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| | Loughborough University |
 | | Restoration Theatre will thus be reframed as topological practice of public presentation and perception between present bodies, increasingly struggling with fundamental shifts towards individualisation, visualisation, urbanisation - thus cosmopolitan bourgeois art, as we in fact do know it. |
 | | As a result, the female characters of their plays are either too independent, and therefore too 'masculine', necessarily cast out as villains at the end of the play, or else too passive, and therefore too 'feminine', unable to survive in a competitive and demanding world and virtuously dying as the curtain falls. |
 | | To the present-day reader of Restoration drama, this impression may come from the emphasis placed by dramatists of the 1680s on coffee houses as places where sedition and political rumour were brewed. |
| www.lboro.ac.uk /departments/ea/longrestoration/Panels/Panel3/Panel3.htm (705 words) |
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