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.
Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.