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The Palgrave Handbook of Shakespeare's Queens
“Nothing Hath Begot My Something Grief”: Invisible Queenship in Shakespeare’s Second Tetralogy
other
Author(s):
Kavita Mudan Finn
,
Lea Luecking Frost
Publication date
(Online):
July 21 2018
Publisher:
Springer International Publishing
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Showing Like a Queen: Female Authority and Literary Experiment in Spenser, Shakespeare, and Milton
Katherine Eggert
(2000)
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The Last Plantagenet Consorts
Kavita Finn
(2012)
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Elizabeth I
Ilona Bell
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Publication date (Print):
2018
Publication date (Online):
July 21 2018
Pages
: 227-249
DOI:
10.1007/978-3-319-74518-3_13
SO-VID:
713662cd-0c53-4ad7-b276-00c8c951a919
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Book chapters
pp. 1
Introduction
pp. 9
Stagecraft and Statecraft: Queenship and Theatricality on the Shakespearean Stage
pp. 29
Shakespeare’s Queens and Collective Forces: Facing Aristocracy, Dealing with Crowds
pp. 55
“I Trust I May Not Trust Thee”: Queens and Royal Women’s Visions of the World in King John
pp. 69
Cordelia, Foreign Queenship, and the Commonweal
pp. 87
“Tremble at Patience”: Constant Queens and Female Solidarity in The Two Noble Kinsmen and The Winter’s Tale
pp. 107
“To Beare the Name of a Quéene”: Eleanor, Duchess of Gloucester and Lady Macbeth: Queenship and Motherhood
pp. 127
Womb Rhetoric: The Martial Maternity of Volumnia, Tamora, and Elizabeth I
pp. 145
“Good queen, my lord, good queen”: Royal Mothers in Shakespeare’s Plays
pp. 163
Margaret of Anjou and the Rhetoric of Sovereign Vengeance
pp. 183
“I Can No Longer Hold Me Patient!”: Margaret, Anger, and Political Voice in Richard III
pp. 203
Shakespeare’s Cleopatra as Meta-Theatrical Monarch
pp. 227
“Nothing Hath Begot My Something Grief”: Invisible Queenship in Shakespeare’s Second Tetralogy
pp. 251
The Queen’s Two Bodies in The Winter’s Tale
pp. 271
The Political Aesthetics of Anne Boleyn’s Queenship in Henry VIII
pp. 295
The Fortification and Containment of Elizabeth I’s Rhetoric and Performance in Shakespeare and Fletcher’s Henry VIII
pp. 313
The Princess’ Political Mission in Love’s Labour’s Lost: The Embassy to Get Aquitaine and “All that Is” Navarre’s
pp. 331
Katherine of Aragon, Protestant Purity, and the Anxieties of Cultural Mixing in Shakespeare and Fletcher’s Henry VIII
pp. 355
“The Ambition in My Love”: The Theater of Courtly Conduct in All’s Well that Ends Well
pp. 375
As Wise as She Is Beautiful: Reconciling Shakespeare’s Fairy Queen and Spenser’s Faerie Queene
pp. 395
The Princess of France: Difference and Dif(fé)rance in Love’s Labour’s Lost
pp. 413
“A Gap in Nature”: Rewriting Cleopatra Through Antony and Cleopatra’s Cosmology
pp. 431
En un infierno los dos: Katherine of Aragon and Anne Boleyn in Shakespeare & Fletcher’s Henry VIII and Calderón’s La cisma de Inglaterra
pp. 455
Margaret of Anjou: Shakespeare’s Adapted Heroine
pp. 475
The Bard, the Bride, and the Muse Bemused: Katherine of Valois on Film in Shakespeare’s Henry V
pp. 503
The “Squeaking Cleopatra Boy”: Performance of the Queen’s Two Bodies on the Early Modern Stage
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