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Author: Thomas Dibdin
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 386
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Book Description
Author: Thomas Dibdin
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 386
Get Book Here
Book Description
Author: Thomas Dibdin
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 472
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Book Description
Author: Thomas Dibdin
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 456
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Book Description
Author: William Field
Publisher:
ISBN:
Category :
Languages : en
Pages : 490
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Book Description
Author: Thomas Dibdin
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 468
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Book Description
Author: Henry Angelo
Publisher:
ISBN:
Category :
Languages : en
Pages : 536
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Book Description
Author: William Thomas Lowndes
Publisher:
ISBN:
Category :
Languages : en
Pages : 1074
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Book Description
Author: James Treadwell
Publisher: OUP Oxford
ISBN: 0191532363
Category : Literary Criticism
Languages : en
Pages : 272
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Book Description
The word 'autobiography' is a late eighteenth-century coinage; yet by 1826 it was used as the title for a multi-volume anthology of self-writing, and in 1834 Thomas Carlyle wrote of 'these Autobiographical times of ours'. Over the course of those few decades, readers and writers came to recognize and name a new genre. This book is the first full study of the phenomenon, examining both the conditions and the practice of autobiographical writing in Romantic literature. Historians of autobiography have often pointed to the turn of the nineteenth century as a pivotal moment. In Rousseau and De Quincey's 'Confessions', Wordsworth's 'Prelude', and other canonical documents, it has been argued, self-writing begins to serve the purpose of expressing the individuality, autonomy, and interiority of the self. A more wide-ranging view of the actual state of autobiography at the time exposes this narrative as a misrepresentation. Self-writing does gain a new kind of prominence around 1800; not, however, because it articulates 'Romantic' ideologies of selfhood, but because it becomes a focus of scrutiny, and of contention. The decades of the Romantic period identified themselves as 'Autobiographical times' — but did so anxiously. This book asks: what forms did that recognition and that anxiety take within the literary culture of the period? What did autobiography mean to Romantic readers and writers? How do autobiographical texts of the period reflect, express, and negotiate these conditions? As well as reading a wide variety of those documents, with single chapters devoted to works by Coleridge, Byron, and Lamb, Treadwell examines writing on and around autobiography: essays, reviews, and other forms of commentary. By preserving a continuous relation between the texts and their contexts, this book offers the first proper study of what is actually meant by 'Romantic autobiography'.
Author: Allan Loraine Carter
Publisher:
ISBN:
Category : Chicago (Ill.)
Languages : en
Pages : 480
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Book Description
Author: Susan Valladares
Publisher: Routledge
ISBN: 1317050703
Category : Performing Arts
Languages : en
Pages : 577
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Book Description
From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.
