To browse Academia. Well illustrated, accessibly presented, and drawing on a comprehensive range of historical documents, including British, German and other European images, and literary as well as non-literary texts many previously unconsidered in this contextthis study offers the rst interdisciplinary gendered assessment of early modern performing itinerant healers mountebanks, charlatans and quacksalvers. As Katritzky shows, quacks, male or female, combined, in widely varying proportions, three elements: the medical, the itinerant and the theatrical. Above all, they were performers. They used theatricality, in its widest possible sense, to attract customers and to promote and advertise their pharmaceuticals and health care services. Katritzky investigates here the performative aspects of quack marketing and healing methods, and their profound links with the rise of Europe's professional actresses, elds of enquiry which are only now beginning to attract signi cant attention from historians of medicine, economics or the theatre. Women, Medicine and Theatre also recovers women's roles in the economy sex dates cositz the itinerant quack stage. Women associated with mountebank troupes were medically and theatrically active at every level from major stage celebrities to humble urine sample collectors, but also included sedentary relatives, non-performing assistants, door-and bookkeepers, wardrobe mistresses, prop and costume loaners, landladies, spectators, patrons and clients. Katritzky's study of the whole range of women who supported the troupes contextualizes the activities of their male counterparts, and rehabilitates a broad spectrum of diversely occupied women. The sex dates cositz of this title's research method lies in its comparative examination of documents that are generally examined from the point of view of either their performative or their medical aspects, by historians of, respectively, the theatre and medicine. Taken as a whole, these handbills, literary descriptions and other texts and images reveal the interactions between the main aspects of male and female quack activity: curing, selling and, above all, performing. This essay re-examines the proscribed behavior that women in Early Modern Europe should stay and home and be quiet, through an examination of female Mountebanks in Italy and England through their roles as performers and medical practitioners who inhabited the marginal worlds of pseudoscience and non-professional theater. The vast majority of people in early modern England received their medical care either in the home or from practitioners with no formal education or qualifications. In the effort to formalize the practice of medicine into a well regulated and highly regarded profession in the sixteenth and seventeenth centuries, the medical establishment launched sustained attacks against these irregular practitioners designed to discredit their skills in the minds of the people using their services. This was not a straightforward task in the complex and diffuse medical marketplace of the period, and overlap between home care and that provided by irregular practitioners complicated the sex dates cositz of vilifying female practitioners in particular. Those on the side of an increasingly corporate professionalization of the industry, the College of Physicians and their supporters, strove to make a clear distinction between charlatan quacks who charged sex dates cositz for medical care and good woman who dispensed care out of Christian charity. Both plays exploit the negative stereotypes surrounding women health care providers, the first a con artist wise woman the second a meddling housewife. But both also ultimately betray a fundamental belief in the reliability and efficaciousness of medical care provided by women. It reads sources including remedy patents and printed publicity with a view to exploring women's agency in producing and peddling medical products and services within the burgeoning marketplace. It shows how this form of "fringe" practice provided a unique forum where women cultivated their authority outside of learned medicine while also interacting with it. In doing so, the article displaces traditional narratives which position charlatans and quacks as the primary practitioners who colonized the margins of medical practice. Instead, it provides an account of women as examples of the dynamic "fringe" practitioners who strove to prove their genuine authority across a variety of domains. By bringing their practice to print, enterprising women succeeding in staking out their claim to expertise in a growing and increasingly consumerist, legislated, and policed medical milieu, where the boundaries between "expert" and "amateur" knowledge traditions were becoming increasingly blurred. It remains uncertain whether the English folk drama known as the mumming play coexisted with the drama of Shakespeare's age. Flourishing in the United Kingdom and elsewhere since the s, this curious event enacts a 'hero combat' wherein a champion often St George boasts of his battle skill to an enemy often a Turkish or Egyptian knight. After one opponent has killed the other, a doctor, sometimes at the urging of a young or old woman, raises the dead combatant; several unrelated characters then give brief comic speeches; the play ends with a collection of money for the players. On the continent, analogues to the mumming play claim a widespread and very ancient existence. Chambers writes of folk-plays representing combat, doctor, and cure existing throughout Europe, surviving still in Greece and the Balkans in the early s. The doctor who is summoned to bring sex dates cositz grinder back to life enters with a speech about his wide travels, not unlike the typical entrance lines of the mumming play doctor. In Hungary the folk-doctor appears in wedding plays, where he enters with a cure, like his mumming counterpart, at the turning point near the play's end. Over the past decade there has been increased critical attention paid to the intersection of theatre and medicine, although the relationship between the two is far from new. Yet, unlike the metaphysical quest present in the narratives of religion or transcendental philosophies, theatre and medicine share a fundamental preoccupation with what goes on between birth and death. The emergence of counter-narratives or the construction of realities? The value of multivocality or the commodification of reality? The Oxford Handbook of the Georgian Theatre, The Georgian female performer is a site of contradictions. On the one hand, she is an economically astute, ambitious, talented, and a hard-working professional. On the other, she is an erotic object, sexually ambiguous, and a 'whore'. Sincewhen the first professional British actress walked onto the stage, these women's offstage liaisons, sexual availability, and erotic capital have been a constant subject of fascination, providing a tenuous yet consistent basis for popular commentary, biographies, histories and even, more recently, critical studies. Yet while the fascination with the Georgian actresses' sexuality is, to an extent, an inheritance from studies on her Restoration predecessors, it is also the product of our perception of Georgian society. The growth of the bourgeois public sphere and the increasing emphasis on women's domesticity have long been studied as central features of Georgian culture. And within a context in which women are seen as having been relegated to the private sphere, the actress has become a troubling, anomalous figure whose visible publicity was resolved through imagining her as 'whore'.
Brown and Robert C. Storia e testo, 6 vols. Was ist zu tun nach einem Verkehrsunfall mit PKWs? Juli Gesundheit ist unser wertvollstes Gut, und sie zu erhalten erfordert nicht nur medizinische Versorgung, sondern auch aktive Erholung. Sie haben eine Wohnung, die Sie derzeit nicht selbst nutzen, und möchten diese gerne vermieten.
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