Theatre

Andrea, Bernadette. “Coming Out in Margaret Cavendish’s Closet Dramas.” In-between: Essays and Studies in Literary Criticism 9, no. 1–2 (2000): 219–41.

Bennett, Alexandra G. “Fantastic Realism: Margaret Cavendish and the Possibilities of Drama.” In Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish, edited by Line Cottegnies and Nancy Weitz, 179–94. Cranbury: Associated University Presses, 2003.

—. “Margaret Cavendish and the Theatre of War.” In Ashgate Critical Essays on Women Writers in England, 1550–1700, vol. 7, edited by Sara H. Mendelson, , 103–13. Burlington: Ashgate, 2009.

—. “Testifying in the Court of Public Opinion: Margaret Cavendish Reworks The Winter’s Tale.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 85–102. Burlington: Ashgate, 2006.

Bonin, Erin Lang. “Margaret Cavendish’s Dramatic Utopias and the Politics of Gender.” Studies in English Literature, 1500–1900, vol. 40, no. 2 (2000): 339–54.

Botonaki, Effie. “Marching on the Catwalk and Marketing the Self: Margaret Cavendish’s Autobiography.” A|B: Auto|Biography Studies 13, no. 2 (1998): 159–81.

Chalmers, Hero, Julie Sanders, and Sophie Tomlinson. Three Seventeenth-Century Plays on Women and Performance. Manchester: Manchester University Press, 2006.

Cuder Domínguez, Pilar. “Re-Crafting the Heroic, Constructing a Female Hero: Margaret Cavendish and Aphra Behn.” SEDERI: Yearbook of the Spanish and Portuguese Society for English Renaissance Studies 17 (2007): 28–46.

—. Stuart Women Playwrights, 1613–1713. Burlington: Ashgate, 2011.

D’Monté, Rebecca Ann. “‘Making a Spectacle’: Margaret Cavendish and the Staging of the Self.” In A Princely Brave Woman: Essays on Margaret Cavendish, Duchess of Newcastle, edited by Stephen Clucas, 109–26. Aldershot: Ashgate, 2003.

—. “Mirroring Female Power: Separatist Spaces in the Plays of Margaret Cavendish, Duchess of Newcastle.” In Female Communities, 1600–1800: Literary Visions and Cultural Realities, edited by Rebecca D’Monté and Nicole Pohl, 93–110. London: Macmillan Press Limited, 2000.

—. “Re-presenting the Female Body in Seventeenth-Century Drama: The Plays of Margaret Cavendish, Duchess of Newcastle, and Aphra Behn.” PhD diss., University of London, 2000.

Dash, Irene G. “Single-Sex Retreats in Two Early Modern Dramas: Love’s Labor’s Lost and The Convent of Pleasure.” Shakespeare Quarterly 47, no. 4 (1996): 387–95.

DeRosa, Robin. “‘What Have I On a Petticoat?’: The Convent of Pleasure and the Reality of Performance.” Postscript: A Journal of Graduate School Criticism and Theory 5, no. 2 (2000): 79–90.

Eger, Elizabeth. “Paper Trails and Eloquent Objects: Bluestocking Friendship and Material Culture.” Parergon: Journal of the Australian and New Zealand Association for Medieval and Early Modern Studies 26, no. 2 (2009): 109–38.

Farmer, Amy Lynn. “The Rhetoric of Distance: Symbolic Capital and Women’s Textual Practices in Seventeenth-Century England.” PhD diss., University of Illinois at Urbana-Champaign, 2000.

Ferguson, Moira. “Margaret Lucas Cavendish: A ‘Wise, Wittie and Learned Lady.’” In Women Writers of the Seventeenth Century, edited by Katharina M. Wilson and Frank J. Warnke, 305–40. Athens: University of Georgia Press, 1989.

Findlay, Alison, Gweno Williams, and Stephanie J. Hodgson-Wright. “‘The Play Is Ready To be Acted’: Women and Dramatic Production, 1570–1670.” Women’s Writing 6, no. 1 (1999): 129–48.

Findlay, Alison. “‘I hate such an old-fashioned House’: Margaret Cavendish and the search for home.” Early Modern Literary Studies Special Issue 14 (2004): 11.1–14.

—. “Playing the ‘Scene Self’: Jane Cavendish and Elizabeth Brackley’s The Concealed Fancies.” In Enacting Gender on the English Renaissance Stage, edited by Vivana Comensoli and Anne Russell, 154–76. Urbana: University of Illinois Press, 1999.

Fitzmaurice, James. “Margaret Cavendish, Richard Flecknoe, and Raillery at the Salon of Beatrix de Cusance.” English Studies 92, no. 7 (2011): 771–85.

—. “Shakespeare, Cavendish, and Reading Aloud in Seventeenth-Century England.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 29–46. Burlington: Ashgate, 2006.

—. “The Lotterie: A Transcription of a Manuscript Play Probably by Margaret Cavendish.” Huntington Library Quarterly: Studies in English and American History and Literature 66, no.1–2 (2003): 155–67.

—. “‘When an Old Ballad Is Plainly Sung’: Musical Lyrics in the Plays of Margaret and William Cavendish.” In Oral Traditions and Gender in Early Modern Literary Texts, edited by Mary Ellen Lamb and Karen Bamford, 153–67. Aldershot: Ashgate, 2008.

Fitzmaurice, Susan M. “‘But, Madam’: The Interlocutor in Margaret Cavendish’s Writing.” In-between: Essays and Studies in Literary Criticism 9, no. 1–2 (2000): 17–27.

—. “Intersubjectivity and the Writing of the Epistolary Interlocutor.” In The Familiar Letter in Early Modern English, by Susan Fitzmaurice, 175–206. Philadelphia: John Benjamins, 2002.

—. “Sociable Letters, Acts of Advice and Medical Counsel.” In The Familiar Letter in Early Modern English, edited by Susan Fitzmaurice, 87–128. Philadelphia: John Benjamins, 2002.

Fleming, Juliet. “Margaret Cavendish, Shakespeare Critic.” In A Feminist Companion to Shakespeare, edited by Dympna Callaghan, 21–41. Malden: Blackwell Publishers, 2000.

Gagen, Jean. “Honor and Fame in the Works of the Duchess of Newcastle.” Studies in Philology 56, no. 3 (1959): 519–38.

Gardiner, Judith Kegan. “‘Singularity of Self’: Cavendish’s True Relation, Narcissism, and the Gendering of Individualism.” Restoration: Studies in English Literary Culture, 1660–1700 21, no. 2 (1997): 52–65.

Geard, Jennifer Louise. “Sovereign Virtue, Singular Fame: Margaret Cavendish’s Self-Construction as Woman and Author, and the Roles She Sees for Women as Thinkers and Beautiful Tyrants in Natures Pictures Drawn by Fancies Pencil to the Life.” Master’s thesis, University of Canterbury, 1992.

Margaret Cavendish: Plays in Performance. DVD. Directed by Gweno Williams and Chris Wood. York: Margaret Cavendish Performance Project, 2004.

Haber, Judith. Desire and Dramatic Form in Early Modern England. Cambridge: Cambridge University Press, 2009.

Hays, Jennifer A. “The Feminist Themes in the Plays of Margaret Cavendish, Duchess of Newcastle.” Master’s thesis, Florida State University, 1993.

Hiscock, Andrew. “‘Here’s No Design, No Plot, nor Any Ground’: The Drama of Margaret Cavendish and the Disorderly Woman.” Women’s Writing 4, no. 3 (1997): 401–20.

Hopkins, Lisa. “Play Houses: Drama at Welbeck and Bolsover,” Early Theatre 2 (1999): 25–44.

—. “Crime and Context in The Unnatural Tragedy.” Early Modern Literary Studies Special Issue 14 (2004): 6.1–12.

Jankowski, Theodora A. “Pure Resistance: Queer(y)ing Virginity in William Shakespeare’s Measure for Measure and Margaret Cavendish’s The Convent of Pleasure.” Shakespeare Studies 26 (1998): 218–55.

—. Women in Power in the Early Modern Drama. Urbana: University of Illinois Press, 1992.

Katritzky, M.A. Women, Medicine and Theatre, 1500–1750: Literary Mountebanks and Performing Quacks. Aldershot: Ashgate, 2007.

Kellett, Katherine R. “Performance, Performativity, and Identity in Margaret Cavendish’s The Convent of Pleasure.” Studies in English Literature, 1500–1900 48 no. 2 (2008): 419–42.

Kelly, Erna. “Drama’s Olio: A New Way to Serve Old Ingredients in The Religious and The Matrimonial Trouble.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 47–62. Burlington: Ashgate, 2006.

Kramer, Annette Felice. “Intriguing Differences: Plotting and Gender in Seventeenth and Eighteenth-Century Women’s Drama.” PhD diss., Brown University, 2003.

—. “‘Thus by the Musick of a Ladyes Tongue’: Margaret Cavendish’s Dramatic Innovations in Women’s Education.” Women’s History Review 2, no. 1 (1993): 57–79.

Leduc, Guyonne. “Women’s Education in Margaret Cavendish’s Plays.” Cercles 4 (2002): 16–38.

Masten, Jeffrey. “Material Cavendish: Paper, Performance, ‘Sociable Virginity.’” MLQ: Modern Language Quarterly 65, no. 1 (2004): 49–68.

—. “Mistris Corrivall: Margaret Cavendish’s Dramatic Production.” In Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama, by Jeffrey Masten, 156–64. Cambridge: Cambridge University Press, 1997.

McMullan, Gordon. “‘Plenty of blood. That’s the only writing’: (Mis)Representing Jacobean Tragedy in Turn-of-the-Century Cinema.” In The Spectacular In and Around Shakespeare, edited by Pascale Drouet, 123–36. Newcastle upon Tyne: Cambridge Scholars, 2009.

Miller, Nancy Weitz. “Gender, Class, and Conflicting Ideology in Margaret Cavendish’s Bell in Campo and The Convent of Pleasure.” Master’s thesis, Ohio State University, 1992.

Miller, Shannon. “‘Thou Art a Moniment, without a Tombe’: Affiliation and Memorialization in Margaret Cavendish’s Playes and Plays, Never before Printed.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 7–28. Burlington: Ashgate, 2006.

Mosher, Joyce Delvin. “Female Spectacle as Liberation in Margaret Cavendish’s Plays.” Early Modern Literary Studies 11, no. 1 (2005): 7.1–28.

Nelson, Holly Faith, and Sharon Alker. “Memory, Monuments, and Melancholic Genius in Margaret Cavendish’s Bell in Campo.” Eighteenth Century Fiction 21, no. 1 (2008): 13–35.

Olbricht, Erika Mae. “Class in Seventeenth-Century British Drama by Women.” PhD diss., University of New Hampshire, 1999.

Palmer, Barbara D. “Early Modern Mobility: Players, Payments, and Patrons.” Shakespeare Quarterly 56, no. 3 (2005): 259–305.

Pasupathi, Vimala C. “Contexts for Teaching Margaret Cavendish’s Bell in Campo.” In Teaching British Women Playwrights of the Restoration and Eighteenth Century, edited by Bonnie Nelson and Catherine Burroughs, 348–55. New York: Modern Language Association of America, 2010.

—. “New Model Armies: Re-contextualizing the Camp in Margaret Cavendish’s Bel in Campo.” ELH 78, no. 3 (2011): 657–85.

—. “Old Playwrights, Old Soldiers, New Martial Subjects: The Cavendishes and the Drama of Soldiery.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 121–46. Burlington: Ashgate, 2006.

Payne, Linda R. “Dramatic Dreamscape: Women’s Dreams and Utopian Vision in the Works of Margaret Cavendish, Duchess of Newcastle.” In Curtain Calls: British and American Women and the Theater, 1660–1830, edited by Mary Anne Schofield and Cecilia Macheski, 18–33. Athens: Ohio University Press, 1991.

—. “Genre and Gender: Women as Writers of Prose Fiction and Drama in Restoration and Early Eighteenth Century England.” PhD diss., University of Delaware, 1991.

Peacock, Judith. “Writing for the Brain and Writing for the Boards: the Producibility of Margaret Cavendish’s Dramatic Texts.” In A Princely Brave Woman: Essays on Margaret Cavendish, Duchess of Newcastle, edited by Stephen Clucas, 87–108. Aldershot: Ashgate, 2003.

Pearson, Jacqueline. “‘Women May Discourse…as Well as Men:’ Speaking and Silent Women in the Plays of Margaret Cavendish, Duchess of Newcastle.” Tulsa Studies in Women’s Literature 4, no. 1 (1985): 33–45.

Pedersen, Tara. “Confounding Categories of Knowledge: Mermaids in Early Modern English Theatrical Culture.” PhD diss., University of California, Davis, 2009.

—. “‘We shall discover our Selves’: Practicing the Mermaid’s Law in Margaret Cavendish’s The Convent of Pleasure.” Early Modern Women: An Interdisciplinary Journal 5 (2010): 111–35.

Perry, Henry Ten Eyck. The First Duchess of Newcastle and Her Husband as Figures in Literary History. Boston: Ginn and Company, 1918.

Peterson, Lesley. “Defects Redressed: Margaret Cavendish Aspires to Motley.” Early Modern Literary Studies Special Issue 14 (2004): 8.1–30.

Poston, Mervyn L. “The Origin of the English Heroic Play.” The Modern Language Review 16, no. 1 (1921): 18–22.

Powers, Rhonda R. “A Contextual Analysis of Female Education and Discursive Power in Margaret Cavendish’s Dramas, The Female Academy and Youths Glory and Deaths Banquet.” PhD diss., Southwest Missouri State University, 2000.

—. “Margaret Cavendish and Shakespeare’s Ophelia: Female Role-Playing and Self-Fashioned Identity.” In-between: Essays and Studies in Literary Criticism 9 (2000): 107–15.

Raber, Karen L. Dramatic Difference: Gender, Class, and Genre in the Early Modern Closet Drama. Newark: University of Delaware Press, 2001.

—. “‘Our Wits Joined as in Matrimony’: Margaret Cavendish’s Playes and the Drama of Authority.” English Literary Renaissance 28, no. 3 (1998): 464–93.

—. “Warrior Women in the Plays of Cavendish and Killigrew.” Studies in English Literature, 1500–1900 40, no. 3 (2000): 413–33.

Raber, Karen. “The Unnatural Tragedy and Familial Absolutisms.” In Cavendish and Shakespeare: Interconnections, edited by Katherine Romack and James Fitzmaurice, 179–91. Aldershot: Ashgate, 2006.

Rackin, Phyllis. Shakespeare and Women. New York: Oxford University Press, 2005.

Chalmers, Hero, Julie Sanders, and Sophie Tomlinson. Three Seventeenth-Century Plays on Women and Performance. Manchester: Manchester University Press, 2006.

Raylor, Timothy. “‘Pleasure Reconciled to Virtue’: William Cavendish, Ben Jonson, and the Decorative Scheme of Bolsover Castle.” Renaissance Quarterly 52, no. 2 (1999): 402–39.

Rees, Emma L.E. Margaret Cavendish: Gender, Genre, Exile. Manchester: Manchester University Press, 2003.

Roberts, Jeanne Addison. “Margaret Cavendish Plays with Shakespeare.” Renaissance Papers (1997): 113–124.

Robinson, David Michael. “Pleasant Conversation in the Seraglio: Lesbianism, Platonic Love, and Cavendish’s Blazing World.” The Eighteenth Century 44 (2003): 133–66.

Romack, Katherine. “‘I wonder she should be so Infamous for a Whore?’: Cleopatra Restored.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 193–211. Burlington: Ashgate, 2006.

—. “Women and Representational Practice, 1642–1660.” PhD diss., Syracuse University, 2000.

Rosenthal, Laura J. “Reading Masks: The Actress and the Spectatrix in Restoration Shakespeare.” In Broken Boundaries: Women & Feminism in Restoration Drama, edited by Katherine M. Quinsey, 201–218. Lexington: University Press of Kentucky, 1996.

Rudan, Paola. “Il Centro Eccentrico: Le Donne, Il Femminismo e Il Soggetto a Sesso Unico.” Filosofia Politica 25, no. 3 (2011): 365–83.

S.K.C. “Poems and Plays by the Duchess of Newcastle.” Blackwood’s Edinburgh Magazine 4, no. 21 (1818): 309–13.

Sanders, Julie. “‘A Woman Write a Play!’: Jonsonian Strategies and the Dramatic Writings of Margaret Cavendish; or, Did the Duchess Feel the Anxiety of Influence?” In Readings in Renaissance Women’s Drama: Criticism, History, and Performance, 1594–1998, edited by S.P. Cerasano and Marion Wynne-Davies, 293–305. London: Routledge, 1998.

Schabert, Ina. “The Theatre in the Head: Performances of the Self for the Self by the Self.” In Solo Performances: Staging the Early Modern Self in England, edited by Ute Berns, 33–48. Amsterdam: Rodopi, 2010.

Shaver, Anne, ed. The Convent of Pleasure and Other Plays. Baltimore: Johns Hopkins University Press, 1999.

Siegfried, Brandie R. “Dining at the Table of Sense: Shakespeare, Cavendish, and The Convent of Pleasure.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 63–83. Burlington: Ashgate, 2006.

Sierra, Horacio. “Convents as Feminist Utopias: Margaret Cavendish’s The Convent of Pleasure and the Potential of Closeted Dramas and Communities.” Women’s Studies 38, no. 6 (2009): 647–69.

Straznicky, Marta. Privacy, Playreading, and Women Closet Drama, 1550–1700. Cambridge: Cambridge University Press, 2004.

—. “Reading the Stage: Margaret Cavendish and Commonwealth Closet Drama.” Criticism 37, no. 3 (1995): 355–90.

Sullivan, Patricia A. “Education and the Style of Seventeenth-Century Women Writers: The Case of Margaret Cavendish.” Master’s thesis, St. Louis University, 1975.

Suzuki, Mihoko. “Gender, the Political Subject, and Dramatic Authorship: Margaret Cavendish’s Loves Adventures and the Shakespearean Example.” In Cavendish and Shakespeare, Interconnections, edited by Katherine Romack and James Fitzmaurice, 103–20. Burlington: Ashgate, 2006.

—. “Margaret Cavendish and the Female Satirist.” Studies in English Literature, 1500–1900 37, no. 3 (1997): 483–500.

—. “Recognizing Women’s Dramas as Political Writings: The Plays of 1701 by Wiseman, Pix, and Trotter.” Women’s Writing 18, no. 4 (2011): 547–64.

Tomlinson, Sophie. “‘My Brain the Stage’: Margaret Cavendish and the Fantasy of Female Performance.” In Women, Texts, and Histories, edited by Diane Purkiss and Clare Brant, 133–62. London: Routledge, 1992.

—. “Too Theatrical? Female Subjectivity in Caroline and Interregnum Drama.” Women’s Writing 6, no. 1 (1999): 65–79.

—. Women on Stage in Stuart Drama. Cambridge: Cambridge University Press, 2005.

Tuerk, Cynthia M. “The Duchess of Newcastle and John Lacy’s Sauny the Scot.” Notes and Queries 42, no. 4 (1995): 450–51.

Venet, Gisèle. “Margaret Cavendish’s Drama: An Aesthetic of Fragmentation.” In Authorial Conquests: Essays on Genre in the Writings of Margaret Cavendish, edited by Line Cottegnies and Nancy Weitz, 213–28. Cranbury: Associated University Presses, 2003.

Watson, Jack, and Annie McGregor. “‘To Help Rule the World’: Women and Power in the Plays of Margaret Cavendish.” Theatre Annual 45 (1991): 8–24.

Williams, Gweno. “‘No Silent Woman’: The Plays of Margaret Cavendish, Duchess of Newcastle.” In Women and Dramatic Production, 1550–1700, edited by Alison Findlay, Stephanie Hodgson-Wright, and Gweno Williams, 95–122. Harlow: Longman, 2000.

—. “‘Why May Not a Lady Write a Good Play?’: Plays by Early Modern Women Reassessed as Performance Texts.” In Readings in Renaissance Women’s Drama, edited by S.P. Cerasano and Marion Wynne-Davies, 95–107. London: Routledge, 1998.

Wiseman, Susan. “Margaret Cavendish among the Prophets: Performance Ideologies and Gender in and after the English Civil War.” Women’s Writing 6, no. 1 (1999): 95–111.

—. “Gender and Status in Dramatic Discourse Margaret Cavendish, Duchess of Newcastle.” In Drama and Politics in the English Civil War, by Susan Wiseman, 91–113. Cambridge: Cambridge University Press, 1998.

Wood, Tanya Caroline. “The Fall and Rise of Absolutism: Margaret Cavendish’s Manipulation of Masque Conventions in The Claspe, Fantasmes Masque and The Blazing World.” In-between: Essays and Studies in Literary Criticism 9, no. 1–2 (2000): 287–99.

Wynne-Davies, Marion. “‘How Great is Thy Change’: Familial Discourse in the Cavendish Family.” In A Princely Brave Woman: Essays on Margaret Cavendish, Duchess of Newcastle, edited by Stephen Clucas, 40–50. Aldershot: Ashgate, 2003.