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Author: Julia Swindells
Publisher: Oxford University Press
ISBN: 0199600309
Category : Literary Criticism
Languages : en
Pages : 786
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Book Description
The Oxford Handbook of the Georgian Theatre 1737-1832 provides a comprehensive guide to theatre of the Georgian era across the range of dramatic forms.
Author: Julia Swindells
Publisher: Oxford University Press
ISBN: 0199600309
Category : Literary Criticism
Languages : en
Pages : 786
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Book Description
The Oxford Handbook of the Georgian Theatre 1737-1832 provides a comprehensive guide to theatre of the Georgian era across the range of dramatic forms.
Author: David Duff
Publisher: Oxford Handbooks
ISBN: 0199660891
Category : Literary Criticism
Languages : en
Pages : 817
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Book Description
This Handbook provides a comprehensive overview of British Romantic literature and an authoritative guide to all aspects of the movement including its historical, cultural, and intellectual contexts, and its connections with the literature and thought of other countries. All the major Romantic writers are covered alongside lesser known writers.
Author: Warren Oakley
Publisher: Manchester University Press
ISBN: 1526129140
Category : Literary Criticism
Languages : en
Pages : 223
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Book Description
This is the first biography of Thomas Harris: confidant of George III, ‘spin doctor’, philanthropist, sexual suspect, brothel owner, and the man who controlled Covent Garden theatre for nearly five decades.
Author: Andrew Benjamin Bricker
Publisher: Oxford University Press
ISBN: 0192846159
Category : History
Languages : en
Pages : 341
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Book Description
Libel and Lampoon shows how English satire and the law mutually shaped each other during the long eighteenth century. Following the lapse of prepublication licensing in 1695, the authorities quickly turned to the courts and newly repurposed libel laws in an attempt to regulate the press. In response, satirists and their booksellers devised a range of evasions. Writers increasingly capitalized on forms of verbal ambiguity, including irony, allegory, circumlocution, and indirection, while shifty printers and booksellers turned to a host of publication ruses that complicated the mechanics of both detection and prosecution. In effect, the elegant insults, comical periphrases, and booksellers' tricks that came to typify eighteenth-century satire were a way of writing and publishing born of legal necessity. Early on, these emergent satiric practices stymied the authorities and the courts. But they also led to new legislation and innovative courtroom procedures that targeted satire's most routine evasions. Especially important were a series of rulings that increased the legal liabilities of printers and booksellers and that expanded and refined doctrines for the courtroom interpretation of verbal ambiguity, irony, and allegory. By the mid-eighteenth century, satirists and their booksellers faced a range of newfound legal pressures. Rather than disappearing, however, personal and political satire began to migrate to dramatic mimicry and caricature-acoustic and visual forms that relied less on verbal ambiguity and were therefore not subject to either the provisions of preperformance dramatic licensing or the courtroom interpretive procedures that had earlier enabled the prosecution of printed satire.
Author: Paddy Bullard
Publisher: Oxford University Press
ISBN: 0191043702
Category : Literary Criticism
Languages : en
Pages : 816
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Book Description
Eighteenth century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century's novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period's philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This Handbook is a guide to the different kinds of satire written in English during the 'long' eighteenth century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to first decade of the seventeenth century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Oxford Handbook of Eighteenth-Century Satire reflects developments in historical criticism of eighteenth-century writing over the last two decades, and provides a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period's texts can come together.
Author: Sarah Burdett
Publisher: Springer Nature
ISBN: 3031154746
Category : Literary Criticism
Languages : en
Pages : 299
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Book Description
This book explores shifting representations and receptions of the arms-bearing woman on the British stage during a period in which she comes to stand in Britain as a striking symbol of revolutionary chaos. The book makes a case for viewing the British Romantic theatre as an arena in which the significance of the armed woman is constantly remodelled and reappropriated to fulfil diverse ideological functions. Used to challenge as well as to enforce established notions of sex and gender difference, she is fashioned also as an allegorical tool, serving both to condemn and to champion political and social rebellion at home and abroad. Magnifying heroines who appear on stage wielding pistols, brandishing daggers, thrusting swords, and even firing explosives, the study spotlights the intricate and often surprising ways in which the stage amazon interacts with Anglo-French, Anglo-Irish, Anglo-German, and Anglo-Spanish debates at varying moments across the French revolutionary and Napoleonic campaigns. At the same time, it foregrounds the extent to which new dramatic genres imported from Europe –notably, the German Sturm und Drang and the French-derived melodrama– facilitate possibilities at the turn of the nineteenth century for a refashioned female warrior, whose degree of agency, destructiveness, and heroism surpasses that of her tragic and sentimental predecessors.
Author: David O'Shaughnessy
Publisher: Cambridge University Press
ISBN: 1108496253
Category : Drama
Languages : en
Pages : 281
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Book Description
A far-reaching analysis of censorship's profound impact on Georgian theatrical culture and its development across the long eighteenth century, showcasing how the analysis of plays can be helpful for historical research.
Author: Malina Stefanovska
Publisher: Springer Nature
ISBN: 3030840050
Category : Literary Criticism
Languages : en
Pages : 200
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Book Description
This book addresses the distinct representations of emotions in non-fictional texts from the seventeenth to the mid-nineteenth century (1600-1850). Focusing on memoirs, autobiographies, correspondences and conduct manuals, it argues that in those writings, passions and emotions are differently expressed than in fiction. It also offers a comparative study of texts from cultures as diverse as English, French, Korean and Chinese, and of emotions in relation to genre, identity, and morality during significant cultural transformation of the early modern period. This book is distinctive in its choice of non-fictional genres, its period, and its cross-cultural approach. It can benefit scholars interested in exploring emotion as a historical and cultural product, and in enriching their knowledge of an emerging scholarly direction: studies in self-narratives (autobiography, memoirs, dream narratives, letters, etc.) often insufficiently explored in earlier historical periods.
Author: Sally Barnden
Publisher: Oxford University Press
ISBN: 0198895038
Category : Literary Criticism
Languages : en
Pages : 273
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Book Description
Shakespeare and the Royal Actor argues that members of the royal family have identified with Shakespearean figures at various times in modern history to assert the continuity, legitimacy, and national identity of the royal line. It provides an account of the relationship between the Shakespearean afterlife and the royal family through the lens of a broadly conceived theatre history suggesting that these two hegemonic institutions had a mutually sustaining relationship from the accession of George III in 1760 to that of Elizabeth II in 1952. Identifications with Shakespearean figures have been deployed to assert the Englishness of a dynasty with strong familial links to Germany and to cultivate a sense of continuity from the more autocratic Plantagenet, Tudor, and Stuart monarchs informing Shakespeare's drama to the increasingly ceremonial monarchs of the modern period. The book is driven by new archival research in the Royal Collection and Royal Archives. It reads these archives critically, asking how different forms of royal and Shakespearean performance are remembered in the material holdings of royal institutions.
Author: Oskar Cox Jensen
Publisher: Oxford University Press
ISBN: 0192540459
Category : Literary Criticism
Languages : en
Pages : 272
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Book Description
Charles Dibdin (1745-1814) was one of the most popular and influential creative forces in late Georgian Britain, producing a diversity of works that defy simple categorisation. He was an actor, lyricist, composer, singer-songwriter, comedian, theatre-manager, journalist, artist, music tutor, speculator, and author of novels, historical works, polemical pamphlets, and guides to musical education. This collection of essays illuminates the social and cultural conditions that made such a varied career possible, offering fresh insights into previously unexplored aspects of late Georgian culture, society, and politics. Tracing the transitions in the cultural economy from an eighteenth-century system of miscellany to a nineteenth-century regime of specialisation, Charles Dibdin and Late Georgian Culture illustrates the variety of Dibdin's cultural output as characteristic of late eighteenth-century entertainment, while also addressing the challenge mounted by a growing preoccupation with specialisation in the early nineteenth century. The chapters, written by some of the leading experts in their individual disciplines, examine Dibdin's extraordinarily wide-ranging career, spanning cultural spaces from the theatres at Drury Lane and Covent Garden, through Ranelagh Gardens, Sadler's Wells, and the Royal Circus, to singing on board ships and in elegant Regency parlours; from broadside ballads and graphic satires, to newspaper journalism, mezzotint etchings, painting, and decorative pottery. Together they demonstrate connections between forms of cultural production that have often been treated as distinct, and provide a model for a more integrated approach to the fabric of late Georgian cultural production.
