Katherine E Kelly
Biographic Data
| ID | 1083758 |
|---|---|
| NAME | Katherine E Kelly |
| GIVEN NAMES | Katherine E |
| FAMILY NAME | Kelly |
| SIGNATURE | KELLY K E |
| AFFILIATIONS | Texas A&M University |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 10 |
| AUTHOR COUNT | 19 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2010 |
| H-INDEX | 2 |
Making the Bones Sing
The emergence of feminist historiography around 1976 has been amplified by innovative historical dramas written between 1976 and 2010 that present women's pasts through a new critical lens. Historiographers have reconsidered how to look at the past to account for women's presence, while dramatists have used language and performance in new ways to implicate a community in reshaping the past. Historical drama and performance has registered the majo…
Seeing Through Spectacles
Between 1906 and 1914, the Woman Suffrage Movement in London produced aseries of public spectacles designed to bring the suffrage cause to the attention of politicians and citizens. During this same period, daily newspapers designed for mass reading surpassed in sales the older, class-based newspapers. A survey of stories and photographs published in the mass pressreveals how the press and the movement collaborated in bringing to readersa new sen…
She Also Wrote Plays
These two books are a boon to researchers, students, and performers with a solid commitment to, or even a mild curiosity about, the practice of feminist theatre. Susan Croft's She Also Wrote Plays bears evidence of the author's expertise as a curator of contemporary performance at the Theatre Museum in London. Approximately two thirds of the entries in Croft's guide are devoted to British and North American women playwrights of the later twentiet…
Susan Glaspell
Women and Playwriting in Nineteenth-Century Britain (review)
This impressive collection was inspired by twentieth-century "amnesia" regarding nineteenth-century women's playwriting as a socially significant activity. To relieve this amnesia, this book offers a model of "sociability" synthesized from social theory, which redirects the object of investigation from individual, professional "women of genius" and their presence or absence in literary and theatrical canons to the entire class of women writing in…
West End Women
Reviewed by: West End Women: Women and the London Stage 1918–1962 Katherine E. Kelly West End Women: Women and the London Stage 1918–1962. By Maggie Gale. Gender in Performance. London: Routledge, 1996; pp. x + 262. $59.95 cloth, $17.95 paper. Maggie Gale’s rediscovery of the contributions made to West End theatre by women artists adds a crucial dimension to the long-term project of writing the work of women back into cultural history. Gale offer…
Four Saints in Three Acts (review)
Reviewed by: Four Saints in Three Acts Katherine E. Kelly Four Saints in Three Acts. Score by Virgil Thomson, libretto by Gertrude Stein. Houston Grand Opera, Brown Theatre, Wortham Theatre Center, Houston, Texas. 3 February 1996. Click for larger view View full resolution Figure 1. St. Teresa II (Suzanna Guzman) and St. Teresa I (Ashley Putnam) in the Houston Grand Opera production of Virgil Thompson and Gertrude Stein’s Four Saints in Three Act…
Enquete
Melanie Hawthorne, Frank Kermode, Jane Gallop, Thomas Pavel, Toril Moi, Charlotte M. Wright, Faridoun Farrokh, Jenene Allison, Barbara Johnson, Jane Tompkins, Tatyana Tolstaya, Elisabeth Rich, U. C. Knoepflmacher, Alice Friman, Marshall Bruce Gentry, Katherine E. Kelly, William J. Scheick, Hubert Heinen, Carl Fowler, Jean-Pierre Cauvin, David B. Merrell, Lee K. Abbott, Janet P. Sholty, Elaine Marks, Claudia A. Limbert, Clay Reynolds, Denis Hollie…
The Playwright and the Professors
On 15 October 1993, Tom Stoppard gave the Plenary Address at the South Central Modern Language Association Conference in Austin,Texas. In many ways, it felt like a reunion. On the one hand was a playwright whose works many in the audience had read and taught, and on the other hand, were the professors about whom the playwright had often written. In spite of this coincidence, the professors and the playwright appeared to know very little about how…
New Woman Plays
Tom Stoppard and the Craft of Comedy
Examines English playwright Tom Stoppard's early journalism through his most recent comedies
Danton's Death
Tom Stoppard and the Craft of Comedy
J. B. Priestley's Plays
Women's Re-Visions of Shakespeare
The Queen's Two Bodies
The breeches parts in Shakespeare's plays, six roles' calling for a young female character to dress herself temporarily in clothes of a boy, recently have drawn attention of those attempting to recover Shakespeare's awareness of and participation in Elizabethan constructions of gender. A significant number of recent cultural histories as well as culturally based readings of Elizabethan texts have focused attention on what Harley Granville-Barker …
Who's Afraid of Virginia Woolf
How the Other Half Loves
Spring Awakening
Women's Re-Visions of Shakespeare
Seeing Through Spectacles
Between 1906 and 1914, the Woman Suffrage Movement in London produced aseries of public spectacles designed to bring the suffrage cause to the attention of politicians and citizens. During this same period, daily newspapers designed for mass reading surpassed in sales the older, class-based newspapers. A survey of stories and photographs published in the mass pressreveals how the press and the movement collaborated in bringing to readersa new sen…
New Woman Plays
Tom Stoppard and the Craft of Comedy
The Queen's Two Bodies
The breeches parts in Shakespeare's plays, six roles' calling for a young female character to dress herself temporarily in clothes of a boy, recently have drawn attention of those attempting to recover Shakespeare's awareness of and participation in Elizabethan constructions of gender. A significant number of recent cultural histories as well as culturally based readings of Elizabethan texts have focused attention on what Harley Granville-Barker …
Spring Awakening
How the Other Half Loves
The Queen's Two Bodies
The breeches parts in Shakespeare's plays, six roles' calling for a young female character to dress herself temporarily in clothes of a boy, recently have drawn attention of those attempting to recover Shakespeare's awareness of and participation in Elizabethan constructions of gender. A significant number of recent cultural histories as well as culturally based readings of Elizabethan texts have focused attention on what Harley Granville-Barker …
Who's Afraid of Virginia Woolf
J. B. Priestley's Plays
Women's Re-Visions of Shakespeare
Tom Stoppard and the Craft of Comedy
Tom Stoppard and the Craft of Comedy
Examines English playwright Tom Stoppard's early journalism through his most recent comedies
Danton's Death
The Playwright and the Professors
On 15 October 1993, Tom Stoppard gave the Plenary Address at the South Central Modern Language Association Conference in Austin,Texas. In many ways, it felt like a reunion. On the one hand was a playwright whose works many in the audience had read and taught, and on the other hand, were the professors about whom the playwright had often written. In spite of this coincidence, the professors and the playwright appeared to know very little about how…
New Woman Plays
Enquete
Melanie Hawthorne, Frank Kermode, Jane Gallop, Thomas Pavel, Toril Moi, Charlotte M. Wright, Faridoun Farrokh, Jenene Allison, Barbara Johnson, Jane Tompkins, Tatyana Tolstaya, Elisabeth Rich, U. C. Knoepflmacher, Alice Friman, Marshall Bruce Gentry, Katherine E. Kelly, William J. Scheick, Hubert Heinen, Carl Fowler, Jean-Pierre Cauvin, David B. Merrell, Lee K. Abbott, Janet P. Sholty, Elaine Marks, Claudia A. Limbert, Clay Reynolds, Denis Hollie…
Four Saints in Three Acts (review)
Reviewed by: Four Saints in Three Acts Katherine E. Kelly Four Saints in Three Acts. Score by Virgil Thomson, libretto by Gertrude Stein. Houston Grand Opera, Brown Theatre, Wortham Theatre Center, Houston, Texas. 3 February 1996. Click for larger view View full resolution Figure 1. St. Teresa II (Suzanna Guzman) and St. Teresa I (Ashley Putnam) in the Houston Grand Opera production of Virgil Thompson and Gertrude Stein’s Four Saints in Three Act…
West End Women
Reviewed by: West End Women: Women and the London Stage 1918–1962 Katherine E. Kelly West End Women: Women and the London Stage 1918–1962. By Maggie Gale. Gender in Performance. London: Routledge, 1996; pp. x + 262. $59.95 cloth, $17.95 paper. Maggie Gale’s rediscovery of the contributions made to West End theatre by women artists adds a crucial dimension to the long-term project of writing the work of women back into cultural history. Gale offer…
Women and Playwriting in Nineteenth-Century Britain (review)
This impressive collection was inspired by twentieth-century "amnesia" regarding nineteenth-century women's playwriting as a socially significant activity. To relieve this amnesia, this book offers a model of "sociability" synthesized from social theory, which redirects the object of investigation from individual, professional "women of genius" and their presence or absence in literary and theatrical canons to the entire class of women writing in…
Susan Glaspell
Seeing Through Spectacles
Between 1906 and 1914, the Woman Suffrage Movement in London produced aseries of public spectacles designed to bring the suffrage cause to the attention of politicians and citizens. During this same period, daily newspapers designed for mass reading surpassed in sales the older, class-based newspapers. A survey of stories and photographs published in the mass pressreveals how the press and the movement collaborated in bringing to readersa new sen…
She Also Wrote Plays
These two books are a boon to researchers, students, and performers with a solid commitment to, or even a mild curiosity about, the practice of feminist theatre. Susan Croft's She Also Wrote Plays bears evidence of the author's expertise as a curator of contemporary performance at the Theatre Museum in London. Approximately two thirds of the entries in Croft's guide are devoted to British and North American women playwrights of the later twentiet…
Making the Bones Sing
The emergence of feminist historiography around 1976 has been amplified by innovative historical dramas written between 1976 and 2010 that present women's pasts through a new critical lens. Historiographers have reconsidered how to look at the past to account for women's presence, while dramatists have used language and performance in new ways to implicate a community in reshaping the past. Historical drama and performance has registered the majo…
Art (16 works) · History (8 works) · History (8 works) · Literature (8 works) · Art history (6 works) · Theatre and Performance Studies (6 works) · Visual arts (5 works) · Aesthetics (4 works) · Psychology (4 works) · Sociology (4 works)