Pamela Cobrin
Biographic Data
| ID | 1695885 |
|---|---|
| NAME | Pamela Cobrin |
| GIVEN NAMES | Pamela |
| FAMILY NAME | Cobrin |
| SIGNATURE | COBRIN P |
| AFFILIATIONS | Barnard College |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 0 |
She's old enough to be a beautiful young boy
This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examini…
Introduction
ADAM TRUEMAN: Where's this woman that's not at home in her own house? (Anna Cora Mowatt, Fashion, 1845) ODEILIA PANDAHR: ThisOne thanks you for the great gift of the tatted dishtowels. They have be
Dangerous flirtations
Parlor drama has been largely ignored by existing theatre history scholarship—a remarkable fact given that this genre had its own scripts, both published and non-published, its own theatre architecture, its own acting styles, its own evolution, an entrenched culture specific to parlor drama, a vast following (at least among those of a particular class and social status), and the ability to convey ideological concerns that forced ruptures in the s…
No prominent works on this page.
Introduction
ADAM TRUEMAN: Where's this woman that's not at home in her own house? (Anna Cora Mowatt, Fashion, 1845) ODEILIA PANDAHR: ThisOne thanks you for the great gift of the tatted dishtowels. They have be
Dangerous flirtations
Parlor drama has been largely ignored by existing theatre history scholarship—a remarkable fact given that this genre had its own scripts, both published and non-published, its own theatre architecture, its own acting styles, its own evolution, an entrenched culture specific to parlor drama, a vast following (at least among those of a particular class and social status), and the ability to convey ideological concerns that forced ruptures in the s…
She's old enough to be a beautiful young boy
This essay argues that Sarah Bernhardt's choice to play young male roles late in her career served as a radically anti-agist feminist response to the limiting and often demeaning professional and social opportunities afforded aging women. While scholarship has attended to Bernhardt's cross-dress roles through the lens of gender, this essay highlights her “breeches” roles, in particular Hamlet and L’Aiglon as cross-age and cross-gender. By examini…
Art (3 works) · Aesthetics (2 works) · Gender Studies (2 works) · Law (2 works) · Literature (2 works) · Political science (2 works) · Scholarship (2 works) · Sociology (2 works) · Theater, Performance, and Music History (2 works) · Amateur (1 works)