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viii | |
| Introduction |
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xi | |
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| PART ONE The History of Feminist Shakespeare Criticism |
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3 | (18) |
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Margaret Cavendish, Shakespeare Critic |
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21 | (21) |
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42 | (17) |
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| PART TWO Text and Language |
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Feminist Editing and the Body of the Text |
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59 | (21) |
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``Made to write 'whore' upon?'': Male and Female Use of the Word ``Whore'' in Shakespeare's Canon |
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80 | (23) |
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``A word, sweet Lucrece'': Confession, Feminism, and The Rape of Lucrece |
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103 | (18) |
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| PART THREE Social Economies |
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Gender, Class, and the Ideology of Comic Form: Much Ado About Nothing and Twelfth Night |
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121 | (23) |
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Gendered ``Gifts'' in Shakespeare's Belmont: The Economies of Exchange in Early Modern England |
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144 | (19) |
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| PART FOUR Race and Colonialism |
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The Great Indian Vanishing Trick - Colonialism, Property, and the Family in A Midsummer Night's Dream |
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163 | (25) |
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Black Ram, White Ewe: Shakespeare, Race, and Women |
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188 | (20) |
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Sycorax in Algiers: Cultural Politics and Gynecology in Early Modern England |
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208 | (18) |
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Black and White, and Dread All Over: The Shakespeare Theater's ``Photonegative'' Othello and the Body of Desdemona |
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226 | (25) |
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| PART FIVE Performing Sexuality |
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Women and Boys Playing Shakespeare |
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251 | (12) |
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Mutant Scenes and ``Minor'' Conflicts in Richard II |
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263 | (13) |
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Lovesickness, Gender, and Subjectivity: Twelfth Night and As You Like It |
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276 | (23) |
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...in the Lesbian Void: Woman-Woman Eroticism in Shakespeare's Plays |
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299 | (21) |
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320 | (21) |
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| PART SIX Religion |
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Others and Lovers in The Merchant of Venice |
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341 | (17) |
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Between Idolatry and Astrology: Modes of Temporal Repetition in Romeo and Juliet |
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358 | (15) |
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| Index |
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373 | |
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