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9780253348050

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<p>. .. In keeping with the instability of the seventeenth-century Englishstage, Amanda Eubanks Winkler refuses to bind her subversive characters in neatpackages. I find her observations of negotiated trends, which do not always fit intotidy theoretical boxes, honest conclusions of an extremely complex period of Englishcultural life.... Whether onstage or within Winkler's text, these unruly charactersrefuse to be absolutely contained. -- MEGAN McFadden, Vol. 13 2009

<p>. .. In keeping with the instability of the seventeenth-century Englishstage, Amanda Eubanks Winkler refuses to bind her subversive characters in neatpackages. I find her observations of negotiated trends, which do not always fit intotidy theoretical boxes, honest conclusions of an extremely complex period of Englishcultural life.... Whether onstage or within Winkler's text, these unruly charactersrefuse to be absolutely contained. -- MEGAN McFadden, Vol. 13 2009--MEGAN McFadden Women & Music (01/01/2009)

[T]he book [is] of great interest to anyone who wishes to explore the complex ways in which the assumptions and expectations of society conditioned the representation and reception of madness and witchcraft in the 17th-century English theatre, and the crucial role music played in this interaction. 37.2 2009 * Early Music * . . . In keeping with the instability of the seventeenth-century English stage, Amanda Eubanks Winkler refuses to bind her subversive characters in neat packages. I find her observations of negotiated trends, which do not always fit into tidy theoretical boxes, honest conclusions of an extremely complex period of English cultural life. . . . Whether onstage or within Winkler's text, these unruly characters refuse to be absolutely contained.Vol. 13 2009 -- MEGAN McFadden * Women & Music * Seventeenth-century England provides an outstanding backdrop for this study, which focuses on theatrical characters generally associated with mental disorder. . . . Opera scholars should find this work helpful, and specialists in gender studies will gain much from Winkler's discussion of stereotypes, role reversals, pathological diagnoses, and so on. . . . Recommended. * Choice * Winkler's book is an outstanding contribution to the social and political history of musical theater in London from the age of Shakespeare to the rage for Italian opera in the first decade of the eighteenth century. * Renaissance Quarterly * . . . an outstanding contribution to the social and political history of musical theater in London from the age of Shakespeare to the rage for Italian opera in the first decade of the eighteenth century. Vol. 61.1 Spring 2008 -- Linda Phyllis Austern * Northwestern University *

<p>... In keeping with the instability of the seventeenth-century English stage, Amanda Eubanks Winkler refuses to bind her subversive characters in neat packages. I find her observations of negotiated trends, which do not always fit into tidy theoretical boxes, honest conclusions of an extremely complex period of English cultural life.... Whether onstage or within Winkler's text, these unruly characters refuse to be absolutely contained.--MEGAN McFadden Women & Music (01/01/2009)

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Amanda Eubanks Winkler is Assistant Professor of Fine Arts at Syracuse University. She specializes in early music.

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