Conjuring the wild woman on stage : A reading of selected women{u2019}s plays /
Nesma Youssef Idris
Conjuring the wild woman on stage : A reading of selected womens plays / استحضار المرأة البريت على خشبت المسرح : قراءة لنصوص مختارة من المسرح النسائي Nesma Youssef Idris ; Supervised Sahar Sobhi Abdelhakim - Cairo : Nesma Youssef Idris , 2019 - 193 P. ; 25cm
Thesis (Ph.D.) - Cairo University - Faculty of Arts - Department of English
Drama is a field of artistic expression that has classically excluded women. Women artists and womens studies came rather late to this field. This thesis argues that despite the delayed entrance or perhaps on account of it, womens contribution made a leap that bypassed the linear development of feminist studies. The development of womens studies which is charted as movements defined as successive 2waves3, marks a steady path but one that eventually came to a relative standstill. Through the analysis of four plays written by women, the thesis argues that theatric contribution of women since the 1950 to 2012 can be read as a major contributor to womens studies through gradually transcending all labeled endeavors and moving towards the liberation of women by posing a new trend for their advancement. It argues that, put together, the four plays under discussion suggest a theory of 2letting go3 of all that hampered women. It reveals their rewriting of their identity in a way that transcends the steadfast definition, clustering and labeling of them. The study focuses on the four plays efforts at conjuring the Wild Woman archetype, hence allowing women to reconnect with their inner selves in ways that psychologically empower them
Drama Feminist Theatre
Conjuring the wild woman on stage : A reading of selected womens plays / استحضار المرأة البريت على خشبت المسرح : قراءة لنصوص مختارة من المسرح النسائي Nesma Youssef Idris ; Supervised Sahar Sobhi Abdelhakim - Cairo : Nesma Youssef Idris , 2019 - 193 P. ; 25cm
Thesis (Ph.D.) - Cairo University - Faculty of Arts - Department of English
Drama is a field of artistic expression that has classically excluded women. Women artists and womens studies came rather late to this field. This thesis argues that despite the delayed entrance or perhaps on account of it, womens contribution made a leap that bypassed the linear development of feminist studies. The development of womens studies which is charted as movements defined as successive 2waves3, marks a steady path but one that eventually came to a relative standstill. Through the analysis of four plays written by women, the thesis argues that theatric contribution of women since the 1950 to 2012 can be read as a major contributor to womens studies through gradually transcending all labeled endeavors and moving towards the liberation of women by posing a new trend for their advancement. It argues that, put together, the four plays under discussion suggest a theory of 2letting go3 of all that hampered women. It reveals their rewriting of their identity in a way that transcends the steadfast definition, clustering and labeling of them. The study focuses on the four plays efforts at conjuring the Wild Woman archetype, hence allowing women to reconnect with their inner selves in ways that psychologically empower them
Drama Feminist Theatre