By Noelia Hernando-real
Founding member of the Provincetown gamers, Pulitzer Prize-winning playwright, best-selling novelist and brief tale author Susan Glaspell (1876-1948) used to be an exceptional contributor to American literature. An exploration of 11 performs written among the years 1915 and 1943, this severe learn specializes in one among Glaspell's relevant topics, the interaction among position and id. This research examines the skill Glaspell employs to have interaction her characters in proxemical and verbal dialectics with the forces of position that flip them into sufferers of situation. Of specific curiosity are her characters' makes an attempt to flee the impact of territoriality and form identities in their personal.
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Extra info for Self and Space in the Theater of Susan Glaspell
This is also the case in Close the Book. Glaspell praises the effort of pioneer women as she describes Grandmother’s journey with her husband from New York to Ohio, and this character’s independence is hinted at as she travels alone from her present home in California to the Roots’ house in the Midwest. But when Peyton raises the question whether Grandmother moved from New York to Ohio because she was having an illegitimate baby, 2. American Geomythologies Revisited 35 he suggests that his grandmother’s freedom of movement relates to her status as a fallen woman, a woman who has a baby outside of wedlock: GRANDMOTHER: Am I to be told — at my age — that I gave birth to an illegitimate child?...
There is room enough for him where he is and he makes a comfortable living. But one day they get into a covered wagon, taking some of their things with them, but leaving most of them behind. The wife kisses her sisters goodbye. She puts the children in the wagon — the whip is cracked, and they start down the hill, away from the house where she came the day she was married — past the house where she played as a child and in which her mother died. For a while friends come to wave at them — but soon they do not know the people any more and after a while there are no people.
And as disclosed in the subsequent chapters of this book, hierarchization and gendered spatial assignments within houses are easily detectable in Susan Glaspell’s drama through her preference for interior settings. Geopatholog y, Realism and Feminism Una Chaudhuri has accounted for the usefulness of the realistic interior setting for characterization and for setting the play in motion regarding dramatic geopathology. But before entering into Chaudhuri’s catalogue of the dramatic elements that conﬁgure a geopathic setting, the convergence of the realistic domestic setting and geopathology must be further questioned.