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In "Engaging with Shakespeare", Marianne Novy considers the contributions of women novelists in shaping and responding to Shakespeare's cultural presence. Paying particular attention to issues related to gender or to ideologies of gender - especially the ways in which women writers use Shakespeare's plots of marriage and romantic love, his female characters, and the gender-crossing aspects of his male characters and his image - Novy traces a history of women trying to create a Shakespeare of their own. Charting an alternative course to the one emphasised by Sandra Gilbert and Susan Gubar in "The Madwoman in the Attic", which portrays the male-authored canon as alienating to women, Novy contends that the responses of women writers to Shakespeare often involve an appropriate creativity, a tradition of reading and rewriting male-authored texts to find their own concerns. After showing that women's fictional experiments as early as the 18th century and Jane Austen enter into dialogue with Shakespeare, Novy considers the engagements of women novelists with Shakespeare over the more than 250 years up to the 1990s. She discusses some women novelists' identification with his female characters, and the more surprising occasional identification with his status as an outsider, as well as the many different novelistic transformations of his plots. She also shows that for many women novelists, beginning with Charlotte Bronte and George Eliot, the wide-ranging sympathy associated with Shakespeare could be a congenial ideal - up to a point. Novy demonstrates how Eliot's novels "Felix Holt", "Middlemarch", and "Daniel Deronda", especially, take on new meanings when seen as in dialogue with Shakespeare. She explores the changes between Eliot's responses and those of early 20th century modernists - Willa Cather, Virginia Woolf, and Iris Murdoch - and then marks the emergence of more explicit feminist protest in the works of such novelists as Margaret Drabble and Margaret Atwood. Finally, she discusses recent works by Angela Carter, Nadine Gordimer, Gloria Naylor, and Jane Smiley, as well as Drabble, that engage with Shakespeare and contemporary cultural hybridity, thereby repositioning Shakespeare as part of a global multiculturalism. "My hope in this book", writes Novy, "is not only to give women novelists a larger place in Shakespearean cultural studies but also to contribute to a feminist criticism that does not perceive men's writing as monolithic. I am trying to combine two different modes of feminist criticism - the kind that is interested in texts by women as a group, contrasting them with texts by men, and the kind that is interested in breaking down dichotomies between texts by women and texts by men".
- Sales Rank: #7242320 in Books
- Published on: 1994-04
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.50" w x 1.00" l,
- Binding: Hardcover
- 271 pages
Review
"A cogent reconsideration of the preoccupations of several literary periods and a polished intellectual exercise. . . . A narrower criticism might want to fault Novy for an overly sensitive ear to echoes and allusions, and for sometimes hesitating to entertain a more radical feminist ideology. An open evaluation would prefer to praise the uniqueness of her exploration of a vital ctional tradition, and her interpretation of increasingly competing rewritings of Shakespeare's mythical abilities." -- Shakespeare Survey
"A stimulating and signicant contribution to women's studies . . . has a good deal to offer the George Eliot specialist." -- George Eliot-George Henry Lewes Newsletter
"Novy explores the tradition of women 'shaping and responding to Shakespeare's cultural presence' from Aphra Behn to Angela Carter, with emphasis on Austen, Bront, and (centrally) Eliot, the 'female Shakespeare.' Novy is 'engaged' both with the texts and in an extended dialogue with other critics, particularly (but not exclusively) feminists, on the issue of whether women writers have been typically hostile or receptive to the male canon. She convincingly traces a thread of 'appropriative creativity' in their 'writing back' at Shakespeare, changing his plots, embracing and repudiating his 'sympathy,' and developing an 'increasing self-consciousness about the gender-crossing involved in appropriating him.'" -- Choice
"Novy has no diffculty in showing that women novelists, from the late 18th century on, made specific and focused use of Shakespeare for their own purposes." -- Times Higher Education Supplement
"Novy is interested in developing a genealogy of women novelists, from Aphra Behn to Margaret Drabble. She discusses these novelists' influences on one another as well as Shakespeare's influence on them. Especially impressive is Novy's carefully wrought study of George Eliot's evolving relationship to Shakespeare. . . . rich in the kinds of examples that will help to connect feminist Shakespeare studies with other theoretical approaches." -- Shakespeare Quarterly
From the Back Cover
In Engaging with Shakespeare, Marianne Novy considers the contributions of women novelists in shaping and responding to Shakespeare's cultural presence. Paying particular attention to issues related to gender or to ideologies of gender - especially the ways in which women writers use Shakespeare's plots of marriage and romantic love, his female characters, and the gender-crossing aspects of his male characters and his image - Novy traces a history of women trying to create a Shakespeare of their own. Charting an alternative course to the one emphasized by Sandra Gilbert and Susan Gubar in The Madwoman in the Attic, which portrays the male-authored canon as alienating to women, Novy contends that the responses of women writers to Shakespeare often involve an appropriative creativity, a tradition of reading and rewriting male-authored texts to find their own concerns. After showing that women's fictional experiments as early as the eighteenth century and Jane Austen enter into dialogue with Shakespeare, Novy considers the engagements of women novelists with Shakespeare over the more than 250 years up to the 1990s. She discusses some women novelists' identification with his female characters, and the more surprising occasional identification with his status as an outsider, as well as the many different novelistic transformations of his plots. She also shows that for many women novelists, beginning with Charlotte Bronte and George Eliot, the wide-ranging sympathy associated with Shakespeare could be a congenial ideal - up to a point. Novy demonstrates how Eliot's novels Felix Holt, Middlemarch, and Daniel Deronda, especially, take on new meanings when seen as in dialogue with Shakespeare.She explores the changes between Eliot's and those of early twentieth-century modernists - Willa Cather, Virginia Woolf and Iris Murdoch - and then marks the emergence of more explicit feminist protest in the works of such novelists as Margaret Drabble and Margaret Atwood. Finally, she discusses recent works by Angela Carter, Nadine Gordimer, Gloria Naylor, and Jane Smiley, as well as Drabble, that engage Shakespeare and contemporary cultural hybridity, thereby repositioning Shakespeare as part of a global multiculturalism.
About the Author
Marianne Novy is Professor of English and former Director of Women's Studies at the University of Pittsburgh. She is the author of"Love's Argument: Gender Relations in Shakespeare" and the editor of "Women's Re-Visions of Shakespeare,"
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