Women as commodities, marriage as prostitution in Aphra Behn's The Rover. by Lim, Seok Peng.

“…In The Rover, Aphra Behn uses the carnivalesque form to show that women are perceived as commodities, whether moral and social hierarchies are supposed to be in place or not. …”
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Fatally Enjoy’d: Rape, Resilience, and the Accessibility in Aphra Behn’s The Dumb Virgin by Emily Bowles

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Women Naming Women: The Use of Sobriquets by Aphra Behn, Anne Finch, and Katherine Philips by Martha Rainbolt

“…The sobriquets chosen by Aphra Behn, Anne Finch, and Katherine Philips, the three central women poets of the period, their literary sources, and their associations and significance are discussed. …”
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The “Noble Savage”: Aristocracy, Slavery, Restoration Culture and Aphra Behn’s Oroonoko, or The Royal Slave by Przemysław Uściński

Subjects: “…Aphra Behn…”
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Farce, satire et science dans The Emperor of the Moon (1687) d’Aphra Behn by Florence March

“…As suggested by its title, The Emperor of the Moon : A Farce (1687) by Aphra Behn consists of a satirical staging of the New Astronomy and, on a wider scale, of experimental science, even though, by a process of contamination, astrology, alchemy and Rosicrucianism are also inevitably targeted. …”
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Lecture de The Widow Ranter d’Aphra Behn (1690) : illusions et désillusions by Claire Boulard

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'Don Quick-sottish, or so': Cervantic ingredients in Aphra Behn's the emperor of the moon (Article) by Castro-Santana, Anaclara

“…In a brief critical assessment of Aphra Behn’s The Emperor of the Moon (1688), Jane Spencer pronounces it “a play that, in the best Quixotic tradition, enchants even as it mocks the victims of enchantment.”1 Behn’s farce does precisely that, and much more, with the aid of Cervantes’s hypotext. …”
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“Reader, Take Notice”: Aphra Behn’s References and Self-Representation in the Epistle to the Reader in The Dutch Lover by Victoria Echegaray Mitar

“…Aphra Behn is generally regarded as the first Englishwoman to have lived by the pen, not an easy feat in the competitive world of the literary world of Restoration London. …”
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Bernard Dhuicq, éd., Les Maximes de La Rochefoucauld traduites par Aphra Behn by Guyonne Leduc

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‘[H]ow much of the French is in this’: Aphra Behn’s use of humour in Sir Patient Fancy (1678) by Ángeles Tomé Rosales

“…Título en español: ‘[H]ow much of the French is in this’: el uso del humor por parte de Aphra Behn en Sir Patient Fancy (1678) Resumen: En Sir Patient Fancy, Behn afi rma que su comedia se basa solamente en Le Malade imaginaire (1975): “Others […] cryed it was made out of at least four French Plays, when I had but a very bare hint from one, the Malad Imagenere” (5). …”
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Vita Sackville-West, <i>Aphra Behn. L’incomparabile Astrea</i>, Ed. Stefania Arcara by Serena Guarracino

“… Recensione del volume di Vita Sackville-West Aphra Behn. L’incomparabile Astrea a cura di Stefania Arcara. …”
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Katherine Philips, Aphra Behn, and Sylvia Plath: “a passionate journey” towards “a revolution in female manners” by Giada Cacciavilni

Subjects: “…Aphra Behn…”
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Black Lives, White Witnesses: An Argument for a Presentist Approach to Teaching Aphra Behn's <i>Oroonoko</i> by Sharon Smith

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Aleksandra Kowalska, Entre affirmation et répression, la sexualité féminine d’Aphra Behn aux sœurs Brontë by Claire Boulard Jouslin

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Jeux littéraires en France et en Angleterre au XVIIe siècle – des salons parisiens à Aphra Behn by Line Cottegnies

“…The second half of this study focusses on the adaptation in Restoration England of one of the French literary works that was produced by the salon game culture: Aphra Behn’s La Montre, or The Lover’s Watch (1686) which revises a narrative by Balthazar de Bonnecorse. …”
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Early Intimations of Colonialism in the 17th century: William Shakespeare’s Othello and The Tempest, John Fletcher’s The Island Princess, Aphra Behn’s Oroonoko by Hilal Kaya

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Aphra Behn’in “Çapkın Denizci” ve Sadık Şendil’in “Kanlı Nigar” Oyunlarında Ataerkil Sistemin Cinsiyet Etiketlerini Bozan Kadın Portreleri by Fırat KARADAŞ

“…Edebi eserlerdeki bazı kadın karakterler bu etiketlemelere uygun çizilirken bazıları da bu gibi etiketlemeleri bozan bir şekilde yansıtılırlar. Aphra Behn’in Restorasyon komedilerinden biri olan ve uzun adı Çapkın Denizci; ya da Sürgündeki Kraliyetçiler olan ama genelde kısaca Çapkın Denizci (The Rover) olarak bilinen oyunu ile Sadık Şendil’in Kanlı Nigar adlı oyunundaki kadın karakterler ataerkil sistemin kadınlar için kullandığı etiketleri reddetmekle kalmayıp neşeli söylemleriyle ve karnavalın veya karnavalesk durumun sunduğu gülmece ögeleriyle eril dünyayı alaya alır ve böylece gücünü zayıflatırlar. …”
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Numbering the Streaks on a Digital Tulip: Eighteenth-Century Women Poets on the World Wide Web by Emily Bowles

Subjects: “…Aphra Behn…”
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What's in a Name? New Vision for ABO by Laura Runge

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Gambling with Women, Estates and Status in Long Eighteenth Century-Comedy by Beth Cortese

Subjects: “…Aphra Behn…”
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