Unmaking mimesis: Essays on feminism and theater

Unmaking Mimesis: Essays on Feminism and Theatre

Volumn , Issue , 2003, Pages 1-226

  Diamond, Elin ^a  

^a NONE   (United States)

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EID: 85071567491     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203358900     Document Type: Book

References (328)

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72. Alexandre Dumas, La Dame Aux Camélias (Oxford, Oxford University Press, 1972), p. 144.
73. Henry Arthur Jones, Mrs Dane’s Defence, in Representative Plays (Boston: Little, Brown, 1925), pp. 252-253.
74. A.W. Pinero, The Second Mrs. Tanqueray (London: Methuen, 1985), p. 85.
75. Henrik Ibsen, Hedda Gabler, in Ibsen: The Complete Major Prose Plays, trans. Rolf Fjelde (New York: NAL), p. 773.
76. Bert O. States, Great Reckonings in Little Rooms: On the Phenomenology of Theater (Berkeley:University of California Press, 1985), p. 62.
77. Henrik Ibsen, Letters and Speeches, ed. Evert Sprinchorn (New York: Hill and Wang, 1964), p. 298.
78. Sigmund Freud, ‘Hysterical Phantasies and Their Relation to Bisexuality’ (1908), in Dora: An Analysis of a Case of Hysteria (New York: Macmillan, 1963), p. 151.
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80. Miriam Alice Franc, Ibsen in England (Boston: Four Seas, 1919), pp. 25-26.
81. William B. Worthen, The Idea of the Actor: Drama and the Ethics of Performance (Princeton, NJ: Princeton University Press, 1984), p. 145.
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85. Jacques Lacan, ‘The Meaning of the Phallus,' in Feminine Sexuality: Jacques Lacan and the école freudienne, trans. Jacqueline Rose, eds Juliet Mitchell and Jacqueline Rose (New York: W.W. Norton, 1982), p. 76.
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87. The Portable Nietzsche, ed. and trans. Walter Kaufmann (New York: Viking, 1968), p. 487.
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90. ‘Refusing the Romanticism of Identity:Narrative Interventions in Churchill, Benmussa, Duras’ in Performing Feminisms, pp. 92-105.
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94. ‘After-thoughts on “Visual Pleasure and Narrative Cinema�? inspired by Duel in the Sun,' Framework 15-17 (Summer 1981), pp. 12-15.
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96. Jonathan Dollimore, Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries (Chicago: University of Chicago Press), pp. 1-28ff., 53-108ff.
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101. Eric Bentley, The Brecht Commentaries (London: Metheun, 1981), p. 46ff.
102. Herbert Blau, Take Up the Bodies: Theater at the Vanishing Point (Urbana: University of Illinois Press, 1982), p. 1.
103. Bertolt Brecht, Brecht on Theatre: The Development of an Aesthetic, ed. John Willett (New York: Hill and Wang, 1984), p. 192.
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105. Judith Butler, ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,' in Sue-Ellen Case, ed., Performing Feminisms:Feminist Critical Theory and Theatre (Baltimore, MD: Johns Hopkins University Press, 1990), pp. 270-1.
106. Caryl Churchill, Cloud Nine in Plays: One (London: Methuen, 1985), p. 251.
107. Judith Butler, Bodies that Matter: On the Discursive Limits of ‘Sex’ (New York: Routledge, 1993), pp. 1-23.
108. Judith Butler, Bodies that Matter: On the Discursive Limits of ‘Sex’ (New York: Routledge, 1993), p. 234.
109. Jacques Derrida, ‘Signature, Event, Context,' in Margins of Philosophy, trans. Alan Bass (Chicago: University of Chicago Press, 1982), p. 310ff.
110. Teresa de Lauretis, ‘Feminist Studies/Critical Studies: Issues, Terms, and Contexts,' in Teresa de Lauretis, ed., Feminist Studies/Critical Studies (Bloomington: Indiana University Press, 1986), p. 14.
111. Barbara Johnson in The Critical Difference: Essays in the Contemporary Rhetoric of Reading (Baltimore: Johns Hopkins University Press, 1980), p. 4.
112. Sigmund Freud, Civilization and Its Discontents, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 21 (London: Hogarth Press, 1975), p. 106, n. 3.
113. Gayle Rubin, ‘The Traffic in Women: Notes on the “Political Economy�? of Sex,' in Toward an Anthropology of Women, ed. Rayna Reiter (New York: Monthly Review Press, 1978), p. 179.
114. Brecht, Theatre, p. 137.
115. Bertolt Brecht, In the Jungle of Cities, in Collected Plays, vol. I, eds Ralph Manheim and John Willett (New York Vintage, 1971), p. 140.
116. Brecht, Theatre, p. 190.
117. Timothy J. Wiles, The Theater Event: Modern Theories of Performance (Chicago: University of Chicago Press, 1980), p. 72.
118. Patrice Pavis, Languages of the Stage: Essays on the Semiology of the Theatre (New York:Performing Arts Journal Publications, 1982), p. 88.
119. Stephen Heath, ‘Lessons from Brecht,' Screen 15:2 (Summer 1974), p. 112.
120. Sandy Flitterman-Lewis, ‘Psychoanalysis, Film, and Television,' in Channels of Discourse, ed. Robert C. Allen (Chapel Hill: University of North Carolina Press, 1987), pp. 172-210.
121. Jean-Louis Baudry, ‘The Apparatus: Metapsychological Approaches to the Impression of Reality,' in Apparatus, ed. Theresa Hak Kyung (New York: Tanam Press, 1980), p. 56.
122. Cora Kaplan, ‘Pandora’s Box: Subjectivity, Class, and Sexuality in Socialist Feminist Criticism,' in Sea Changes: Culture and Feminism (London: Verso, 1986), pp. 147-176.
123. Brecht, Theatre, p. 198.
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125. Janet Todd, The Sign of Angellica: Women, Writing and Fiction, 1660-1800 (New York:Columbia University Press, 1989).
126. ‘Arachnologies: The Woman, the Text, and the Critic’ in The Poetics of Gender, ed. Nancy K. Miller (New York: Columbia University Press, 1986), p. 275.
127. Bertolt Brecht, Brecht on Theatre, ed. John Willett (New York: Hill and Wang, 1964), pp. 252-265.
128. Peter Holland, The Ornament of Action: Text and Performance in Restoration Comedy (Cambridge: Cambridge University Press, 1979), p. 36.
129. Richard Flecknoe, ‘A Short Discourse of the English Stage’ in Critical Essays of the Seventeenth Century, vol. 2, ed. J.E. Spingarn (Oxford: Clarendon Press, 1908), p. 96.
130. Hugh Hunt, ‘Restoration Acting’ in Restoration Theatre, eds John Russell Brown and Bernard Harris (London: E. Arnold, 1965), pp. 178-192.
131. William Wycherley, The Gentleman Dancing Master, in The Complete Plays of William Wycherley, ed. W.C. Ward (London: T. Fisher Unwin, 1902), p. 242.
132. Aphra Behn, The Forc’d Marriage: or, The Jealous Bridegroom in Works, vol. 3, p. 286.
133. Angeline Goreau, Reconstructing Aphra (New York: Dial Press, 1980), p. 77ff.
134. Hilda Smith, Reason’s Disciples: Seventeenth-Century English Feminists (Urbana: University of Illinois Press, 1982), p. 79.
135. Aphra Behn, The Second Part of The Rover, in Works, vol. 1, p. 152.
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137. Aphra Behn, The Lucky Chance: or, An Alderman’s Bargain, in Works, vol. 3, p. 208.
138. Behn, Works, vol. 3, p. 305.
139. Aphra Behn, The Feign’d Curtezans, in Works, vol. 2, p. 374.
140. Jonas Barish, The Antitheatrical Prejudice (Berkeley: University of California Press, 1981), p. 158.
141. Christopher Pye, ‘The Sovereign, the Theater, and the Kingdome of Darknesse:Hobbes and the Spectacle of Power,' Representations 8 (Fall 1984), p. 91.
142. Norman Holland, The First Modern Comedies (Bloomington: Indiana University Press, 1959), pp. 48-49.
143. Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (Baltimore:Johns Hopkins University Press, 1984), p. 36.
144. Aphra Behn, The Rover, ed. Frederick M. Link (Lincoln: University of Nebraska Press, 1967), p. 7.
145. Aphra Behn, The Dutch Lover, in Works, vol. 1, pp. 221-225.
146. Jacqueline Rose, ‘Introduction II,' in Feminine Sexuality: Jacques Lacan and the école freudienne, trans. J. Rose, eds J. Rose and J. Mitchell (New York: W.W. Norton, 1982, p. 48.
147. Aphra Behn, The Widow Ranter, in Works, vol. 4, p. 295.
148. Aphra Behn, ‘The Golden Age,' in Works, vol. 4, p. 141.
149. Behn, Dutch Lover, p. 255.
150. Walter Benjamin, Understanding Brecht, trans. Anna Bostok (London: Verso, 1973), pp. 17-18.
151. Walter Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London:NLB, 1977), p. 185.
152. Max Pensky, Melancholy Dialectics: Walter Benjamin and the Play of Mourning (Amherst:University of Massachusetts Press, 1993), p. 199.
153. Charles Rosen, ‘The Ruins of Walter Benjamin,' in On Walter Benjamin: Critical Essays and Recollections, ed. Gary Smith (Cambridge, MA: MIT Press, 1991), p. 149.
154. Benjamin, German Tragic Drama, pp. 118, 209.
155. Benjamin, German Tragic Drama, p. 175.
156. Terry Eagleton, The Ideology of the Aesthetic (Oxford: Blackwell, 1990), pp. 334-335.
157. Benjamin, German Tragic Drama, p. 166.
158. Behn, Preface to The Lucky Chance, p. 186.
159. Aphra Behn, Sir Patient Fancy, in Works, vol. 4, p. 8.
160. Behn, Preface to The Lucky Chance, p. 187.
161. Benjamin, German Tragic Drama, p. 233.
162. Hélène Cixous, ‘The Laugh of the Medusa,' New French Feminisms, eds E. Marks and I. de Courtivron (New York: Schocken Books), p. 245.
163. ‘Le rire de la méduse,' L’Arc (1975), pp. 39-54.
164. Ann Rosalind Jones, ‘Writing the Body: Toward an Understanding of l’écriture feminine,' in Feminist Criticism and Social Change: Sex, Class, and Race in Literature and Culture, eds J. Newton and D. Rosenfelt (London: Methuen, 1985), pp. 86-101.
165. Diana Fuss, Essentially Speaking:Feminism, Nature, Difference (New York: Routledge, 1989), pp. 39-72ff.
166. Amelia Howe Kritzer, The Plays of Caryl Churchill: Theatre of Empowerment (New York:St. Martin’s Press, 1991).
167. Janelle Reinelt, After Brecht British Epic Theater (Ann Arbor: University of Michigan Press, 1994).
168. Herbert Blau, ‘Precipitations of Theater: Words, Presence, Time Out of Mind,' in Blooded Thought: Occasions of Theater (New York: Performing Arts Journal Publications, 1982), p. 30.
169. Josette Féral, ‘Performance and Theatricality: The Subject Demystified,' Modern Drama 25:1 (1982), p. 177.
170. Roland Barthes, ‘Baudelaire’s Theater,' in Critical Essays, trans. Richard Howard (Evanston: Northwestern University Press), pp. 27-28.
171. Madelon Sprengnether, The Spectral Mother: Freud, Feminism, and Psychoanalysis (Ithaca, NY: Gornell University Press, 1990), pp. 144-153.
172. Luce Irigaray, ‘This Sex Which Is Not One,' in This Sex Which Is Not One, trans. Catherine Porter with Carolyn Burke (Ithaca, NY: Cornell University Press, 1977), p. 26.
173. Michel Benamou, ‘Presence and Play,' in Performance in Postmodern Culture, eds M. Benamou and C. Caramello (Madison, WI: Coda Press, 1977), p. 6.
174. Jill Dolan, ‘The Dynamics of Desire:Sexuality and Gender in Pornography and Performance,' Theatre Journal 39:2 (1987), pp. 156-174.
175. Caryl Churchill, Owners, in Plays: One (London: Methuen, 1985), p. 66.
176. Antonin Artaud, The Theater and Its Double, trans. Mary Caroline Richards (New York: Grove Press, 1958), p. 13.
177. Herbert Blau, ‘Flights of Angels, Scattered Seeds,' in Blooded Thought, p. 149.
178. Caryl Churchill, Traps, in Plays: One, p. 71.
179. Maurice Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith (London:Routledge and Kegan Paul, 1962), pp. 71ff.
180. J. Laplanche and J.-B. Pontallis, The Language of Psycho-Analysis, trans. Donald Nicholson-Smith (New York: W.W. Norton, 1973) p. 103.
181. Churchill, in Plays: One, p. 184.
182. Churchill, in Plays: One, p. 131.
183. Caryl Churchill, Cloud Nine, in Plays: One, pp. 251-252.
184. Caryl Churchill, Vinegar Tom, in Plays: One, p. 162.
185. Michel Foucault, Discipline and Punish, trans. Alan Sheridan (New York: Vintage, 1979), p. 155.
186. Michel Foucault, The History of Sexuality, vol. 1 (New York: Vintage, 1980), pp. 92-96.
187. H.L. Dreyfus and P. Rabinow, Michel Foucault: Beyond Stucturalism and Hermeneutics, 2nd edition (Chicago:University of Chicago Press, 1983), pp. 126-226.
188. Sigmund Freud, Civilization and Its Discontents, in The Standard Edition of the Complete Psychological Works of Sigmund Freud (London: Hogarth Press, 1975), vol. 21, p. 71.
189. Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis, trans. Alan Sheridan (New York: Norton, 1978), pp 204-205.
190. Euripides, The Bacchae, in The Bacchae and Other Plays, trans. Philip Vellacott (Baltimore:Penguin, 1967), p. 204.
191. Caryl Churchill, Mad Forest: A Play from Romania (London: Nick Hern Books, 1990), p. 54.
192. Fredric Jameson, Postmodernism, or The Cultural Logic: of Late Capitalism (Durham NC:Duke University Press, 1992), p. ix.
193. Caryl Churchill, The Skriker (London: Nick Hern Books, 1994), p. 1.
194. Churchill, Skriker, p. 51.
195. Gertrude Stein, ‘Plays,' in Gertrude Stein: Writings and Lectures 1909-1945, ed. Patricia Meyerowitz (Baltimore, MD: Penguin, 1967), pp. 60-61.
196. Todd Gitlin, ‘Postmodern Roots and Politics,' in Ian Angus and Sut Jhally, eds, Cultural Politics in Contemporary America(New York: Routledge, 1989), p. 347.
197. Philip Auslander, Presence and Resistance (Ann Arbor: University of Michigan Press, 1992), p. 9.
198. John Bender and David E. Wellbery, eds, Chronotypes: The Construction of Time (Stanford, CA: Stanford University Press, 1991), p. 2.
199. Homi Bhabha, ‘How Newness Enters the World,' in The Location of Culture (London:Routledge, 1994), p. 218.
200. Sigmund Freud, The Standard Edition of Complete Psychological Works, trans. and ed. James Strachey (London: Hogarth Press, 1971), vol. 28, p. 105.
201. Hélène Cixous and Catherine Clément, The Newly Born Woman (La Jeune Née), trans. Betsy Wing (Minneapolis: University of Minnesota Press, 1975), p. 148.
202. Jacqueline Rose, Sexuality in the Field of Vision (London: Verso, 1988), p. 5.
203. Fredric Jameson, ‘The Cultural Logic of Late Capitalism,' in Postmodernism, or the Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1992), p. 25ff.
204. Frantz Fanon, Black Skin, White Masks, trans. Charles Lam Markmann (New York:Grove Weidenfeld, 1967), p. 111.
205. Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cambridge: Harvard University Press, 1993), pp. 2, 38.
206. Bertolt Brecht, Brecht on Theatre: The Development of an Aesthetic, ed. John Willett (New York: Hill and Wang, 1964), p. 276.
207. Bertolt Brecht, Brecht on Theatre: The Development of an Aesthetic, ed. John Willett (New York: Hill and Wang, 1964), pp. 92-93.
208. Stephen Heath, ‘Lessons from Brecht,' Screen, 15:2 (1974), p. 112.
209. Sigmund Freud, The Interpretation of Dreams (1900), trans. James Strachey (New York:Avon, 1965), p. 149.
210. Mikkel Borch-Jacobsen, The Freudian Subject, trans. Catherine Porter (Stanford, CA:Stanford University Press, 1988), pp. 20, 54.
211. Richard Boothby, Death and Desire: Psychoanalytic Theory in Lacan’s Return to Freud (New York: Routledge, 1991), p. 31.
212. Theresa Brennan, Introduction to Between Feminism and Psychoanalysis, ed. T. Brennan (New York: Routledge, 1989), p. 10.
213. Adrienne Kennedy, ‘A Growth of Images,' interview transcribed and edited by Lisa Lehman, The Drama Review 21:4 (December 1977), p. 42.
214. Luce Irigaray, Speculum of the Other Woman, trans. Gillian C. Gill (Ithaca, NY: Cornell University Press, 1974), p. 54.
215. Carole Pateman, The Sexual Contract (Stanford, CA: Stanford University Press, 1988), p. 19ff.
216. Mikkel Borch-Jacobsen, Lacan: The Absolute Master, trans. Douglas Brick (Stanford, CA: Stanford University Press, 1991), p. 52.
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288. ‘Refusing the Romanticism of Identity: Narrative Interventions in Churchill, Benmussa, Duras,' in Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue-Ellen Case (Baltimore: Johns Hopkins University Press), pp. 92-105.
289. ‘Benmussa’s Adaptations: Unauthorized Texts from Elsewhere,' in Feminine Focus, ed. Enoch Brater (New York: Oxford University Press, 1989), pp. 64-78.
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300. Teresa de Lauretis, The Practice of Love: Lesbian Sexuatity and Perverse Desire (Bloomington:Indiana University Press), pp. 30-78.
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314. Benjamin, ‘Mimetic Faculty,' pp. 333-334.
315. McCauley, Indian Blood, p. 16.
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320. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter with Carolyn Burke (Ithaca, NY: Cornell University Press, 1977), p. 216.
321. Buck-Morss, Dialectics, p. 243.
322. Judith Butler, Bodies That Matter: On the Discursive Limits of ‘Sex’ (New York: Routledge, 1993), p. 47.
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325. Buck-Morss, Dialectics, p. 70.
326. Benjamin, Gesammelte Schriften, vol. 5, p. 1023.
327. Alan Read, Theatre and Everyday Life: An Ethics of Performance (London:Routledge, 1993), p. 90.
328. Trinh T. Minh-ha, ‘Not You/Like You: Post-Colonial Women and the Interlocking Questions of Identity and Difference,' in Making Face, Making Soul (San Francisco, Aunt Lute Books, 1990), p. 374.