The masked woman revealed; or, the prostitute and the playwright in Aphra Behn criticism

Women's Writing

Volumn 7, Issue 2, 2000, Pages 149-164

  Hughes, Derek ^a  

^a UNIVERSITY OF WARWICK   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 62749145260     PISSN: 09699082     EISSN: 17475848     Source Type: Journal    
DOI: 10.1080/09699080000200133     Document Type: Article

References (12)

1. Elin Diamond, “Gestus and Signature in Aphra Behn’s The Rover”, ELH, 56 (1989), pp. 519-541
2. The Incomparable Aphra (London: Boardman, 1948), p. 103
3. “‘The sight on ’t would beget a warm desire’: Visual Pleasure in Aphra Behn’s The Rover”, Restoration, 18 (1994), pp. 77-87
4. Deborah C. Payne, “Reified Object or Emergent Professional? Retheorizing the Restoration Actress”, in Cultural Readings of Restoration and Eighteenth-Century English Theater, ed. J. Douglas Canfield & Deborah C. Payne (Athens and London: University of Georgia Press, 1995), pp. 13-38.
5. Sara Heller Mendelson, The Mental World of Stuart Women (Brighton: Harvester, 1987), pp. 161-163.
6. Last Laughs: Perspectives on Women and Comedy, ed. Regina Barreca (New York, 1988), pp. 23-42.
7. Rereading Aphra Behn: History, Theory, and Criticism, ed. Heidi Hutner (Charlottesville and London: University Press of Virginia, 1993), pp. 65-85
8. Catherine Gallagher, Nobody’s Story: The Vanishing Acts of Women Writers in the Marketplace, 1670-1820 (Oxford: Clarendon Press, 1994), pp. 1-48
9. An Account of the English Dramatick Poets (Oxford, 1691), p. 22.
10. Henry More, The Immortality of the Soul (London, 1662)
11. Samuel Parker, A Discourse of Ecclesiastical Politie (London, 1670).
12. Robert D. Hume, “‘The Change in Comedy’: Cynical Versus Exemplary Comedy on the London Stage, 1678-1693”, Essays in Theatre, 1 (1982-1983), pp. 101-118