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16 - Cosmetics

from Part II - Theater

Published online by Cambridge University Press:  17 August 2019

By
Farah Karim-Cooper
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

actorsantitheatricalbeautyBlackfriars (playhouse)Bulwer, JohnCatholicismcosmeticsface paintingFucusGlobe (playhouse)HamletindustryingredientsJonson, Benlip colorsmakeupMassinger, PhilipMiddleton, ThomasoilspearlPuritansrecipesrougeShakespeare, WilliamStubbes, PhilipWebster, Johnwhite leadwitchcraft
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 113 - 117
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Bulwer, John. Antrhopometamorphosis: Man Transform’d; or the Artificial Changeling. London: 1653.Google Scholar
Ficino, Marsilio. “Commentary on Plato’s Symposium.” Philosophies in Art and Beauty: Selected Readings in Aesthetics from Plato to Heidegger. Ed. Holfstadler, Albert and Kuhn, Richard. Chicago: U of Chicago P, 1964.Google Scholar
Gaule, John. Distractions or The Holy Madness. London: 1629.Google Scholar
Jonson, Ben. The Devil Is an Ass. Ed. Happé, Peter. The Revels Plays. Manchester: Manchester UP, 1996.Google Scholar
Lomazzo, Giovanni Paolo. A Tracte Containing the Artes of curious Paintinge, Carvinge & Building. Trans. Haydocke, Richard. London: 1598.Google Scholar
Pollard, Tanya. Drugs and Theater in Early Modern England. Oxford: Oxford UP, 2005.CrossRefGoogle Scholar
Rich, Barnabe. The Excellency of good women. London: 1613.Google Scholar
Stubbes, Philip. The Anatomie of Abuses. Ed. Furnivall, F. J.. London: 1877.Google Scholar
Tuke, Thomas. A Treatise Against Paint[i]ng and Tinctvring of Men and Women. London: 1616.Google Scholar
Vaughan, Virginia Mason. “Blacking-Up at the Blackfriars Theater.” Inside Shakespeare: Essays on the Blackfriars Stage. Selinsgrove: Susquehanna UP, 2006. 123–31.Google Scholar
Webster, John. The Duchess of Malfi. The Duchess of Malfi and Other Plays. Ed. Weis, René. Oxford English Drama. Oxford: Oxford UP, 1996.Google Scholar
Welsby, Paul A., ed. Sermons and Society: An Anthology. Harmondsworth: Penguin, 1970.Google Scholar

Further reading

Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage. Accents on Shakespeare. London: Routledge, 2000.Google Scholar
Davis, Natalie Zemon, and Farge, Arlette, eds. A History of Women: Renaissance and Enlightenment Paradoxes. Cambridge: Harvard UP, 1993.Google Scholar
Dolan, Frances E. “Taking the Pencil Out of God’s Hand: Art, Nature, and the Face-Painting Debate in Early Modern England.” Publications of the Modern Language Association of America 108 (1993): 224–39.CrossRefGoogle Scholar
Drew-Bear, Annette. Painted Faces on the Renaissance Stage: The Moral Significance of Face-Painting Conventions. Lewisburg: Bucknell UP, 1994.Google Scholar
Garner, Shirley Nelson. “‘Let Her Paint an Inch Thick’: Painted Ladies in Renaissance Drama and Society.” Renaissance Drama 20 (1989): 121–38.CrossRefGoogle Scholar
Gurr, Andrew. “A Black Reversal.” Shakespeare 4 (2008): 148–59.CrossRefGoogle Scholar
Hall, Kim F. Things of Darkness: Economies of Race and Gender in Early Modern England. Ithaca: Cornell UP, 1995.Google Scholar
Karim-Cooper, Farah. Cosmetics in Shakespearean and Renaissance Drama. Edinburgh: Edinburgh UP, 2006.CrossRefGoogle Scholar
Kelso, Ruth. Doctrine for the Lady of the Renaissance. Chicago: U of Illinois P, 1956.Google Scholar
Phillipy, Patricia. Painting Women: Cosmetics, Canvases & Early Modern Culture. Baltimore: Johns Hopkins UP, 2006.Google Scholar

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