrical archive/ by Alan Sikes.
Reminder of title:	erotic economies /
Author:	Sikes, Alan.
Published:	Cham :Springer International Publishing : : 2020.,
Description:	ix, 251 p. :ill., digital ;24 cm.
[NT 15003449]:	Chapter One: Introduction -- Chapter Two: The Sodomite in the Closet Drama: Pamphlets and Performance in the Era of the Glorious Revolution -- Chapter Three: Tribades and Amazons: Playacting Women of the French Revolution -- Chapter Four: Expressionist Brotherhoods: Homophilic Elitism and the Drama of the Weimar Era -- Chapter 5: Conclusion: Socialized Maternity and Other Utopian Notions.
Contained By:	Springer eBooks
Subject:	Sex role in the theater. -
Online resource:	https://doi.org/10.1007/978-3-030-23116-3
ISBN:	9783030231163

Sex, class, and the theatrical archive = erotic economies /
Sikes, Alan.

Sex, class, and the theatrical archiveerotic economies /[electronic resource] :by Alan Sikes. - Cham :Springer International Publishing :2020. - ix, 251 p. :ill., digital ;24 cm. - Palgrave studies in theatre and performance history. - Palgrave studies in theatre and performance history..

Chapter One: Introduction -- Chapter Two: The Sodomite in the Closet Drama: Pamphlets and Performance in the Era of the Glorious Revolution -- Chapter Three: Tribades and Amazons: Playacting Women of the French Revolution -- Chapter Four: Expressionist Brotherhoods: Homophilic Elitism and the Drama of the Weimar Era -- Chapter 5: Conclusion: Socialized Maternity and Other Utopian Notions.

In Sex, Class and the Theatrical Archive: Erotic Economies, Alan Sikes explores the intersection of struggles over sex and class identities in politicized performances during key revolutionary moments in modern European history. The book includes discussions of sodomitical closet dramas from the decades surrounding the English Glorious Revolution of 1688; the performances of 'Tribades and Amazons', public women of the French Revolution; the 'homophilic elitism' in the early plays of Brecht and Hasenclever from the years just before and after the German Revolution that marked the founding of the short-lived Weimar Republic; and the utopian conception of a Soviet 'New Woman' set to take the stage after the Russian Revolution of 1917. Throughout, Sikes invokes the differences between past and present politicized performances in order to cast our own political imaginings into sharper and more critical relief.

ISBN: 9783030231163

Standard No.: 10.1007/978-3-030-23116-3doiSubjects--Topical Terms:

925108
Sex role in the theater.

LC Class. No.: PN1650.S48 / S554 2020

Dewey Class. No.: 809.29353

Sex, class, and the theatrical archive = erotic economies /
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300 $a ix, 251 p. : $b ill., digital ; $c 24 cm.
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505 0 $a Chapter One: Introduction -- Chapter Two: The Sodomite in the Closet Drama: Pamphlets and Performance in the Era of the Glorious Revolution -- Chapter Three: Tribades and Amazons: Playacting Women of the French Revolution -- Chapter Four: Expressionist Brotherhoods: Homophilic Elitism and the Drama of the Weimar Era -- Chapter 5: Conclusion: Socialized Maternity and Other Utopian Notions.
520 $a In Sex, Class and the Theatrical Archive: Erotic Economies, Alan Sikes explores the intersection of struggles over sex and class identities in politicized performances during key revolutionary moments in modern European history. The book includes discussions of sodomitical closet dramas from the decades surrounding the English Glorious Revolution of 1688; the performances of 'Tribades and Amazons', public women of the French Revolution; the 'homophilic elitism' in the early plays of Brecht and Hasenclever from the years just before and after the German Revolution that marked the founding of the short-lived Weimar Republic; and the utopian conception of a Soviet 'New Woman' set to take the stage after the Russian Revolution of 1917. Throughout, Sikes invokes the differences between past and present politicized performances in order to cast our own political imaginings into sharper and more critical relief.
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