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to work and fight and love in all the ways she knows how offers a window into the obstacles faced by George Sand, the prolific intellectual woman whom the popular press portrayed as a promiscuous, cigar-smoking oddity in trousers. “Strange that the most virile talent of our time should be a woman’s!” exclaimed a reviewer in 1838. Kathleen Robin Hart’s introduction contextualizes the drama
. The first three essays show how to incorporate the play into introductory courses on literature and composition; the following four essays focus on teaching the play in more advanced classes on dramatic literature. The remaining seven essays present specific strategies, such as using feminist approaches, examining performances of the play, and comparing A Doll House to Ibsen’s other plays in a
Spectator (70) Faith E. Beasley Tragic Aesthetics: Humanist Uncertainty vs. Neoclassical Inevitability (85) Andrea Frisch The Microdrama of Vivid Description: Hypotyposis as a Pedagogical Tool (96) Juliette Cherbuliez Part II: The Performance of Tragedy: On Stage and in the Classroom Performing Neoclassical Tragedy: Between Text and Image (117) Laurence Marie A Comparative Approach to Teaching
Shakespeare British Literature Drama
II : Teaching Love, Sex, and Gender Historically (113) Rebecca Ann Bach Dangerous Men in Drama: Teaching the Cade Rebellion in 2 Henry VI (119) Ronda Arab Ghost Stories: Lost Fathers and Abandoned Sons in the History Plays (126) Joyce Green MacDonald Teaching through Research, Writing, and Performance Historiography and Hives: “Research Notebooks” as Prewriting Exercises (132) Joshua Calhoun
plays in the classroom, following themes such as masquerade and cross-dressing through the works of female dramatists and those of their male counterparts. Other essays present methods for using these writers and their works in British literature and history courses, surveys of drama and theater history, and introductions to women’s literature.
British Literature Drama Shakespeare
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