000			02125nmm a2200193 i 4500
005			20230722112450.0
008			220623s2022 enk|||||o|||||||||||eng|d
020			_a9780191948015 _qelectronic book _cNo price
082	0	0	_a821
100			_aHecht, Paul J. _eauthor _923310
245			_aWhat Rosalind Likes : _bpastoral, gender, and the founding of English Verse / _cPaul J. Hecht
260		1	_aOxford : _bOxford University Press _c2022
300			_a224 p _billustrations(colour)
520			_aWhat Rosalind Likes begins with the strange ferocity of Elizabethan responses to poetry: a woman named Rosalind expresses scorn for a shepherd's poems, and a character in a play loses his temper and storms off stage at the sound of a blank verse line. What are these people so angry about? Thus begins a journey into a world where the details of poetic form and vagaries of Latin translation are caught up in the dynamics of gender, sexuality, class, and race, and power, where too much alliteration, for example, could destabilize your gender or pose a threat to national security. Situated in the crucial final two decades of the sixteenth century, What Rosalind Likes takes three figures named "Rosalind" in works by Spenser (The Shepheardes Calender), Lodge (Rosalynde), and Shakespeare (As You Like It) to create a new approach to literary history and feminist criticism. The development and emergence of Rosalind as one of the most famous and beloved characters in the Shakespeare canon is thus connected to the troubled history of Virgilian reception, to tensions between aesthetics and sexual empowerment and powerlessness, to methodology associated with postcritique, including surface reading and the valorization of negative emotions, and to queer theology. The book ends by thinking about Rosalind with respect to the poetry of Mary Wroth, and examining depictions of Rosalind on stage and screen by Dora Jordan and Katharine Hepburn.
650			_aWomen in literature _923311
650			_aLiterature and society _923312
856			_aOxford Academic _uhttps://doi.org/10.1093/oso/9780192857200.001.0001
942			_cEBK
999			_c14086 _d14086