2:00 to 3:00
Moderator: Dr. Wendy Roy, Professor, Department of English
"two shadows to one shape": Ambiguous Intersectionality in Dekker and Middleton's The Roaring Girl
Aran Kocur is in the last year of an English Honours degree at the University of Saskatchewan. A prolific fiction writer, Aran’s academic passion is for Irish literature and poetry as well as early modern theatre, with a focus on queer and feminist theories. When his nose is not buried in a book, Aran enjoys marathon running and petting as many cats as possible.
The confident, cross-dressing heroine of Thomas Dekker and Thomas Middleton’s play The Roaring Girl (1611) offers a glimpse into the social upheaval and anxieties surrounding class, fashion, and gender in seventeenth-century London. Based on the infamous criminal and urban legend Mary Frith, the character Moll Cutpurse demonstrates a multi-faceted complication of early modern conventional binaries.
Hope, Despair, and Confidence: The Conclusion of As for Me and My House
Sarah Haugen (she/her) is a fourth-year undergraduate student in English and History (Double Honours). Upon her convocation this spring, Sarah hopes to start a communications career here in Saskatoon, but she is open to wherever her degree may take her.
The vagueness of the final line of Sinclair Ross’s novel As For Me and My House (1941) has led to many linear interpretations of the central character, Mrs. Bentley. However, Ross left the conclusion open so that within the same seven words three simultaneous, yet conflicting, meanings are contained: one hopeful, one resentful, and one self-assured.
Too Many Years Lost in His-Story: An Anachronistic and Literary Examination of Toby Marlow and Lucy Moss's Feminism in Six
Eunice-Grace Domingo is a 4th year Honours English student at the University of Saskatchewan. Her main subjects of interest are 19th-Century and 20th-Century Japanese and Russian literature.
Despite their reputations from the mnemonic rhyme, “Divorced / Beheaded / Died /Divorced / Beheaded / Survived,” Henry VIII’s six queens are often forgotten. This paper explores how Toby Marlow and Lucy Moss attempt to rectify Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr’s lack of recognition with their musical Six (2017).