DOCSLIB.ORG

6 X 10 Long.P65

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6 X 10 Long.P65 Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Index More information Index Abbot, Bud, and Lou Costello, Baddeley, Robert, Abbott and Costello Meet Frankenstein, 240 as Colonel Batton in Love in the East, 128 Adelphi, 5, 9, 57, 60, 62, 123, 129, 241, as the Baron in The Haunted Tower, 188 242, 245 Baillie, Joanna, 32, 99, 202 Aldridge, Ira, De Monfort, 102, 105, 113, 188, 213 as Hamlet and Othello, 33 Introductory Discourse, 32, 104, 105 in anti-slavery plays, 33 Orra, 202 amateur theatricals, 142, 159 Plays of the Passions, 32 Ancillon, Charles, Baillie, Matthew, Eunuchism Display’d, 209 mental pathology, 104 Andrews, Miles Peter, 34, 47, 54 Banks, John, Dissipation, 40, 41, 43, 45 Earl of Essex, The, 90 epilogue to Delays and Blunders, 48 Bannister, John, 3, 4, 15, 106 epilogue to The Child of Nature, 54 as Ali Baba in The Forty Thieves, 166 Fire and Water, 40, 45, 46 as Daggerwood in Bannister’ s Budget, 4 anon., as Joseph Surface in Sheridan’s The School for Bluebeard, or the Fatal Effects of Curiosity Scandal, and Disobedience, 204 as Leopold in Siege of Belgrade, 191, 192 Don Juan, or the Libertine Destroyed, 243 as Motley in The Castle Spectre, 174, 217 The Popular Story of Blue Beard or, Female as Sylvester Daggerwood in New Hay at the Curiosity, 204 Old Market, 3 Aprile, Giuseppi, 214 as Young Wilding in Foote’s The Liar, 15 Apuleius, Barnard, The Golden Ass, 229 as Wilford in The Iron Chest, 196 Archer, William, 82 Barnes, John, Aristophanes, 106 as the Don Antonio in The Widow’s Vow, 123 Aristotle, 32 Barnett, C. Z., Arne, Michael, 214 Phantom Bride, 256 Cymon, 24 Skeleton Hand, The, 256 Arnim, Achim von, Barrie, James M., Hollins Liebeleben, 16 Peter Pan, 201 Arnold, Samuel J., 238 Barrymore, William, Arundel Theatre, 142 as Count Albert in De Monfort, 113 Astley’s Amphitheatre, 7 as Franval in Deaf and Dumb, 113 Atkins, Mrs., ne´e Warrell, as King of the Incas in Virgin of the Sun, 162 as Barbara in The Iron Chest, 198 as Osmond in The Castle Spectre, 174, 217 Atwood, Margaret, Bluebeard’s Egg, 203 as Pizarro, 157 Austen, Jane, as Steinfort in The Stranger, 28 Mansfield Park, 54, 142 Secret, The, 123 Austin, Gilbert, Bath Theatre, 199, 241 Chironomia, 81 Beaumarchais, Pierre-Augustin Caron de, 35 328 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Index More information Index 329 La Me`re coupable, 35 as Lappet in The Miser, 21 Le Barbier de Se´ville, 34 as Miranda in Busy Body, 23 Le Mariage de Figaro, 35, 37 Billington, Elizabeth, ne´e Weichsell, Beaumont, Francis and John Fletcher, as Queen Isabella in Una cosa rara, 192 Rule a Wife, Have a Wife, 127 Birch-Pfeiffer, Charlotte, 202 Beethoven, Ludwig van, Bishop, Sir Henry R., 166 Fidelio, 37 Virgin of the Sun, music, 162 Behn, Aphra, Blackwood’s Edinburgh Magazine, 231 Amorous Prince, The, 125 Hazlitt Cross-Questioned, 149 Belfour, Hugo John, and George Stephens, Blanchard, Elizabeth, Vampire, The, 251, 254 as Lady Margaret in Planche’s The Vampire, Bell, Charles, 241 Anatomy and Philosophy of Expression, The, 83, as Madame Dupuis in Moncrieff’s The Secret, 99, 100 124 Bellamy, Blanchard, William, 128 as Motley in The Castle Spectre, 177 as Plainway in Raising the Wind, 138 Bellini, Vincenzo, Bland, Maria The´re`sa, ne´e Romanzini, Il Pirata, 147 as Barbara in The Iron Chest, 198 I Puritani, 227 as Beda in Blue-Beard, 189 Benucci, Francesco, 215 as Cicely in The Haunted Tower, 189 as Figaro in Le Nozze di Figaro, 215 as Cogia in The Forty Thieves, 166 Be´rard, Cyprien, as Dorothy in No Song No Supper, 191 Lord Ruthven ou les Vampires, 51, 234 in Mahmoud, 216 Bernard, John, sings incantation in Remorse, 218 Retrospections, 40, 41, 43, 47 Blink, George, Bernardoni, Giuseppe, Vampire Bride, 256 Alonso e Cora, libretto for Mayr, 162 Blue-Beard, Bernhardt, Sarah, misogyny and domestic violence, 2 as Hamlet, 131 Boaden, James, 5 Berre´, Pierre-Yon, and Jean Baptiste Radet, Memoirs of Mrs. Siddons, 16, 20, 98, 99, 101, La Docteurs moderne, 54, 154 102 Betterton, Thomas, Bolton, Miss, as Diddler in Raising the Wind, 141, 142 as Princess Badroulbodour, Aladdin, 165, 166 Betty, William Henry West, 4 Bolton, Miss E., as Achmet in Barbarossa, 3, 175 as Amron in Aladdin, 166 as Frederick in Lover’s Vows, 175 Bonnor, Charles, as Hamlet, 134, 175 as Figaro in The Follies of a Day, 35 as Mortimer in The Iron Chest, 200 Bouilly, Jean Nicolas, as Osman in Zara, 3, 575, 199 L’Abbe´ de L’E´pe´e, adapted by Holcroft, Deaf as Osmond in The Castle Spectre, 3, 175 and Dumb, 37, 72, 109, 113 as Richard III, 175 Leonore, ou L’amour Conjugal, adapted as as Rolla in Pizarro, 3, 175 libretto to Beethoven’s Fidelio, 37 as Romeo in Romeo and Juliet, 3, 175 Boyce, Miss, as Tancred in Tancred and Sigismunda, 175 as Peggy in Raising the Wind, 42 title role in Brooke’s Gustavus Vasa, 175 Boydell, John, title role in Home’s Douglas, 3, 175, 176 Shakespeare Gallery, 91, 153, 165 Beverley, William Roxbury, Brackenridge, Hugh Henry, Watteau of Scene painters, 553 Death of General Montgomery, The, 72 Beverly, Mrs. Henry, ne´e Chapman, Braham, John, 18, 19, 33, 148, 190, 191, 201, 218 as Peggy in Raising the Wind, 138 as Don Giovanni in Una cosa rara, 192 Bianchi, Francesco, as Charles in Family Quarrels, 46 Alonso e Cora, 162 as Lord William in The Haunted Tower, 187, Biggs, Mariana, 21, 22, 25 189, 190 as Charlotte in The Stranger, 26 as Serkasier in Siege of Belgrade, 192 as lady Dove in The Brothers, 21 in Mahmoud, 216 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Index More information 330 Index Brand, Hannah, Calmet, Augustin, Adelinda, 102, 108 Treatise on Vampires, 230, 247 Brazier, Nicholas, Gabriel De Lurieu, and Capon, William, Armand d’Artois, setting for The Iron Chest, 152 Les Trois Vampires, 234, 238 stage designs, 152, 158 Brewster, Sir David, Carlyle, Thomas, Letters on Natural Magic, 67, 151 Memoirs of Sophia Dorothea, 229 Brighton Theatre, 42 Caroline, Queen, divorce trial, 169 Bristol Theatre Royal, 27, 131 Carroll, Pat, Bronte¨, Charlotte, as Falstaff in Merry Wives of Windsor, 131 Jane Eyre, 205 Carter, Angela, Brooke, Henry, Bloody Chamber, The, 203 Gustavus Vasa, 175 Carter, John, Brown, John, as Gossamer in Laugh When You Can, 128 Barbarossa, 3, 175, 199 as Monsieur Dupuis in Moncrieff’s The Brummell, George Bryan, Beau, 130 Secret, 124 Brunton, John, as Sir Patrick in Sleep-walker, or Which is the as Diddler in Raising the Wind, 142 Lady, 128 as Harry Dornton in The Road to Ruin, 136 Catalani, Angelica, 18, 190, 193 Brussels Theatre, 193 Cato Street Conspiracy, 68 Bullock, William, Caufield, John, Egyptian Hall, 168 as Apewell in New Hay at the Old Market, 3 Bu¨rger, Gottfried August, Centlivre, Susanna, Lenore, 243 Bury Body, 23 Burghersh, Lady, 142 Chamisso, Adelbert von, Peter Schlemihl, 67 Burke, Edmund, Chapman, Master, Reflections on the Revolution in France, 34 as Prince Agib in Timour the Tartar, 167 Burke, William, and William Hare, Cherry, Andrew, delivered corpses to Edinburgh College, 68 as Adam Winterton in The Iron Chest, 198 Burnett, Frances Hodgson, Travellers, or Music’s Fascination, The, 167 Secret Garden, The, 203 Cherubim, Luigi, Burns, Robert, Lodoiska, musical score, 188, 192 My love is like a red, red rose, 245 Chippendale, William Henry, Burton, John, as Fainwould in Raising the Wind, 141 as Adam Winterton in The Iron Chest, 198 chirologia, 83 Burton, Richard, chironomia, 83 Day Amongst the Fans, A, 203 clap-trap, 168, 201 Burwick, Frederick, Coats, Robert, Illusion and the Drama, 1 his bad acting, 3, 4 Butler, Samuel, Cobb, James, 201, 216 as McSwill in Planche´’s The Vampire, 241 Cherokee, The, libretto, 180 as Thomas in Moncrieff’s The Secret, 124 Haunted Tower, The, libretto, 11, 12, 15, 178, Byng, John, 6 179, 180, 181, 182, 184, 186, 187, 188, 189, Byron, Annabelle Milbanke, Lady, 169 190, 191, 200, 213, 235 Byron, George Gordon, Lord, 18, 57, 170, 234, Love in the East, 128 254 Pirates, The, libretto, 180 Bride of Abydos, The, 217 Siege of Belgrade, The, libretto, 12, 46, 180, Cain, 173 190, 191, 192, 200, 218 Don Juan, 170, 243 Cogan, Philip, 214 Fare Thee Well, 243 Colbran, Isabella, Fragment, 232 as Cora in Mayr’s Alonso e Cora, 162 Giaour, 232 Colburn, Henry, 231 Hebrew Melodies, see Nathan, Isaac Coleridge, Samuel Taylor, Manfred, 170, 178 Biographia Literaria, 16, 146 Sardanapalus, 168, 169, 172 Christabel, 189, 255 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Index More information Index 331 lectures on Shakespeare, 157 Cooke, Thomas Potter, Maid of Buttermere, 69 as Dirk Hatteraick in The Witch of on Hamlet’s madness, 91 Derncleugh, 241 Love’s Labour’ s Lost, 19 as Lord Ruthven in Planche´’s The Vampire, on Master Betty, 176 241 on Maturin’s Bertram, 144, 145, 146, 147, as Osmond in The Castle Spectre, 174 149, 150 as the Monster in Presumption, 241 on Milton’s Satan, 45 Copeau, Jacques, 82 on Shadwell’s The Libertine, 45 Corneille, Pierre, optical illusion, 57 Les Horaces, 92 Osorio, 24, 156, 173 Corri, Dominico, Picture, The, 57 music for Cherry’s The Travellers, 167 Remorse, 24, 156, 157, 158, 163, 173, 174, 213, 218 Courier, 232 Wanderings of Cain, The, 173 Coveney, Mr., willing suspension of disbelief, 16, 56, 46, 177 as Count Marville in ‘Twould Puzzle a Zapolya, 144 Conjuror,
Load more

Recommended publications
  • A Passion for Opera the DUCHESS and the GEORGIAN STAGE
    A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE A Passion for Opera THE DUCHESS AND THE GEORGIAN STAGE PAUL BOUCHER JEANICE BROOKS KATRINA FAULDS CATHERINE GARRY WIEBKE THORMÄHLEN Published to accompany the exhibition A Passion for Opera: The Duchess and the Georgian Stage Boughton House, 6 July – 30 September 2019 http://www.boughtonhouse.co.uk https://sound-heritage.soton.ac.uk/projects/passion-for-opera First published 2019 by The Buccleuch Living Heritage Trust The right of Paul Boucher, Jeanice Brooks, Katrina Faulds, Catherine Garry, and Wiebke Thormählen to be identified as the authors of the editorial material and as the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the authors. ISBN: 978-1-5272-4170-1 Designed by pmgd Printed by Martinshouse Design & Marketing Ltd Cover: Thomas Gainsborough (1727-1788), Lady Elizabeth Montagu, Duchess of Buccleuch, 1767. Portrait commemorating the marriage of Elizabeth Montagu, daughter of George, Duke of Montagu, to Henry, 3rd Duke of Buccleuch. (Cat.10). © Buccleuch Collection. Backdrop: Augustus Pugin (1769-1832) and Thomas Rowlandson (1757-1827), ‘Opera House (1800)’, in Rudolph Ackermann, Microcosm of London (London: Ackermann, [1808-1810]). © The British Library Board, C.194.b.305-307. Inside cover: William Capon (1757-1827), The first Opera House (King’s Theatre) in the Haymarket, 1789.
    [Show full text]
  • Pacini, Parody and Il Pirata Alexander Weatherson
    “Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted.
    [Show full text]
  • Ottoman Empire & European Theatre VIII
    Ottoman Empire & European Theatre VIII ______________ 28 – 29 M a y 2 0 1 5 International Symposium I s t a n b u l – Pera Museum Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia (r.1740–1780) Under the patronage of Exc. Hasan Göğüş Exc. Dr. Klaus Wölfer Ambassador of & Ambassador of the Republic of Turkey in Vienna the Republic of Austria in Ankara In cooperation with International Symposium Istanbul 2015 by Don Juan Archiv Wien OTTOMAN EMPIRE & EUROPEAN THEATRE VIII Culture, Diplomacy and Peacemaking: Ottoman-European Relations in the Wake of the Treaty of Belgrade (1739) and the Era of Maria Theresia (r.1740–1780) 28 – 29 May 2015 Istanbul, Pera Museum Organized by Don Juan Archiv Wien In cooperation with Pera Museum Istanbul, The UNESCO International Theatre Institute in Vienna (ITI) and The Austrian Cultural Forum in Istanbul PROGRAMME OVERVIEW Thursday, May 28th 2015 10:00–11:00 Opening Ceremony 11:00–11:30 Coffee Break 11:30–12:45 Session I “Of Ottoman Diplomacy” Seyfi Kenan The Education of an Ottoman Envoy during the Early Modern Period (Seventeenth and Eighteenth Centuries) John Whitehead The Embassy of Yirmisekizzade Said Mehmed Pasha to Paris (1742) 12:45–14:00 Lunch Break 14:00–15:15 Session II “The Siege of Belgrade (1789) and the Legend of a Field Marshal” Tatjana Marković Celebrating Field Marshal Gideon Ernest von Laudon (1717–1790) in European Literature and Music Michael Hüttler Celebrating Field Marshal Gideon Ernest von Laudon (1717–1790) in Theatre: The Siege of Belgrade on Stage 15:15–15:30 Coffee Break 15:30–16:45 Session III “Theatrical Aspects: Venice, Paris” Maria Alberti L’impresario delle Smirne (‘The Impresario from Smyrna’, 1759) by Carlo Goldoni (1707–1793), Namely the Naive Turk Aliye F.
    [Show full text]
  • The Siege of Belgrade on Stage
    Michael Hüttler THEATRE AND CULTURAL MEMORY: THE SIEGE OF BELGRADE ON STAGE Michael Hüttler (Vienna) Abstract: This contribution considers the historical image of Belgrade created by European playwrights and librettists of the eighteenth and nineteenth century. Istanbul has been for a long time the symbol of an oriental city and lifestyle in the Western European mind – an image that was transmitted especially in poetry and dramatic texts. Belgrade seems to be present in a different way in the European cultural memory. Analysis of the representation of history related to Belgrade in the medium of theatre is based on the four selected historical theatre texts: Hannah Brand’s Huniades, or The Siege of Belgrade (Norwich, 1791/1798); Carl Kisfaludy’s Ilka oder die Einnahme von Griechisch-Weissenburg (Pest, 1814); James Cobb’s The Siege of Belgrade (London 1791/1828); und Friedrich Kaiser’s General Laudon (Vienna, 1875). In this article I would like to investigate the historical image of Belgrade created by European playwrights and librettists of the eighteenth and nineteenth century. What are the contents transported in the dramatic texts about Belgrade? Is a certain historical-political context present, which dominates the entertainment factor? Istanbul has been for a long time the symbol of an oriental city and lifestyle in the Western European mind – an image that was transmitted especially in poetry and dramatic texts. Belgrade seems to be present in a different way in the European cultural memory. In his 1963 essay Sur Racine (‘On Racine’) Roland Barthes already posed the question of how to deal academically with the challenge of the relation between history and a work of art, be it music or a dramatic text.
    [Show full text]
  • Piraten- Und Seefahrerfilm 2011
    Repositorium für die Medienwissenschaft Matthias Christen; Hans Jürgen Wulff; Lars Penning Piraten- und Seefahrerfilm 2011 https://doi.org/10.25969/mediarep/12750 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Christen, Matthias; Wulff, Hans Jürgen; Penning, Lars: Piraten- und Seefahrerfilm. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 120). DOI: https://doi.org/10.25969/mediarep/12750. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0120_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Piraten- und Seefahrerfilme // Medienwissenschaft/Hamburg 120, 2011 /// 1 Medienwissenschaft / Hamburg: Berichte und Papiere 120, 2011: Piraten- und Seefahrerfilm. Redaktion und Copyright dieser Ausgabe: Matthias Christen, Hans J. Wulff, Lars Penning. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0120_11.html Letzte Änderung: 28.4.2011. Piratenfilm: Ein Dossier gentlichen Piraten trennen, die „gegen alle Flaggen“ segelten und auf eigene Rechnung Beute machten. Inhalt: Zur Einführung: Die Motivwelt des Piratenfilms / Matthi- Selbst wenn die Helden und die sehr seltenen Hel- as Christen. dinnen die Namen authentischer Piraten wie Henry Piratenfilm: Eine Biblio-Filmographie. / Hans J. Wulff. Morgan, Edward Teach oder Anne Bonny tragen und 1. Bibliographie. 2. Filmographie der Piratenfilme. ihre Geschichte sich streckenweise an verbürgte Tat- Filmographie der Seefahrerfilme / Historische Segelschif- sachen hält, haben Piratenfilme jedoch weniger mit fahrtsfilme / Lars Penning.
    [Show full text]
  • 6 X 10 Long.P65
    Cambridge University Press 978-0-521-88967-4 - Romantic Drama: Acting and Reacting Frederick Burwick Excerpt More information Introduction The poet, John Keats insisted in his letter to Richard Woodhouse (October 27, 1818), has no self, no character, no identity, but is ever ready to assume identity and enter into a role: As to the poetical Character . it has no self – it is everything and nothing – It has no character – it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, mean or elevated. It has as much delight in conceiving an Iago as an Imogen. What shocks the virtuous philosopher, delights the camelion Poet. It does no harm from its relish of the dark side of things any more than its taste for the bright one; because they both end in speculation. A Poet is the most unpoetical of anything in existence because he has no Identity; he is continually 1 in for and filling some other Body. To describe how the poetic imagination moves from nonentity to iden- tity, Keats introduces contrasting Shakespearean characters: the innocent Imogen, the evil Iago. Whatever their moral difference, both have equal affective value because “both end in speculation.” The poet is always ready for such role-playing, “continually in for and filling some other Body.” Keats’s theatrical metaphor for entering into character might seem to apply broadly to the assumptions about acting in the period. The successful performer, a Sarah Siddons or a John Philip Kemble, is pre- sumably one who can enter convincingly into role and become that character for the duration of the play.
    [Show full text]
  • Hamlet's Age and the Earl of Southampton
    Hamlet’s Age and the Earl of Southampton Hamlet’s Age and the Earl of Southampton By Lars Kaaber Hamlet’s Age and the Earl of Southampton By Lars Kaaber This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Lars Kaaber All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9143-6 ISBN (13): 978-1-4438-9143-1 To Mikkel and Simon, two brilliant actors who can certainly do justice to Hamlet (and bring him to justice as well). TABLE OF CONTENTS Preface ........................................................................................................ ix Part I ............................................................................................................ 1 Hamlet’s Age Part II ......................................................................................................... 85 Hamlet and the Earl of Southampton Bibliography ............................................................................................ 147 Index ........................................................................................................ 153 PREFACE As Stuart M. Kurland quite correctly has observed, critics
    [Show full text]
  • Illegitimate Celebrity in the British Long Eighteenth Century Melissa Wehler
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2013 Illegitimate Celebrity in the British Long Eighteenth Century Melissa Wehler Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Wehler, M. (2013). Illegitimate Celebrity in the British Long Eighteenth Century (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1347 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Melissa Wehler May 2013 Copyright by Melissa A. Wehler 2013 ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY By Melissa Wehler Approved March 22, 2013 _____________________________ _____________________________ Laura Engel, Ph.D. Anne Brannen, Ph.D. Associate Professor of English Associate Professor of English (Dissertation Director) (Committee Member) _____________________________ _____________________________ Susan K. Howard, Ph.D. Magali Cornier Michael, Ph.D. Associate Professor of English Professor of English (Committee Member) (Chair, Department of English) _____________________________ James Swindal, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts Professor of Philosophy iii ABSTRACT ILLEGITIMATE CELEBRITY IN THE BRITISH LONG EIGHTEENTH CENTURY By Melissa Wehler May 2013 Dissertation Supervised by Professor Laura Engel In the discussions about contemporary celebrities, the femme fatale, the bad boy, the child star, and the wannabe have become accepted and even celebrated figures.
    [Show full text]
  • Appendix: Chronology of Pirate Plays in Britain
    Appendix: Chronology of Pirate Plays in Britain Heywood, Thomas.Fortune by Land at Sea (ca. 1607–1609). Daborne, Robert. A Christian Turn’d Turk (Most likely Whitefriars Hall, ca. 1609–1612). Fletcher, John, and Philip Massinger. The Double Marriage (King’s Men, ca. 1621). Fletcher, John and Philip Massinger. The Sea Voyage (King’s Men, 22 June 1622). Massinger, Philip. The Renegado; or, The Gentleman of Venice (Cockpit Theatre, 17 April 1624). Massinger, Philip. The Unnatural Combat (Globe Theatre, ca. 1625). Heywood, Thomas.The Fair Maid of the West; or, A Girl Worth Gold, Parts I and II (first performance of part 1 unrecorded; revived with part 2, Cockpit Theatre, 1630). Davenant, John. The History of Sir Francis Drake (Cockpit Theatre, 1658–59). [Music: Matthew Locke.] Behn, Aphra. The Rover; or, The Banish’d Cavaliers (Duke’s Theatre, 24 March 1677). Behn, Aphra. The Rover, Part II (Dorset Gardens, January 1681). Johnson, Charles. The Successful Pyrate (Drury Lane, 7 November 1712). Gay, John. The Beggar’s Opera (Lincoln Inn Fields, 29 January 1728). Anon. Love with Honour; or, The Privateer (Ipswich, 1753). Brown John. Barbarossa, a Tragedy (Drury Lane, 17 December 1754). Gay, John. Polly (Haymarket, 9 June 1777). Cobb, James. The Pirates (Haymarket, 21 November 1792). Cross, John Cartwright. Blackbeard; or, The Captive Princess (Royal Circus, April 1798). Cross, John Cartwright. The Genoese Pirate; or, Black Beard (Covent Garden, 15 Octo- ber 1798; 15 October 1809). Cross, John Cartwright. Sir Francis Drake, and Iron Arm (Royal Circus, 4 April 1800). [Music: Sanderson.] Astley, Philip, Jr. The Pirate; or, Harlequin Victor (Royal Amphitheatre, 25 August 1800; Royalty, 19 October 1801).
    [Show full text]
  • The Journal of John Waldie Theatre Commentatires, 1798-1830 Edited by Frederick Burwick E-Scholarship Repository California Digi
    The Journal of John Waldie Theatre Commentatires, 1798-1830 Edited by Frederick Burwick e-Scholarship Repository California Digital Library The Journal of John Waldie Theatre Commentaries, 1798-1830 Edited by Frederick Burwick e-Scholarship Repository California Digital Library. This edition is transcribed from the Journal of John Waldie, Young Research Library UCLA Special Collections, Collection 169. Ninety three volumes of manuscript journals and letters were purchased in 1957, by Lawrence Clark Powell, from Robert D. Steedman, of Newcastle-on-Tyne. The collection contains 7 volumes of letters addressed to John Waldie, 73 volumes of the journal (25 of the numbered volumes are missing), 11 volumes on travels transcribed from the journal (t before the volume number = transcribed volume), one volume of passports (1827-1837), and one volume which includes a narrative account of Waldie's experiences at Antwerp and Brussels during the Battle of Waterloo and his subsequent tour through Flanders, Holland, and France. CONTENTS Introduction: biographical and historical Text: approximately 1000 theatre entries from the journal Addenda: portraits, travel maps, passports, the Waldie estate, selected manuscript pages. Index: a complete list of plays discussed with cross-references to John Genest, Some account of the English Stage: from the Restoration in 1660 to 1830 , 10 vols. (Bath: H.E. Carrington, 1832). The Journal of John Waldie Introduction INTRODUCTION "Overstrain versus Ennui," the title Sir George Douglas gave to his reminiscences of John
    [Show full text]
  • The Romance of London
    1 If I UA-^fefJutwc^? *1 * ytyeyfl Jf'UW^ iMKW»**tflff*ewi r CONTENTS. SUPERNATURAL STORIES. PAGB GHOST STORY EXPLAINED, .... I ["EPNEY LEGEND OF THE FISH AND THE. RING, 4 'REAM TESTIMONY, ..... 6 IARYLEBONE FANATICS : SHARP AND BRYAN, BROTHERS AND SOUTHCOTE, ..... 7 iALLUCINATION IN ST PAUL'S, .... H THE GHOST IN THE TOWER, ..... 18 TGHTS AND SHOWS, AND PUBLIC AMUSEMENTS. THE PUISNE'S WALKE ABOUT LONDON, 27 THE WALLS OF ROMAN LONDON, 30 THE DANES IN LONDON, 32 CITY REGULATIONS IN THE PLANTAGENET TIMES, 36 ST PAUL'S DAY IN LONDON, 37 CHRISTMAS FESTIVITIES IN WESTMINSTER HALL, 39 LONDON COCKPITS, .... 43 STORY OF THE BOOK OF ST ALBAN'S, 45 RACES IN HYDE PARK. 47 VI Contents. PAGK OLD PALL MALL SIGHTS, 49 ROMANCE OF SCHOMBERG HOUSE, . 5° DR GRAHAM AND HIS QUACKERIES, . 54 ORIGIN OF HACKNEY-COACHES, Co THE PARISH CLERKS OF CLERKENWELL, 62 SEDAN-CHAIRS IN LONDON, 62 A LONDON NEWSPAPER OF 1 667, 65 AMBASSADORS' SQUABBLE, . 67 DRYDEN CUDGELLED, 69 FUNERAL OF DRYDEN, 7i GAMING-HOUSES KEPT BY LADIES, . 73 ROYAL GAMING AT CHRISTMAS, 75 PUNCH AND JUDY, 77 FANTOCCINI, 81 MRS SALMON'S WAX-WORK, . 33 THE RAGGED REGIMENT IN WESTMINSTER ABBEY, 86 THE PIG-FACED LADY, 89 COUNT BORUWLASKI AND GEORGE IV., 92 THE IRISH GIANTS, . 95 A NORFOLK GIANT, . 99 CELEBRATED DWARFS, 100 PLAYING ON THE SALT-BOX, . 103 A SHARK STORY, 104 TOPHAM, THE STRONG MAN OF ISLINGTON, 105 THE POPE'S PROCESSION, AND BURNING OF THE TOPE, 107 THE GIANTS AT GUILDHALL, "5 120 LORD MAYOR'S DAY, .... PRESENTATION OF SHERIFFS, i-4 LORD MAYOR'S FOOL, 125 KING GEORGE III.
    [Show full text]
  • Romantic Sobriety Wang, Orrin N
    Romantic Sobriety Wang, Orrin N. C. Published by Johns Hopkins University Press Wang, Orrin N. C. Romantic Sobriety: Sensation, Revolution, Commodification, History. Johns Hopkins University Press, 2011. Project MUSE. doi:10.1353/book.1766. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/1766 [ Access provided at 2 Oct 2021 11:55 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Romantic Sobriety This page intentionally left blank Romantic Sobriety Sensation, Revolution, Commodifi cation, History ORRIN N. C. WANG The Johns Hopkins University Press Baltimore © 2011 The Johns Hopkins University Press All rights reserved. Published 2011 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Wang, Orrin Nan Chung, 1957– Romantic sobriety : sensation, revolution, commodifi cation, history / Orrin N. C. Wang. p. cm. Includes bibliographical references and index. ISBN-13: 978-1-4214-0066-2 (hardcover : alk. paper) ISBN-10: 1-4214-0066-9 (hardcover : alk. paper) 1. Romanticism. 2. Senses and sensation in literature. 3. Marxist criticism. 4. Deconstruction. 5. Literature—History and criticism—Theory, etc. I. Title. PN56.R7W37 2011 809Ј.9145—dc22 2010046803 A catalog record for this book is available from the British Library. Special discounts are available for bulk purchases of this book. For more information, please contact Special Sales at 410-516-6936 or [email protected].
    [Show full text]