By Ariane M. Balizet
In this quantity, the writer argues that blood was once, crucially, a method in which dramatists negotiated transferring contours of domesticity in sixteenth and seventeenth century England. Early smooth English drama vividly addressed modern debates over an increasing proposal of "the domestic," which encompassed the domus in addition to intercourse, parenthood, family order, the connection among domestic and country, and the connections among kinfolk honor and nationwide identification. the writer contends that the family ideology expressed via theatrical depictions of marriage and family order is one equipped at the simultaneous familiarity and violence inherent to blood.
The theatrical relation among blood and residential is much extra problematic than the idealized language of the familial bloodline; the house used to be itself a bloody position, with family bloodstains signifying a number of stories together with spiritual worship, intercourse, homicide, beginning, therapeutic, and holy justice. targeting 4 bleeding figures—the Bleeding Bride, Bleeding Husband, Bleeding baby, and Bleeding Patient—the writer argues that the family blood of the early glossy level not just expressed the violence and clash occasioned via family ideology, but additionally confirmed the house as a domain that alternately reified and challenged patriarchal authority.
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Extra info for Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage (Routledge Studies in Renaissance Literature and Culture)
Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage (Routledge Studies in Renaissance Literature and Culture) by Ariane M. Balizet