Glinda the good witch is a character from L. Frank Baum's famous children's books, including "The Wonderful Wizard of Oz". She is portrayed as a beautiful and powerful sorceress who aids Dorothy and her friends on their quest to reach the Emerald City and meet the Wizard. Despite her benevolent nature, Glinda's character is often portrayed in a seductive manner that is both captivating and alluring. Through her enchanting appearance and enchanting powers, Glinda commands attention and draws people towards her. Her sparkling dress, flowing golden hair, and radiant smile make her an irresistible presence.
Nicholas R. Jones is Assistant Professor of Spanish and Africana Studies at Bucknell University, USA. His publications include the forthcoming monograph Staging Habla de negros: Radical Performances of the African Diaspora in Early Modern Spain and articles in the Journal for Early Modern Cultural Studies, Arizona Journal of Hispanic Cultural Studies, and Hispanic Review, among others.
Her publications include a monograph, Black Africans in the British Imagination English Narratives of the Early Atlantic World 2016 , and a co-edited volume, Teaching with Tension Race, Reality, and Resistance in the Classroom forthcoming. Her publications include a monograph, Black Africans in the British Imagination English Narratives of the Early Atlantic World 2016 , and a co-edited volume, Teaching with Tension Race, Reality, and Resistance in the Classroom forthcoming.
Her sparkling dress, flowing golden hair, and radiant smile make her an irresistible presence. However, it is not just Glinda's physical attributes that make her seductive; it is also her ability to manipulate situations to her advantage. Glinda often uses her powers to subtly influence others and guide them towards the outcome she desires.
Early Modern Black Diaspora Studies : A Critical Anthology
Early Modern Black Diaspora Studies brings into conversation two fields—Early Modern Studies and Black Studies—that traditionally have had little to say to each other. This disconnect is the product of current scholarly assumptions about a lack of archival evidence that limits what we can say about those of African descent before modernity. This volume posits that the limitations are not in the archives, but in the methods we have constructed for locating and examining those archives. The essays that make up this volume offer new critical approaches to black African agency and the conceptualization of blackness in early modern literary works, historical documents, material and visual cultures, and performance culture. Ultimately, this critical anthology revises current understandings about racial discourse and the cultural contributions of black Africans in early modernity and in the present across the globe.
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Toward a Political Ecology of Marronage in the SixteenthCentury Caribbean Race and Sexuality in Wycherleys The Country Wife Part II Archives and Methods SubSaharan Isolation in Black Dance Historiography Citing Enslaved Africans in the French Caribbean c16501685What One Enslaved Womans Testimony During the Salem Witch Trials Can Tell Us About Early American Literature
Toni Morrisons A Mercy and SeventeenthCentury European Religious Concepts of Race The Erotic Politics of Servitude in The Tempest and Its Postcolonial Afterlife A Critical Roundtable Chapter 10 Necrocapitalism and the Early Modern Iberian Black Diaspora as Academic Field A Response to John Beusterien Truth Giovanni and Shakespeare A Response to Dennis BrittonБольше Part III Period Tensions Black Life Matters in Shakespeares Titus Andronicus
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Cassander L. Smith is Associate Professor of English at the University of Alabama, USA. Her publications include a monograph, Black Africans in the British Imagination: English Narratives of the Early Atlantic World (2016), and a co-edited volume, Teaching with Tension: Race, Reality, and Resistance in the Classroom (forthcoming).
Nicholas R. Jones is Assistant Professor of Spanish and Africana Studies at Bucknell University, USA. His publications include the forthcoming monograph Staging Habla de negros: Radical Performances of the African Diaspora in Early Modern Spain and articles in the Journal for Early Modern Cultural Studies, Arizona Journal of Hispanic Cultural Studies, and Hispanic Review, among others.
Miles P. Grier is Assistant Professor of English at Queens College, CUNY, USA. He is finishing a book manuscript on Othello and the racialization of Atlantic literacy. His publications include essays in The William and Mary Quarterly, Politics and Culture, and The Journal of Popular Music Studies, among others.
Библиографические данные
| Название | Early Modern Black Diaspora Studies: A Critical Anthology |
| Редакторы | Cassander L. Smith , Nicholas R. Jones , Miles P. Grier |
| Издатель | Springer, 2018 |
| ISBN | 3319767860, 9783319767864 |
| Количество страниц | Всего страниц: 244 |
| Экспорт цитаты | BiBTeX EndNote RefMan |
Whether it is leading Dorothy to the emerald slippers or orchestrating events to defeat the wicked witch, Glinda proves herself to be a master of manipulation. This seductive aspect of Glinda's character adds complexity to her role as the "good witch" and challenges the traditional notion of good versus evil. By balancing her seductiveness with her goodness, Glinda forces readers to question whether these qualities are mutually exclusive or if they can coexist in one character. Overall, Glinda the good witch's seductive nature is an integral part of her character, adding depth and intrigue to her role in the world of Oz..
Reviews for "Unleashing Glinda's Seductive Charm: Lessons from the Good Witch"
1. Jane - 1 star - I found "Seductive Glinda the Good Witch" to be highly inappropriate and offensive. The title alone suggests a sexualized version of a character that is meant to be pure and innocent. This production completely distorts the beloved character of Glinda from "The Wizard of Oz" and turns her into a cheap stereotype. I was disappointed with the lack of creativity in the script and the reliance on cliches and provocative scenes. Overall, I would not recommend this show to anyone who cherishes the original story and characters.
2. Mark - 2 stars - "Seductive Glinda the Good Witch" was a major letdown for me. I was excited to see a different take on Glinda from "The Wizard of Oz," but the execution was poorly done. The play lacked coherence and failed to develop any depth or complexity in its characters. The seductive twist felt forced and unnecessary, adding nothing of value to the story. The acting was mediocre at best and the production overall felt like a cheap attempt at shock value. I would not recommend wasting your time and money on this production.
3. Sarah - 1 star - As a fan of "The Wizard of Oz," I was shocked and disgusted by the portrayal of Glinda in "Seductive Glinda the Good Witch." This production took a beloved character and turned her into a caricature of femininity, relying on outdated stereotypes and sexual innuendos. The script was poorly written and lacked any meaningful exploration of Glinda's character. The attempt to make the show seductive only came across as desperate and tasteless. I left the theater feeling insulted and disappointed. I would not recommend this production to anyone who respects the original story and its characters.
4. Michael - 2 stars - "Seductive Glinda the Good Witch" had the potential to offer an interesting twist on a well-known character, but it ultimately fell short. The writing was unimaginative and lacked depth, relying heavily on tired tropes and cheap sexual innuendos. The performances were lackluster, failing to bring any real emotion or authenticity to the characters. While some may find the titillating aspects of the production appealing, I found them to be gratuitous and unnecessary. Overall, it was a disappointing experience and I would not recommend it to others.