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Depledge, Emma

Nom
Depledge, Emma
Affiliation principale
Site web
Fonction
Full Professor
Email
Emma.Depledge@Unine.ch
Identifiants
https://libra.unine.ch/handle/123456789/1205
_
0000-0002-3942-1385

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  • Publication
    Accès libre
    Gender, Politics, and the Utopian Impulse in Late Seventeenth-Century English Literature
    (2023-10-20)
    Jackson, Honor 
    ;
    Depledge, Emma 
    This thesis examines the genre of utopian fiction in the context of political and historical developments in England between the Restoration of the monarchy in 1660, the Restoration Crisis of 1678-1685, and its immediate aftermath. My thesis uses and outlines the usefulness of the term ‘utopian impulse’, by which I mean a text which can be seen to consistently turn to and engage with the tropes of the utopian tradition rather than relying on strict and ever-changing genre distinctions of form or content. This allows me to draw on poetic, dramatic and prose texts by canonical and lesser-known male and female writers from across the political spectrum in order to look at how utopian tropes were being negotiated and adapted in response to changing political and social circumstances. I do so in order to address and correct a critical assumption that it is the period up to and surrounding the English Civil Wars and Interregnum which saw the significant bulk of utopian publication, and that the Restoration marks a period of decline. I instead posit that the Restoration period had a significant and profound impact on the utopian tradition, and argue that analysis of the utopian impulse in late seventeenth-century texts provides important insight into relations between the sexes, the position of women in politics and society, the hopes and fears of contemporary authors and citizens, and the development of the genre of utopian literature.
  • Publication
    Accès libre
    “With a paper of scurvy verses fastened to thy breast”: Female Theatricality, Stage Metaphors and Competing Textual Appropriations of the Female Body in Four Early Modern Comedies
    (2023-06)
    Camponovo, Simone Francesco
    ;
    Depledge, Emma 
    This mémoire project investigates how the advent of the professional actress in Restoration England shaped the crafting of female characters and the staging of the female body in four early modern-century comedies: All’s Well That Ends Well, The Convent of Pleasure, Enchanted Island and The Rover. Combining stage history and feminist critical approaches, this thesis suggests that, by establishing an analogy between the theatrical space and their settings, the four plays examined expose patriarchal anxieties surrounding the empowering potential of female theatricality. Drawing from Judith Butler’s theories of gender performativity, it also examines how the comedies dramatize female and male competing endeavours to reappropriate the female body/text by rewriting it as a theatrical script. Focusing on Shakespeare’s play, Chapter 1 suggests that Helen can be read as a female itinerant player performing on several make-shift stages at a time when actresses were excluded from the commercial theatre. It also examines how the heroine subtracts herself from male characters’ linguistic constructions of the female body, gradually depriving them of any authorial agency. Chapter 2 concentrates on Margaret Cavendish’s pastoral play and the spatial analogy established between the closet drama genre and Lady Happy’s Convent; considering the alternation between the sections of the play written by Margaret and those written by William Cavendish, it also analyses how the Prince(ss)’s interference in the Convent Ladies’ theatricals reduces the protagonist into voicelessness. Chapter 3 first examines metatheatrical allusions to the sexual availability of the female bodies/characters inhabiting the theatre-like island of Davenant and Dryden’s tragicomedy; it then suggests that the dramatists’ appropriation of Shakespeare’s Tempest is reproduced on the plot level by male characters’ rewritings the female bodies on the stage. Chapter 4 suggests that in Behn’s play female characters exploit the subversive potential of masquerade to manipulate the male gaze through theatrical and visual self-advertisement. It also examines how women’s theatrical empowerment is violently repressed by male characters who rewrite female narratives by distorting the notion of consent and legitimizing rape.
  • Publication
    Accès libre
    Making Milton: Print, Authorship, Afterlives
    (Oxford: Oxford University Press, 2021)
    Nicosia, Marisa
    ;
    Garrison, John
    ;
    Depledge, Emma 
    This volume consists of fourteen original essays that showcase the latest thinking about John Milton's emergence as a popular and canonical author. Contributors consider how Milton positioned himself in relation to the book trade, contemporaneous thinkers, and intellectual movements, as well as how his works have been positioned since their first publication. The individual chapters assess Milton's reception by exploring how his authorial persona was shaped by the modes of writing in which he chose to express himself, the material forms in which his works circulated, and the ways in which his texts were re-appropriated by later writers. The Milton that emerges is one who actively fashioned his reputation by carefully selecting his modes of writing, his language of composition, and the stationers with whom he collaborated. Throughout the volume, contributors also demonstrate the profound impact Milton and his works have had on the careers of a variety of agents, from publishers, booksellers, and fellow writers to colonizers in Mexico and South America.