“Past Remembrance or History”

2021 ◽  
pp. 86-128
Author(s):  
Melissa Mowry

Chapter 3 begins with the imaginative vacuum created by the Leveller community’s relative silence after 1653 when John Lilburne was exiled and tracks the Royalist use of literature to reimagine sovereign absolutism beyond the limits of Stuart martyrology as it had emerged in the immediate aftermath of Charles I’s 1649 execution. Writers like William Davenant (1606–1688) and Aphra Behn (1640?–1689) understood this project in clearly hermeneutic terms as they argued that the revitalization of Royalism depended on dissuading members of the commonalty that they were capable of independently producing the kind of knowledge that would ground their claims of political authority and entitle them to political participation.

2018 ◽  
Vol 46 (3) ◽  
pp. 274-301
Author(s):  
Lorenzo Rustighi

Feminist scholars have long debated on a key contradiction in the political theory of Thomas Hobbes: While he sees women as free and equal to men in the state of nature, he postulates their subjection to male rule in the civil state without any apparent explanation. Focusing on Hobbes’s construction of the mother–child relationship, this article suggests that the subjugation of the mother to the father epitomizes the neutralization of the ancient principle of ‘governance’, which he replaces with a novel concept of ‘power’ as formally authorized command. This scrutiny leads to three main conclusions: (1) a radicalization of Pateman’s concept of ‘sexual contract'; (2) the acknowledgement that patriarchy is inseparable from the logic of political authority constructed by Hobbes; and (3) the claim that criticism of patriarchal rule requires an overall problematization of the mainstream conception of political participation we have inherited from modern political science.


Author(s):  
Margaret J. M. Ezell

Within three months of Charles II’s return, the London theatres were reopened, with two companies granted royal patents. Thomas Killigrew formed the King’s Company, and William Davenant the Duke’s Company. Initially the repertoire consisted of pre-war plays, with those of Shakespeare, Beaumont, and Fletcher popular. Regular theatre-goer Samuel Pepys recorded his approval of the new actors such as Thomas Betterton, Edward Kynaston, and Charles Hart, and actresses including Nell Gwyn and Elizabeth Barry. The companies invested in new theatres incorporating continental designs for proscenium arches, scenery, and effects at the Theatre Royal in Drury Lane, Lincoln’s Inn Fields, and Dorset Garden. Dramatists providing new plays included John Dryden, Thomas Shadwell, Aphra Behn, William Wycherley, and George Etherege.


2011 ◽  
Author(s):  
Michael E. Morrell ◽  
Pinar Uyan Semerci

1970 ◽  
pp. 53-57
Author(s):  
Azza Charara Baydoun

Women today are considered to be outside the political and administrative power structures and their participation in the decision-making process is non-existent. As far as their participation in the political life is concerned they are still on the margins. The existence of patriarchal society in Lebanon as well as the absence of governmental policies and procedures that aim at helping women and enhancing their political participation has made it very difficult for women to be accepted as leaders and to be granted votes in elections (UNIFEM, 2002).This above quote is taken from a report that was prepared to assess the progress made regarding the status of Lebanese women both on the social and governmental levels in light of the Beijing Platform for Action – the name given to the provisions of the Fourth Conference on Women held in Beijing in 1995. The above quote describes the slow progress achieved by Lebanese women in view of the ambitious goal that requires that the proportion of women occupying administrative or political positions in Lebanon should reach 30 percent of thetotal by the year 2005!


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