Papers by Dympna Callaghan
South Central Review, 1991
... Woman and gender in Renaissance tragedy: A study of King Lear, Othello, The Duchess of Malfi,... more ... Woman and gender in Renaissance tragedy: A study of King Lear, Othello, The Duchess of Malfi, and The white devil. Post a Comment. CONTRIBUTORS: Author: Callaghan, Dympna. PUBLISHER: Humanities Press International (Atlantic Highlands, NJ). SERIES TITLE: ...
In this fresh alternative to traditional Shakespeare studies, Dympna Callaghan, Lorraine Helms, a... more In this fresh alternative to traditional Shakespeare studies, Dympna Callaghan, Lorraine Helms, and Jyotsna Singh address Shakespeare's works in terms of, amongst other things, the feminist history of sexuality, the ideology of romantic love, and feminist interventions in ...
SEL: Studies in English Literature 1500-1900, 2004
... that Pericles was a collaboration by Shakespeare and Wilkins, and that the division of labour... more ... that Pericles was a collaboration by Shakespeare and Wilkins, and that the division of labour in the play was broadly between Act 1 ... precedes Shakespeare's play and was his chief source, and John Jowett, whose essay 'The Pat-tern of Collaboration in Timon ofAthens" argues ...
Wiley eBooks, Mar 25, 2016
"opening up" of interpretive possibilities is one of this volume' s best gifts. Readers come away... more "opening up" of interpretive possibilities is one of this volume' s best gifts. Readers come away with a renewed perspective on the many elements that render Shakespeare' s world of words so rich.
Shakespeare Quarterly, 1997
Renaissance Quarterly, 2020
boundaries as well, such as those of page and section, she argues that the interaction of texts a... more boundaries as well, such as those of page and section, she argues that the interaction of texts and visual elements create an imagined community who "must collectively invent and imagine movement between and beyond its borders, and drink from the River Lethe to forget its historical conflicts" (157). "Image and Illusion in Francis Quarles's Emblems and Pamphlets" attends to a "visual rhetoric of duplication" (170), which she argues works to inculcate an "ethos of visual vigilance" (181), pointing to how, paradoxically, Emblemes ultimately avails itself of the very optical processes for which it expresses misgivings. The second part extends the argument into his political pamphlets, which mingle commentary of negative visual processes, such as folly induced by imagination, with that of judgment borne of observation. Finally, in chapter 5, Reid shifts her attention from characters on the page to the stage, making the case that in Shakespeare's 2 Henry VI, "performance, like reading, necessitated a collective, though fragile, construction of what was seen that operated through modes of refraction and alteration" (197). Reid concludes by bringing her findings to bear on current discussions of new media, proposing a model for visual reading that eschews "immaculate perception" (230) by acknowledging the complexities of mediated vision. The holistic approach Reid takes is just one of this book's contributions, allowing her to address the literary text, the illustration, decoration, and other bibliographic features in one fell swoop. Though she attends especially to illustration and text, she also considers elements often regarded as purely decorative, showing that they also help to articulate the ambivalence toward vision that she traces. One drawback to this approach, however, is that it assumes more of a single controlling agency who oversaw the book's design than was probably the case. Though Reid acknowledges the various agencies involved in the design and compilation of early modern books, and focuses instead on the "potential co-creation of meaning between the visual interfaces of this text and the reader" (115), some readers may be troubled by the category of intention. Overall, however, Reading by Design is a valuable contribution to a growing body of scholarship that challenges oversimplifications of early print cultures.
Renaissance Quarterly, 2007
Choice Reviews Online, Jul 23, 2013
Blackwell Publishing Ltd eBooks, Feb 11, 2008
"The Duchess of Malfi" - tyranny and spectacle in Jacobean drama, K.S. Coddon "Nei... more "The Duchess of Malfi" - tyranny and spectacle in Jacobean drama, K.S. Coddon "Neither Maid, Widow, nor Wife" - rhetoric of the woman controversy in "The Duchess of Malfi" C. Desmet death on stage, death of the stage - the antitheatricality of "The Duchess of Malfi", A. Henderson defining/confining the duchess - negotiating the female body in John Webster's "The Duchess of Malfi" T.A. Janowski drama and sexual politics - the case of Webster's duchess, K. McLuskie the heroics of marriage in Renaissance tragedy, M.B. Rose dominance of the typical and "The Duchess of Malfi", S. Wells sexual and social mobility in "The Duchess of Malfi", F. Whigham the moral design of, "The Duchess of Malfi", R.S. White.
Literary Criticism, Hamlet: Language and Writing, Apr 23, 2015
List of Contributors. Introduction: Dympna Callaghan. Part I: The history of feminist Shakespeare... more List of Contributors. Introduction: Dympna Callaghan. Part I: The history of feminist Shakespeare criticism:1. The Ladies' Shakespeare: Juliet Fleming. 2. Margaret Cavendish, Shakespeare Critic: Katherine M. Romack. 3. Misogyny is Everywhere: Phyllis Rackin. Part II: Text and Language:4. Feminist Editing and the Body of the Text: Laurie E Maguire. 5. Made to write 'whore' Upon? : Male and Female Use of the Word "Whore" in Shakespeare's Canon: Kay Stanton. 6. A word, Sweet Lucrece: Confession, Feminism and The Rape of Lucrece: Margo Hendricks. Part III: Social Economies:7. Gender, Class, and the Ideology of Comic Form, Much Ado About Nothing and Twelfth Night: Mihoko Suzuki. 8. Gendered 'Gifts' in Shakespeare's Belmont: The Economies of Exchange in Early Modern England: Jyotsna G. Singh. Part IV: Race and Colonialism:9. The Great Indian Vanishing Trick-Colonialism, Property and the Family in A Midsummer Night's Dream: Ania Loomba. 10. Black Ram, White Ewe: Shakespeare, Race, and Women: Joyce Green MacDonald. 11. Sycorax in Algiers: Cultural Politics and Gynecology in Early Modern England: Rachana Sachdev. 12. Black and White and Dread All Over: The Shakespeare Theater's "Photonegative" Othello and the body of Desdemona: Denise Albanese. Part V: Performing Sexuality:13. Women and Boys Playing Shakespeare: Juliet Dusinberre. 14. Mutant Scenes and 'Minor' Conflicts in Richard II: MollySmith. 15. Lovesickness, Gender, and Subjectivity: Twelfth Night and As You Like It: Carol Thomas Neely. 16. In the Lesbian Void: Woman-Woman Eroticism in Shakespeare's Plays: Theodora Jankowski. 17. Duncan's Corpse: Susan Zimmerman. Part VI: Religion:18. Others and Lovers in The Merchant of Venice: M. Lindsay Kaplan. 19. Between Idolatry and Astrology: Modes of Temporal Repetition in Romeo and Juliet: Philippa Berry. Index.
Hamlet and Emotions, 2019
This essay begins by asking whether the grieving Hamlet weeps when he makes his wish ‘that this t... more This essay begins by asking whether the grieving Hamlet weeps when he makes his wish ‘that this too, too sullied flesh would melt / Thaw, and resolve itself into a dew’ (1.2.133–134). Cognizant of the fact that critics are more often concerned with whether Hamlet actually says ‘sullied’, ‘sallied’, ‘solid’, or ‘grieved and sallied’ than whether or not he sheds tears as he says it, this essay argues nonetheless that Hamlet expresses not just a death wish in the first soliloquy—a temptation to suicide—, but also that he actively seeks Ovidian transformation in the form of a watery metamorphosis. Indeed, the desire to weep becomes a powerful engine of tragic catharsis despite the period’s profound reservations about mourning.
Freedom and Censorship in Early Modern English Literature, 2018
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Papers by Dympna Callaghan