| Contents |
Introduction : the destined livery? : tragedy, performance, subject and spectator -- Part I. Realism and reinscription -- What we are, but not what we may be : the feminist Ophelia and the (re)production of gender -- An actor in the main of all : individual and relational selves in The Duchess of Malfi -- The natural father and the imaginary daughter : patriarchy as realism and representation in Titus -- Part II. Performance and performativity -- "Let me forget myself" : what a queen is good for in Edward II -- Death and the married maiden : gender reproduction as destruction in The broken heart -- Tricked like a bride : a new traffic in A woman killed with kindness -- Conclusion : cultural drag; or, Hamlet and Ophelia redux. |
