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Description
(Text)
Friederike Schmiga studied English literature, linguistics and philosophy at the Albert-Ludwigs-Universität Freiburg and the University of Edinburgh. Her academic interests include the history of medieval philosophy and English Renaissance literature. She is currently doing research at the Università degli Studi di Bari and the KU Leuven with a doctoral project on the notion of intellectual curiosity in Augustine and its transformation in the thirteenth century.
(Table of content)
Preface by Monika FludernikAcknowledgement1 Introduction2 Unnatural and Unconventional Liaisons2.1 Nature and Convention2.2 Deviation and Transgression2.3 Wives and Whores3 The Duchess of Malfi3.1 The Duchess and Antonio3.1.1 The Duchess - A "Lusty Widow"?3.1.2 Merit versus Birth3.1.3 Antonio the "Misruler"?4 Women Beware Women4.1 The Ward and Isabella4.1.1 Marriage Enforced4.1.2 Disparity between the Spouses4.1.3 Firmly in Hippolito's Hands4.1.4 Isabella's Motivation4.1.5 The Bride on Display4.2 Isabella and Hippolito4.2.1 Incest4.2.2 Betrayed by Livia4.2.3 Adultery4.3 Leantio and Bianca4.3.1 Leantio's Conception of the Marriage asTheft4.3.2 Social Mobility4.3.3 Bianca's Consent?4.3.4 Too Much Restraint4.3.5 Leantio's Extremeness4.4 Bianca and the Duke4.4.1 Caught in Livia's Trap4.4.2 Violent Beginning4.4.3 Bianca the "Strumpet"?4.4.4 Moving into Marriage4.5 Leantio and Livia4.5.1 Livia's Downfall4.5.2 Courtship or Purchase?4.5.3 Livia - A "Lusty Widow"?5 'Tis Pity She's a Whore5.1 Giovanni and Annabella5.1.1 Incest5.1.2 Secret Marriage?5.1.3 The Vow of Loyalty5.1.4 Giovanni's "Idolatry"5.2 Annabella and Soranzo5.2.1 Betrayal of Hippolita5.2.2 Marriage Enforced?5.2.3 Annabella's Reversal5.2.4 Soranzo's Character6 Conclusion7 References7.1 Editions of the Plays7.2 Bibliography
