t his essay tells a story. It features a tragedy of 1690 — George Powell ’ s The Treacherous Brothers — in which the author commandeers long passages of dialogue from plays fi rst printed between 1602 and 1680 and uses those passages to fl esh out the speeches of his own characters. At least eight such plays contribute to the text of The Treacherous Brothers . In examining Powell ’ s practice, I draw special attention to one of these sources: Lewis Machin and Gervase Markham ’ s The Dumb Knight . This comedy of 1607 or 1608 supplied the plot — and frequently the words — with which Powell presents his play ’ s cru-cial deception: a trick that induces the King of Cyprus to believe that his Queen has been unfaithful. I examine a speech in which Powell melds his fi rst appropriation from The Dumb Knight with another, from John Marston ’ s Antonio ’ s Revenge . The fi rst line of that speech — “ Night Clad in black, mourns for the loss of day ” — careered across the seventeenth century. Its appearances in The Dumb Knight and The Treacherous Brothers constitute two moments in what was a sustained progress featuring not only dramatic dialogue but also erotic narrative verse, acrostic tribute, and a sequence of miscellanies. That single web of in fl uence and appropriation offers a vivid illustration of Powell ’ s preference for material that itself possessed a complex intertextual history. It points to the sources and the afterlife of The Dumb Knight as subjects of interest in their own right. And it sketches a transmission history that may be val-ued and appreciated on its own terms, prioritizing neither the origin, the end-point, nor the various intervening stations. These claims re fl ect the threefold subject of this essay. First, it is a tale of Powell ’ s acquisitive practice, and in that
{"title":"Textual Transmission and the Enterprising Plagiarist: George Powell, The Treacherous Brothers, and The Dumb Knight","authors":"C. Cathcart","doi":"10.1086/725178","DOIUrl":"https://doi.org/10.1086/725178","url":null,"abstract":"t his essay tells a story. It features a tragedy of 1690 — George Powell ’ s The Treacherous Brothers — in which the author commandeers long passages of dialogue from plays fi rst printed between 1602 and 1680 and uses those passages to fl esh out the speeches of his own characters. At least eight such plays contribute to the text of The Treacherous Brothers . In examining Powell ’ s practice, I draw special attention to one of these sources: Lewis Machin and Gervase Markham ’ s The Dumb Knight . This comedy of 1607 or 1608 supplied the plot — and frequently the words — with which Powell presents his play ’ s cru-cial deception: a trick that induces the King of Cyprus to believe that his Queen has been unfaithful. I examine a speech in which Powell melds his fi rst appropriation from The Dumb Knight with another, from John Marston ’ s Antonio ’ s Revenge . The fi rst line of that speech — “ Night Clad in black, mourns for the loss of day ” — careered across the seventeenth century. Its appearances in The Dumb Knight and The Treacherous Brothers constitute two moments in what was a sustained progress featuring not only dramatic dialogue but also erotic narrative verse, acrostic tribute, and a sequence of miscellanies. That single web of in fl uence and appropriation offers a vivid illustration of Powell ’ s preference for material that itself possessed a complex intertextual history. It points to the sources and the afterlife of The Dumb Knight as subjects of interest in their own right. And it sketches a transmission history that may be val-ued and appreciated on its own terms, prioritizing neither the origin, the end-point, nor the various intervening stations. These claims re fl ect the threefold subject of this essay. First, it is a tale of Powell ’ s acquisitive practice, and in that","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"51 1","pages":"89 - 108"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42312809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
et on Tidore and Ternate, John Fletcher’s 1621 colonial romance, The Island Princess, looks back to Portugal’s occupation of the islands. The Malukan archipelago, also known as the Spice Islands, attracted European colonizers and merchants because of their coveted natural resources, including cloves, nutmeg, and cinnamon—plants and spices rumored to cure a number of ailments and increase longevity. By the time Fletcher staged his play at court, plants traversed continents with increasing frequency; Londa Schiebinger estimates that, between 1550 and 1700, the number of plants known to Europeans quadrupled. In
约翰·弗莱彻(John Fletcher) 1621年的殖民传奇小说《岛公主》(The Island Princess)以蒂多和特尔纳特为背景，回顾了葡萄牙对这些岛屿的占领。马鲁坎群岛，也被称为香料群岛，吸引了欧洲殖民者和商人，因为他们令人垂涎的自然资源，包括丁香、肉豆蔻和肉桂，这些植物和香料据说可以治疗许多疾病并延长寿命。当弗莱彻在宫廷上演他的戏剧时，植物越来越频繁地穿越各大洲;据Londa Schiebinger估计，在1550年到1700年间，欧洲已知的植物数量翻了两番。在
{"title":"The Botany of Colonization in John Fletcher’s The Island Princess","authors":"Roya Biggie","doi":"10.1086/722938","DOIUrl":"https://doi.org/10.1086/722938","url":null,"abstract":"et on Tidore and Ternate, John Fletcher’s 1621 colonial romance, The Island Princess, looks back to Portugal’s occupation of the islands. The Malukan archipelago, also known as the Spice Islands, attracted European colonizers and merchants because of their coveted natural resources, including cloves, nutmeg, and cinnamon—plants and spices rumored to cure a number of ailments and increase longevity. By the time Fletcher staged his play at court, plants traversed continents with increasing frequency; Londa Schiebinger estimates that, between 1550 and 1700, the number of plants known to Europeans quadrupled. In","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"159 - 187"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42713396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
t his essay offers a brief re fl ection on Ana Caro ’ s Valor, agravio y mujer (ca. 1630), recently translated by the UCLA Diversifying the Classics project as The Courage to Right a Woman ’ s Wrongs . 1 I want to start by ac-knowledging my collaborators, as the translation that I discuss and cite is the re-sult of our collective labors. The Working Group on the Comedia in
{"title":"The Courage to Transform: Diversifying the Classics Translates Valor, agravio y mujer","authors":"Barbara Fuchs","doi":"10.1086/723005","DOIUrl":"https://doi.org/10.1086/723005","url":null,"abstract":"t his essay offers a brief re fl ection on Ana Caro ’ s Valor, agravio y mujer (ca. 1630), recently translated by the UCLA Diversifying the Classics project as The Courage to Right a Woman ’ s Wrongs . 1 I want to start by ac-knowledging my collaborators, as the translation that I discuss and cite is the re-sult of our collective labors. The Working Group on the Comedia in","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"233 - 244"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46298804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
t he essays in this special section revisit the use of the theatergram of cross-dressing from Plautus to the late Baroque Spanish theater of Ana Caro. 1 We offer them in the context of the emergence in our era of trans performers and trans audience members — as well as in terms of thinking about forms of trans: translation and transnationalism in particular. How might we recognize ways in which early modern drama anticipates contemporary discourses of gender neutrality and queer theory — and how do both the practice and the thematizing of cross-dressing in theater enable us to consider issues vital to gender identity? And how might attempts to conceptualize early modern theater as a fundamentally transnational phenomenon, dependent on the process of translat-ing not only words but gestures, dress, and genders, create a compelling context for examining the social unrest of the sixteenth and seventeenth centuries as well
{"title":"Introduction: Cross-Dressing Technologies of Mobility, Trauma, and Freedom","authors":"S. Wofford, J. Tylus","doi":"10.1086/722937","DOIUrl":"https://doi.org/10.1086/722937","url":null,"abstract":"t he essays in this special section revisit the use of the theatergram of cross-dressing from Plautus to the late Baroque Spanish theater of Ana Caro. 1 We offer them in the context of the emergence in our era of trans performers and trans audience members — as well as in terms of thinking about forms of trans: translation and transnationalism in particular. How might we recognize ways in which early modern drama anticipates contemporary discourses of gender neutrality and queer theory — and how do both the practice and the thematizing of cross-dressing in theater enable us to consider issues vital to gender identity? And how might attempts to conceptualize early modern theater as a fundamentally transnational phenomenon, dependent on the process of translat-ing not only words but gestures, dress, and genders, create a compelling context for examining the social unrest of the sixteenth and seventeenth centuries as well","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"189 - 196"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44015667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
rauma and loss lie at the beginning of most comedy, from which, by the law of the genre, resilience is born. This, at least, is the theory, but what t is the practice? And what does it mean to bring the version of comedy that is at the center of this cluster—that of early modern Europe—into the currents of today? Does doing so threaten to deform it, to subvert it? Does it mean failing to listen to its place in time and hence to be oblivious to what Michel de Certeau once called the resistance of a work to hypotheses and theories imposed from the outside? As sensitive as one must be to such resistance, it is also the case, as Stephen Orgel notes, that “however responsible we undertake to be to our texts and their contexts, we can look only with our own eyes, and interpret only with our own minds, which have been formed by our own history. All historical claims, even the most tactful and unpoliticized, are ultimately concerned to make the past comprehensible, usable and relevant to our own interests—to make it, that is, present. . . . The Renaissance changes with every generation.” It is banal to add that a theatrical work must make itself present with each performance— and so, it too changes with every generation. As Orgel was writing Impersonations: The Performance of Gender in Early Modern England, a generation was reeling from the AIDS crisis. Orgel’s book is dedicated to five friends who died of HIV, and among other things, his study probes
{"title":"La Calandra: The Trauma behind Cross-Dressing","authors":"J. Tylus","doi":"10.1086/723002","DOIUrl":"https://doi.org/10.1086/723002","url":null,"abstract":"rauma and loss lie at the beginning of most comedy, from which, by the law of the genre, resilience is born. This, at least, is the theory, but what t is the practice? And what does it mean to bring the version of comedy that is at the center of this cluster—that of early modern Europe—into the currents of today? Does doing so threaten to deform it, to subvert it? Does it mean failing to listen to its place in time and hence to be oblivious to what Michel de Certeau once called the resistance of a work to hypotheses and theories imposed from the outside? As sensitive as one must be to such resistance, it is also the case, as Stephen Orgel notes, that “however responsible we undertake to be to our texts and their contexts, we can look only with our own eyes, and interpret only with our own minds, which have been formed by our own history. All historical claims, even the most tactful and unpoliticized, are ultimately concerned to make the past comprehensible, usable and relevant to our own interests—to make it, that is, present. . . . The Renaissance changes with every generation.” It is banal to add that a theatrical work must make itself present with each performance— and so, it too changes with every generation. As Orgel was writing Impersonations: The Performance of Gender in Early Modern England, a generation was reeling from the AIDS crisis. Orgel’s book is dedicated to five friends who died of HIV, and among other things, his study probes","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"197 - 207"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42884041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
hat is the techne—the art, craft, or skill—of cross-dressing? Of drag? What is a cross-dresser? A drag queen? A transvestite? In 2015, BBC w News offered “A Guide to Transgender Terms,” which distinguishes a cross-dresser from a drag queen and the sexuality of both from heterosexual norms. The guide tells readers that a cross-dresser is “a person who wears the clothes usually associated with the ‘opposite’ sex. This is seen as a form of gender expression. The word ‘transvestite’ is not used much these days. And the expression ‘drag queen’ is different, meaning a man who dresses ‘as a woman’ for purposes of entertainment.” What is at stake in such distinctions, particularly for early modern scholarship? Or when we talk about cross-dressing but not drag? Or about transvestism, a term that may “not [be] used much these days,” according to the popular press, but is still current in early modern literary studies? As Valerie Traub observed some thirty years ago, Renaissance drama “is increasingly called a ‘transvestite’ theatre.”
变装的技术是什么？变装的艺术、工艺或技能是什么？阻力？什么是变装？变装皇后？异装癖？2015年，BBC w News推出了《跨性别术语指南》，将变装者与变装皇后区分开来，将两者的性取向与异性恋规范区分开来。该指南告诉读者，变装者是“穿着通常与‘异性’有关的衣服的人。这被视为性别表达的一种形式。如今，‘异装癖者’这个词用得不多了。‘变装皇后’这个词也不一样，意思是为了娱乐而‘打扮成女人’的男人。”，尤其是早期的现代学术？或者当我们谈论变装而不是变装时？或者关于异装癖，根据大众媒体的说法，这个术语“现在可能不怎么使用”，但在早期现代文学研究中仍然存在？正如瓦莱丽·特劳布在大约三十年前所观察到的那样，文艺复兴时期的戏剧“越来越被称为‘异装癖’戏剧”
{"title":"Playing Women, Playing Men: Cross-Dressing in Sixteenth-Century France, 1980s New York, and Early Modern Critique","authors":"Karen Newman","doi":"10.1086/723004","DOIUrl":"https://doi.org/10.1086/723004","url":null,"abstract":"hat is the techne—the art, craft, or skill—of cross-dressing? Of drag? What is a cross-dresser? A drag queen? A transvestite? In 2015, BBC w News offered “A Guide to Transgender Terms,” which distinguishes a cross-dresser from a drag queen and the sexuality of both from heterosexual norms. The guide tells readers that a cross-dresser is “a person who wears the clothes usually associated with the ‘opposite’ sex. This is seen as a form of gender expression. The word ‘transvestite’ is not used much these days. And the expression ‘drag queen’ is different, meaning a man who dresses ‘as a woman’ for purposes of entertainment.” What is at stake in such distinctions, particularly for early modern scholarship? Or when we talk about cross-dressing but not drag? Or about transvestism, a term that may “not [be] used much these days,” according to the popular press, but is still current in early modern literary studies? As Valerie Traub observed some thirty years ago, Renaissance drama “is increasingly called a ‘transvestite’ theatre.”","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"221 - 232"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48297816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
atherine’s final speech in The Taming of The Shrew has long been a critical lightning rod. Most contemporary scholarship avoids reading the speech straight, as a sincere exhortation to wifely submission, and instead takes it to be an ironic performance of some kind. Nevertheless, the nature of this performance, its precise audience, and its overall relation to what Katherine holds in the inner space she elsewhere terms her “heart” (4.3.80) remain open questions. Several recent readings have detected a kind of freedom and authority,
{"title":"Feminine Performance in The Taming of the Shrew: Final Speech and Missing Soliloquy","authors":"Laura Kolb","doi":"10.1086/722939","DOIUrl":"https://doi.org/10.1086/722939","url":null,"abstract":"atherine’s final speech in The Taming of The Shrew has long been a critical lightning rod. Most contemporary scholarship avoids reading the speech straight, as a sincere exhortation to wifely submission, and instead takes it to be an ironic performance of some kind. Nevertheless, the nature of this performance, its precise audience, and its overall relation to what Katherine holds in the inner space she elsewhere terms her “heart” (4.3.80) remain open questions. Several recent readings have detected a kind of freedom and authority,","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"133 - 158"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49057402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
n Sexual Dissidence, Jonathan Dollimore argues that, much as in postmodernity, “in the early modern period the individual was seen as constituted by and in relation to a pre-existing order.” Revealing subjectivity as a kind of subjection, not polarized to but located at the very fulcrum of sociality, Dollimore’s definition points the queer theorist toward a project for the disruption of such order. In this essay, I consider themistaken-identity narrative as a literary and performative locale throughwhich the relation between the individual and the “pre-existing order” is disrupted by way of suspension. Locating this essay within a queer scholarly practice of troubling the normative, I turn to Queer/Early/Modern, in which Carla Freccero notes that only a “textual, nonunified, nonpsychologized subject” may allow a disruption of normative gender and desire within a cultural context of heteronormativity. Aligning my lens with Freccero’s drive toward a rupture of subjectivity-as-subjection, I seek to examine the disguising and revealing of such “order” through the mistaken-identity device on the Italian Renaissance stage. Gl’Ingannati, a comedy written by the Sienese Accademia degli Intronati, first performed in 1531 and later published in 1537, belongs to the tradition ofmistakenidentity storylines, and it is often situated as a predecessor of Shakespeare’sTwelfth Night. In the first recorded notes written about the performance of Twelfth Night in London in 1601, one of the audience members, John Manningham, famously
乔纳森·多利摩尔（Jonathan Dollimore，多利摩尔的定义将这位酷儿理论家指向了一个破坏这种秩序的项目。在这篇文章中，我认为主题主义的身份叙事是一个文学和表演的场所，通过这个场所，个人和“预先存在的秩序”之间的关系被中止。我把这篇文章放在一个困扰规范的奇怪学术实践中，转向queer/Early/Modern，Carla Freccero在其中指出，只有“文本的、非统一的、非心理化的主题”才能在非规范性的文化背景下破坏规范性的性别和欲望。将我的镜头与弗雷切罗对主体性作为主体性的断裂的追求相一致，我试图通过意大利文艺复兴舞台上的错误身份装置来审视这种“秩序”的伪装和揭示。《Gl’Inganati》是一部由Sienese Accademia degli Intronati创作的喜剧，于1531年首演，后于1537年出版，属于短篇小说情节的传统，它经常被定位为莎士比亚《幸福之夜》的前身。在关于1601年伦敦第十二夜演出的第一份录音笔记中，观众之一约翰·曼宁汉
{"title":"The Hymenal Resolution in the Accademia degli Intronati’s Gl’Ingannati","authors":"Lucia Cardelli","doi":"10.1086/723003","DOIUrl":"https://doi.org/10.1086/723003","url":null,"abstract":"n Sexual Dissidence, Jonathan Dollimore argues that, much as in postmodernity, “in the early modern period the individual was seen as constituted by and in relation to a pre-existing order.” Revealing subjectivity as a kind of subjection, not polarized to but located at the very fulcrum of sociality, Dollimore’s definition points the queer theorist toward a project for the disruption of such order. In this essay, I consider themistaken-identity narrative as a literary and performative locale throughwhich the relation between the individual and the “pre-existing order” is disrupted by way of suspension. Locating this essay within a queer scholarly practice of troubling the normative, I turn to Queer/Early/Modern, in which Carla Freccero notes that only a “textual, nonunified, nonpsychologized subject” may allow a disruption of normative gender and desire within a cultural context of heteronormativity. Aligning my lens with Freccero’s drive toward a rupture of subjectivity-as-subjection, I seek to examine the disguising and revealing of such “order” through the mistaken-identity device on the Italian Renaissance stage. Gl’Ingannati, a comedy written by the Sienese Accademia degli Intronati, first performed in 1531 and later published in 1537, belongs to the tradition ofmistakenidentity storylines, and it is often situated as a predecessor of Shakespeare’sTwelfth Night. In the first recorded notes written about the performance of Twelfth Night in London in 1601, one of the audience members, John Manningham, famously","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"209 - 220"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43949785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
aissance Drama, volume 50, number 2, fall 2022. 022 Northwestern University. All rights reserved. Published by The University of Chicago Press. s://doi.org/10.1086/723006 1. In this essay, I refer to the English translation ofValor, agravio ymujer by Barbara Fuchs and the ersifying the Classics project at UCLA; see http://diversifyingtheclassics.humanities.ucla.edu r-translations/the-courage-to-right/; and http://diversifyingtheclassics.humanities.ucla.edu/wp ntent/uploads/2020/08/The-Courage-to-Right-a-Womans-Wrongs-8–26-for-website.pdf. English
{"title":"Cross-Dressing and Technologies of Desire and Revenge in Ana Caro, Valor, agravio y mujer with a Glance at Twelfth Night","authors":"S. Wofford","doi":"10.1086/723006","DOIUrl":"https://doi.org/10.1086/723006","url":null,"abstract":"aissance Drama, volume 50, number 2, fall 2022. 022 Northwestern University. All rights reserved. Published by The University of Chicago Press. s://doi.org/10.1086/723006 1. In this essay, I refer to the English translation ofValor, agravio ymujer by Barbara Fuchs and the ersifying the Classics project at UCLA; see http://diversifyingtheclassics.humanities.ucla.edu r-translations/the-courage-to-right/; and http://diversifyingtheclassics.humanities.ucla.edu/wp ntent/uploads/2020/08/The-Courage-to-Right-a-Womans-Wrongs-8–26-for-website.pdf. English","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"245 - 262"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47020930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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