By Ansel Adams
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Additional info for La stampa
10. Lisa Jardine, Still Harping on Daughters: Women and Drama in the Age of Shakespeare (Sussex, 1983), p. 72). Barbara Freedman, Staging the Gaze (Ithaca, 1991); Kent Cartwright, Shakespearean Tragedy and Its Double: The Rhythms 1" Audience Response (Pennsylvania, 1991); Katherine Eisaman Maus, 'Horns of Dilemma: Jealousy, Gender and Spectatorship in English Renaissance Drama', EUl, 54 (1987): 561-83. ), The Appropriation of Shakespeare, pp. 163-81; Lorraine Helms, 'Acts of Resistance: The Feminist Player', in Dympna C.
The New Feminist Criticism (1986), pp. 125-43; 'Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism', in Parker and Hartman, Shakespeare and the Question of Theory, pp. 77-94; 'Miranda's Story', in Showalter, Sister's Choice: Tradition and Change in American Ui>fIlen~ Writing (Oxford, 1991); see also for a negotiation of some of the central questions surrounding the male imagining of women, Jeanne Addison Preface to the Second Edition xlvii Roberts, The Shakespearean Wild (Lincoln, Nebraska, 1991).
The next battle I want to see waged is about how to write. 69 I wanted both in Shakespeare and the Nature of J%men and in Alice to the Lighthouse: Children's Books and Radical Experiments in Art (1987), to write for a readership outside the academy as well as within it. I always wrote Shakespeare and the Nature of J%men with a reader in my head, almost always a particular reader. One was the Shakespearean scholar, the late H. V. D. Dyson, Fellow of Merton College, Oxford. He had a special way of criticising pretension.
La stampa by Ansel Adams