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"Burwick, Frederick"
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Playing to the crowd : London popular theater, 1780-1830
\"Between 1780 and 1830, the growing London population divided into immigrant neighborhoods with two dozen unlicensed theatres tailoring productions to attract and serve this new audience. Playing to the Crowd is the first study of the productions of the minor theatres, how they were adapted to appeal to the local patrons and the audiences who worked and lived in these communities\"--Provided by publisher.
Book
A history of Romantic literature
Historical Narrative Offers Introduction to Romanticism by Placing Key Figures in Overall Social Context
Going beyond the general literary survey, A History of Romantic Literature examines the literatures of sensibility and intensity as well as the aesthetic dimensions of horror and terror, sublimity and ecstasy, by providing a richly integrated account of shared themes, interests, innovations, rivalries and disputes among the writers of the late eighteenth and early nineteenth centuries.
Drawing from the assemblage theory, Prof. Burwick maintains that the literature of the period is inseparable from prevailing economic conditions and ongoing political and religious turmoil, as well as developments in physics, astronomy, music and art. Thus, rather than deal with authors as if they worked in isolation from society, he identifies and describes their interactions with their communities and with one another, as well as their responses to current events. By connecting seemingly scattered and random events such as the bank crisis of 1825, he weaves the coincidental into a coherent narrative of the networking that informed the rise and progress of Romanticism. Notable features of the book include:
* A strong narrative structure divided into four major chronological periods: Revolution, 1789-1798; Napoleonic Wars, 1799-1815; Riots, 1815-1820; Reform, 1821-1832
* Thorough coverage of major and minor figures and institutions of the Romantic movement (including Mary Wollstonecraft, Elizabeth Montague and the Bluestockings, Lord Byron, John Keats, Letitia Elizabeth Landon etc.)
* Emphasis on the influence of social networks among authors, such as informal dinners and teas, clubs, salons and more formal institutions
With its extensive coverage and insightful analysis set within a lively historical narrative, History of Romantic Literature is highly recommended for courses on British Romanticism at both undergraduate and post-graduate levels. It will also prove a highly useful reference for advanced scholars pursuing their own research.
eBook
Romanticism : keywords
\"Compiles 70 of the key terms most frequently used or discussed by authors of the Romantic period - and most often deliberated by critics and literary historians of the era. Offers an indispensable resource for understanding the ideas and differing interpretations that shaped the Romantic period Includes keywords spanning Abolition and Allegory, through Madness and Monsters, to Vision and Vampires Features in-depth descriptions of each entry's direct meaning and connotations in relation to its usage and thought in literary culture Provides deep insights into the political, social, and cultural climate of one of the most expressive periods of Western literary history Draws on the author's extensive experience of teaching, lecturing, and writing on Romantic literature \"-- Provided by publisher.
Book
Romanticism
To gain an understanding of any literary era, one should be exposed to the language of its time and place in history. This is especially critical when considering the innovations in creativity introduced during Europe's Romantic era. Romanticism: Keywords offers readers an invaluable collection of 73 key terms most frequently discussed by authors of the Romantic period – and most often deliberated and debated by contemporary critics and literary historians of the era.
From Abolition and Allegory through Madness and Monsters to Vision and Vampires, each entry is accompanied by an in-depth description of the term's direct meaning and connotations in relation to its usage and thought in British literary culture. Collectively, the terms represent a time capsule of the ideas and concerns that shaped the literature of an age of revolution, social and political reconstruction, impassioned individualism, and probing subjectivity. In introducing and defining the terms that characterized the era, Romanticism: Keywords is an indispensable resource for developing a conceptual understanding of Romantic aesthetics – and provides deep insights into the political, social, and cultural climate of one of the most expressive periods of Western literary history.
eBook
Play-Acting in Hoffmann's Prinzessin Brambilla
In
Hoffmann combines his study of mental pathology with his involvement in theater performance. Hoffmann introduces figures of the
as street players in the midst of carnival. The derangement of Giglio Favia, an actor, is played out amidst the paradigm shift from the Classic to the Romantic. As in his other tales with delusional protagonists, Hoffmann draws from contemporary mental pathology, not just in constructing character but also in adapting medical case studies as narrative models. The revival of
and the staging of fable and the harlequinades introduced modes of multiple role-playing on the stage. Hoffmann found in Johann Christian Reil and Gotthilf Heinrich Schubert strong advocates for play-acting as a cure for madness. Locating that opportunity in the disguises of carnival, Hoffmann has the mountebank pathologist Celionati guide the impressionable Giglio out of his delirium by means of play-acting in a fairy tale.
Journal Article
VAMPIRES IN KILTS
As sexual predator the Vampire was closely related to other villains of the Gothic Drama of the period. Cast in a new role as one who first debauches then sucks the blood of his victims, the vampire underwent a major transformation from his earlier folkloric identity in the eighteenth century to his peculiarly urbane post-revolutionary character. Once no more than a resurrected corpse that preyed upon the living, the new vampire was a nobleman of the ancien régime. In the figure of the sophisticated vampire, sexual transgressions were blended with the Sadistic themes of the sexual libertinism of a decadent aristocracy. Also, the stage vampire was an evil antagonist and defiler of religious orthodoxy, whose worship of Satan included the blasphemous parody of drinking the blood, not of Christ, but of a victim or new convert to the dark ways of the living dead.The vampire melodrama performed during the 1820s introduced a disturbingly different transgressive behaviour.1 In imposing his spell on his victims, male as well as female, the stage vampire controlled all witnesses to his act. Members of the audience, no less than characters on the stage, succumbed to the Wirkungsästhetik of the vampire's gaze.2 The viewer of the play, as another convert, is presumed to fall under the vampire's thrall. This essay provides an opportunity to discuss the presumptions of transgressive theatre: not simply to reveal the trespasses against established norms, but to provoke audience tensions of participation and repudiation.
Journal Article
Greek Drama: Coleridge, De Quincey, A. W. Schlegel
[...]Schle- gel wants to admit a mingling of real and ideal primarily through the stage paintings. [...]when explaining \"the pic- turesque spirit of the romantic poetry,\" he says that painting \"delights in exhibiting, along with the principal figures, all the details of the surrounding locality and all secondary cir- cumstances, and to open a prospect into a boundless dis- tance in the background; and light and shade with perspective are its peculiar charms\" Because these are the very attributes he attributes to skenographia, he allows a co- presence and counter-force to the statuesque spirit of Greek tragedy. A few years later he published his review of the performance, \"The Antigone of Sophocles, as represented on the Edinburgh Stage in December 1845,\" Tait's (February and March, 1846).14 Crucial to his \"Theory of Greek Trag- edy,\" and already evident in his manuscript notes, is his atten- tion to the visual arts and scene painting. Because of the vast cultural and ethical changes that were a part of the dispersion of Christianity in Europe, an understanding of the conditions of the Greek stage must in- form an attempt to understand the merit of Greek tragedy.15 Who reads the Greek Drama now for pleasure?-I do. [...]the cothurnus to raise the actor; hence the voluminous robes to hide the disproportion thus resulting to the figure; hence the mask larger than life, painted to represent the noble Grecian con- tour of countenance; hence the mechanism by which it was made to swell the intonations of the voice like the brazen tubes of an organ. When the two-tier back wall was introduced in the 4th century, the scenic panels became smaller, not larger. Because of their limited size, the panels provided only partial views suggesting, as De Quincey contended, what background the audience should imagine as they watched the play (Harsh, 86; Storey, Allan, 38-46, 51-53).
Journal Article
