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dc.contributor.authorAebischer, Pascaleen_GB
dc.date.accessioned2013-01-24T16:20:34Zen_GB
dc.date.accessioned2013-01-28T13:35:24Zen_GB
dc.date.accessioned2013-03-20T13:56:38Z
dc.date.issued2008en_GB
dc.description.abstractEver since John Barton, in 1970, deliberately gave Measure for Measure an ‘open’ ending, the indeterminacy of the play’s conclusion has been widely recognised. It forms the crucial problem investigated by Philip McGuire’s chapter on the play in Speechless Dialect: Shakespeare’s Open Silences (1984), in which he analysed the six distinct ‘open silences’ that punctuate the last Act. This article revisists McGuire’s work in the light of more recent developments in theatre history and performance studies and investigates the relationship between rape, silence and politics in Act Five of Measure for Measure. Combining a reappraisal of Isabella’s silences in the light of Tiffany Stern’s work on actors’ parts with a theoretically self-conscious application of close reading techniques to archival records of a range of RSC performances (reviews, promptbooks, photographs, archival video recordings, actors’ and directors’ comments), I show how Isabella’s silent body in performance generates political meanings that can only be decoded through detailed attention to the performance text and its relation to its historical context.en_GB
dc.identifier.citationVol. 27, pp. 1 - 23en_GB
dc.identifier.urihttp://hdl.handle.net/10036/4215en_GB
dc.publisherJohns Hopkins University Pressen_GB
dc.relation.replaceshttp://hdl.handle.net/10036/4206en_GB
dc.relation.replaces10036/4206en_GB
dc.relation.urlhttp://muse.jhu.edu/journals/shakespeare_bulletin/en_GB
dc.rights.embargoreasonAwaiting publisher permissionen_GB
dc.titleSilence, Rape and Politics in 'Measure for Measure': Close Readings in Theatre History.en_GB
dc.typeArticleen_GB
dc.date.available2013-01-31T05:00:06Zen_GB
dc.date.available2013-03-20T13:56:38Z
dc.identifier.issn0748-2558en_GB
exeter.place-of-publicationUSAen_GB
dc.descriptionPost print version of article deposited in accordance with SHERPA RoMEO guidelines. Copyright © 2008, Johns Hopkins University Press. This article first appeared in Shakespeare Bulletin Vol.27 pp 1-23. Reprinted with permission by The Johns Hopkins University Press.en_GB
dc.identifier.journalShakespeare Bulletinen_GB


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