Jugando con los límites del género literario y la identidad de género: sexualidades incómodas en The Basset Table (1705) de Sussannah Centlivre
DOI:
https://doi.org/10.5944/rdh.36.2019.18837Palabras clave:
Comedia de reforma, Género, Centlivre, Whig, Sexualidad, Reform comedy, Gender, SexualityResumen
Centlivre ha sido considerada una de las mejores escritoras de comedia sentimental, un género literario que llegó a su máximo apogeo durante el siglo XVIII. Este ensayo argumenta que The BassetTable(1705), una de sus obras más significativas, no es una comedia sentimental al uso, ya que lleva un mensaje social subyacente mucho más profundo de lo que pueda parecer a simple vista y mucho más acorde con sus ideas políticas que los mensajes de la comedia sentimental. Este trabajo estudia también cómo esta obra teatral cuestiona los roles de género establecidos: minando la imagen de la mujer virtuosa y caritativa y del caballero valiente, a la vez que cuestiona la reforma de la viuda y el triunfo del bribón, Centlivre crea una crítica sutil pero extremadamente efectiva de una sociedad que no permite la existencia de las libertades individuales.
Centlivre has been regarded as a master of sentimental comedy, a genre that reached its maximum popularity in the 18th century. This paper argues that The Basset Table (1705) is no typical sentimental comedy, since it actually carries a deeper meaning and social message, much more in accordance with her Whig ideas. I also argue that this play questions the established gender roles: undermining the image of the virtuous and charitable lady and the valiant gentleman and questioning the punishing of the widow and the rewarding of the rake, Centlivre builds a subtle, yet highly effective criticism of a society that does not allow for personal freedom
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