By Farah Karim-Cooper
Farah Karim-Cooper examines women's beauty practices and the staging of painted attractiveness in Shakespearean and Renaissance drama. the one in-depth research of beauty tradition and its visible illustration at the Renaissance level, this quantity info the parts, tools, and fabrics utilized in production cosmetics, together with various beauty recipes, and the way the performs of Shakespeare and his contemporaries dramatize the cultural preoccupation with cosmetics. Karim-Cooper identifies a 'culture of cosmetics' and describes its visualization at the Renaissance level. She additionally investigates beauty recipes and their courting to drama and to the development of early glossy identities.
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Farah Karim-Cooper examines women's beauty practices and the staging of painted good looks in Shakespearean and Renaissance drama. the single in-depth research of beauty tradition and its visible illustration at the Renaissance level, this quantity information the parts, tools, and fabrics utilized in production cosmetics, together with a number of beauty recipes, and the way the performs of Shakespeare and his contemporaries dramatize the cultural preoccupation with cosmetics.
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Extra resources for Cosmetics in Shakespearean and Renaissance Drama
Ovid, Ars Amatoria, pp. 127, 133. De Vere, Earl of Oxford, ‘What cunning can express’, in The New Oxford Book of Sixteenth Century Verse, p. 162. Skelton, ‘A Lawde and Prayse Made for Our Sovereigne Lord the Kyng’, in The Penguin Book of Renaissance Verse 1509–1659, p. 79. Strong, Gloriana, p. 136. I have deliberately omitted a discussion of Shakespeare’s Sonnets because I am currently working on a shorter study of the cosmetic trope in the sonnet sequence. Culpeper, Arts Master-piece, p. 7. Jeamson, Artificiall Embellishments, p.
7. Theweleit, Male Fantasies, vol. 1, p. 335. 8. Plato, Symposium, p. 489. 9. Ibid. p. 494. 10. Aristotle, ‘Beauty’ from Metaphysics, p. 96. 11. Plotinus, ‘Beauty’ from The Enneads, p. 46. 12. Browne, Pseudodoxia Epidemica, p. 355. 13. Ficino, Commentary on Plato’s Symposium, p. 213. 14. Buoni, Problemes of Beavtie, Sig. A2v. 15. Ibid. Sig. A2v. 16. Ibid. Sig. A2v. 17. Ibid. pp. 26–7. 18. Ibid. pp. 18–19. 19. Austin, Haec Homo, pp. 100, 105. 20. Ibid. p. 120. 21. Romei, The Courtier’s Academie, pp.
The Queen’s use of cosmetics was linked to her power and the aesthetic. Once the paint is applied to the face of a housewife, however, it becomes a sign of her deceptiveness, infidelity and lack of care to her household duties. Thus the social meaning of cosmetics is subject to the status of the woman wearing them. Significantly, the meaning of the actual paints becomes heightened when we realise that they are the material link between the private and the public domain. A woman paints or is painted within the secret walls of her chamber and she shows her face in the public sphere.