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Cosmetics in Shakespearean and Renaissance Drama$
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Farah Karim-Cooper

Print publication date: 2006

Print ISBN-13: 9780748619931

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748619931.001.0001

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Epilogue

Epilogue

Chapter:
(p.199) Epilogue
Source:
Cosmetics in Shakespearean and Renaissance Drama
Author(s):

Farah Karim-Cooper

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748619931.003.0009

Most critics who have examined the theological and misogynistic opposition to cosmetics argue that the dramatic representation of cosmetics is grounded in a fundamental devaluation of beautification. The painted iconography of Queen Elizabeth I was simultaneously an emblem of political potency and a marker of an unmistakable femininity. Cosmetic ingredients and the metaphorical language offered by cosmetic discourses provided dramatists with crucial and vividly dramatic materials for their art. Dramatists saw fit to transport the notion of beautification out of the domestic space into the theatrical space, recognising the performative value of cosmetic materiality and the poetic richness of cosmetic metaphors.

Keywords:   beautification, Queen Elizabeth I, femininity, cosmetic ingredients, metaphorical language, cosmetic metaphors, cosmetic materiality

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