Remarks for The British Theatre (1806-1809) PDF Download
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Author: Mrs. Inchbald
Publisher: Academic Resources Corp
ISBN:
Category : Literary Criticism
Languages : en
Pages : 882
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Book Description
Critical commentaries on more than 125 plays presented on the British stage from 1806-1809.
Author: Mrs. Inchbald
Publisher: Academic Resources Corp
ISBN:
Category : Literary Criticism
Languages : en
Pages : 882
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Book Description
Critical commentaries on more than 125 plays presented on the British stage from 1806-1809.
Author: Fiona Ritchie
Publisher: Cambridge University Press
ISBN: 1107046300
Category : Drama
Languages : en
Pages : 267
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Book Description
This book establishes the significance of actresses, female playgoers and women critics in shaping Shakespeare's burgeoning reputation in the eighteenth century.
Author: Lilla Maria Crisafulli
Publisher: Peter Lang
ISBN: 9783039110971
Category : Drama
Languages : en
Pages : 362
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Book Description
This volume presents a selection of essays by established Italian and international scholars in the field of Romantic drama. It is divided into four main sections: 1) Dramatic Theory and Practice; 2) On the Romantic Stage: History, Arts, and Acting; 3) Interaction of Genres: from Fiction to Drama; 4) The Romantics' Debate on Theatre and Drama: a Selected Anthology. The crucial area of debate these essays address is the way in which the problem of the dramatic representation of the self becomes in Romantic drama the very centre of reflection on the constitution of the modern subject. Each essay explores one or more aspects of the formation of modern subjectivity through dramatic representation of the self and through critical enquiry into the modes of that representation. The first and the fourth sections discuss the complex interaction between the theoretical questions that animated the debate around the Romantic theatre and the multifarious and often unruly performance practices of the time. The other two sections deal with the many and diverse ways in which Romantic drama engaged with and incorporated other artistic genres such as painting, performing arts, music, and the novel.
Author: Ben P Robertson
Publisher: Routledge
ISBN: 1317316509
Category : Literary Criticism
Languages : en
Pages : 301
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Book Description
Through an examination of her complete works and public response to them, Robertson gauges the extent of Inchbald's reputation as the dignified Mrs Inchbald, as well as providing a clear sense of what it meant to be a female Romantic writer.
Author: Anne K. Mellor
Publisher: Indiana University Press
ISBN: 0253028191
Category : Literary Criticism
Languages : en
Pages : 187
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Book Description
A survey of British women’s writings of the late eighteenth and early nineteenth centuries, and the revolutionary New Woman they promoted. British women writers were enormously influential in the creation of public opinion and political ideology during the years from 1780 to 1830. Anne Mellor demonstrates the many ways in which they attempted to shape British public policy and cultural behavior in the areas of religious and governmental reform, education, philanthropy, and patterns of consumption. She argues that the theoretical paradigm of the “doctrine of the separate spheres” may no longer be valid. According to this view, British society was divided into distinctly differentiated and gendered spheres of public versus private activities in the eighteenth and nineteenth centuries, Surveying all the genres of literature?drama, poetry, fiction, non-fiction prose, and literary criticism?Mellor shows how women writers promoted a new concept of the ideal woman as rationally educated, sexually self-disciplined, and above all, virtuous. This New Woman, these writers said, was better suited to govern the nation than were its current fiscally irresponsible, lecherous, and corruptible male rulers. Beginning with Hannah More, Mellor argues that women writers too often dismissed as conservative or retrogressive instead promoted a revolution in cultural mores or manners. She discusses writers as diverse as Elizabeth Inchbald, Hannah Cowley, and Joanna Baillie; as Charlotte Smith, Anna Barbauld, and Lucy Aikin; as Mary Wollstonecraft, Charlotte Reeve, and Anna Seward; and concludes with extended analyses of Charlotte Smith’s Desmond and Jane Austen’s Persuasion. She thus documents women writers’ full participation in that very discursive public sphere which Habermas so famously restricted to men of property. Moreover, the new career of philanthropy defined by Hannah More provided a practical means by which women of all classes could actively construct a new British civil society, and thus become the mothers not only of individual households but of the nation as a whole. “Intellectual and social historians (and not just feminists) have long believed that the late 18th and early 19th centuries in Britain saw an increasing separation of the male (public) and female (domestic) realms, with the result that the public sphere theorized by Jurgen Habermas and others to have emerged in the Enlightenment almost entirely excluded women. With energy, wit, and admirable command of her sources, Mellor . . . author of distinguished books on Romanticism . . . demonstrates that just the opposite was true: in the years around 1800, women became the primary producers and consumers of writing in Britain and vitally participated in the discursive public sphere—many arguing in their different ways for what Hannah More (the most popular author of the period) called a moral revolution in the national manners and principles. . . . [A] splendid survey of women novelists, poets, critics, playwrights, and social theorists . . . this bracing and important work of revision deserves a place in serious academic libraries serving both undergraduates and advanced scholars.” —D. L. Patey, Choice
Author: David O'Shaughnessy
Publisher: Cambridge University Press
ISBN: 1108853579
Category : Drama
Languages : en
Pages : 281
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Book Description
This collection reveals the wide-ranging impact of the Stage Licensing Act of 1737 on literary and theatrical culture in Georgian Britain. Demonstrating the differing motivations of the state in censoring public performances of plays after the Stage Licensing Act of 1737 and until the Theatres Act 1843, chapters cover a wide variety of theatrical genres across a century and show how the mechanisms of formal censorship operated under the Lord Chamberlain's Examiner of Plays. They also explore the effects of informal censorship, whereby playwrights, audiences and managers internalized the censorship regime. As such, the volume moves beyond a narrow focus on erasures and emendations visible on manuscripts to elucidate censorship's wide-ranging significance across the long eighteenth century. Demonstrating theatre archives' potency as a resource for historical research, this volume is of exceptional value for researchers interested in the evolving complexities of Georgian society, its politics and mores.
Author: Ben P Robertson
Publisher: Routledge
ISBN: 1317316207
Category : Literary Criticism
Languages : en
Pages : 342
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Book Description
Explores the connections between British and American Romanticism, focusing on the novels of Elizabeth Inchbald (1753-1821) and Nathaniel Hawthorne (1804-64). This study argues that Inchbald and Hawthorne are representative of a larger British/American cultural confluence during the eighteenth and nineteenth centuries.
Author: Keir Elam
Publisher: Routledge
ISBN: 1351871188
Category : Literary Criticism
Languages : en
Pages : 409
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Book Description
As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, North American, and Italian critics, is a crucial step towards reclaiming the importance of women's dramatic and theatrical activities during the period. Writing for the theatre implied assuming a public role, a hazardous undertaking for women who, especially after the French Revolution, were assigned to the private, primarily domestic, sphere. As the contributors examine the covert strategies women used to become full participants in the public theatre, they shed light on the issue of women's agency, expressed both through the writing of highly politicized or ethicized drama, as in the case of Elizabeth Inchbald or Joanna Baillie, and through women's professional practice as theatre managers and stage producers, as in the case of Elizabeth Vestris and Jane Scott. Among the topics considered are women's history plays, domesticity, ethics and sexuality in women's closet drama, the politics of drama and performance, and the role of women as managers and producers. Specialists in performance studies, Romantic Period drama, and women's writing will find the essays both challenging and inspiring.
Author: Jack E. DeRochi
Publisher: Rowman & Littlefield
ISBN: 1611484804
Category : Drama
Languages : en
Pages : 321
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Book Description
This new collection of essays on Richard Brinsley Sheridan brings the most important British playwright of the eighteenth century back to the forefront of literary and cultural studies of the era. While his pyrotechnic life as a romantic hero, playwright, Member of Parliament, and theatre manager has generated a number of recent biographies, it is Sheridan's works--not just plays but also poetry and orations--that endure. These essays reclaim the legacy of the man of letters and partisan bon vivant who burst from obscurity to become a powerful cultural force in Georgian London. This collection covers the many lives of Sheridan, taking into account both his variegated career and the competing accounts of the man, as well as his early verse, which lays the foundation for his success as a playwright. Chapters are devoted to Sheridan's theatre, and provide innovative readings of his most famous dramatic pieces: The Rivals, The Duenna, The School for Scandal, The Critic, and Pizarro. The volume also includes extensive discussion of the dramatic highs of Sheridan's long political career, thus placing the playwright-politician firmly in the world in which performance and politics were inextricably entwined. Contributors: Mita Choudhury, Jack E. DeRochi, Marianna D'Ezio, Daniel J. Ennis, Emily Friedman, Steven Gores, David Haley, Robert W. Jones, Daniel O'Quinn, Glynis Ridley, John Vance, David Francis Taylor
Author: Lisa A. Freeman
Publisher: University of Pennsylvania Press
ISBN: 0812201949
Category : Drama
Languages : en
Pages : 307
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Book Description
If the whole world acted the player, how did the player act the world? In Character's Theater, Lisa A. Freeman uses this question to test recent critical discussion of eighteenth-century literature and culture. Much current work, she observes, focuses on the concept of theatricality as both the governing metaphor of social life and a primary filter of psychic perception. Hume's "theater of the mind," Adam Smith's "impartial spectator," and Diderot's "tableaux" are all invoked by theorists to describe a process whereby the private individual comes to internalize theatrical logic and apprehend the self as other. To them theatricality is a critical mechanism of modern subjectivity but one that needs to be concealed if the subject's stability is to be maintained. Finding that much of this discussion about the "Age of the Spectator" has been conducted without reference to the play texts or actual theatrical practice, Freeman turns to drama and discovers a dynamic model of identity based on eighteenth-century conceptualizations of character. In contrast to the novel, which cultivated psychological tensions between private interiority and public show, dramatic characters in the eighteenth century experienced no private thoughts. The theater of the eighteenth century was not a theater of absorption but rather a theater of interaction, where what was monitored was not the depth of character, as in the novel, but the arc of a genre over the course of a series of discontinuous acts. In a genre-by-genre analysis of plays about plays, tragedy, comedies of manners, humours, and intrigue, and sentimental comedy, Freeman offers an interpretive account of eighteenth-century drama and its cultural work and demonstrates that by deploying an alternative model of identity, theater marked a site of resistance to the rise of the subject and to the ideological conformity enforced through that identity formation.
