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FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244. -
I the POLITICS of DESIRE: ENGLISH WOMEN PLAYWRIGHTS
THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 by Loring Pfeiffer B. A., Swarthmore College, 2002 M. A., University of Pittsburgh, 2010 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 i UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Loring Pfeiffer It was defended on May 1, 2015 and approved by Kristina Straub, Professor, English, Carnegie Mellon University John Twyning, Professor, English, and Associate Dean for Undergraduate Studies, Courtney Weikle-Mills, Associate Professor, English Dissertation Advisor: Jennifer Waldron, Associate Professor, English ii Copyright © by Loring Pfeiffer 2015 iii THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 Loring Pfeiffer, PhD University of Pittsburgh, 2015 The Politics of Desire argues that late seventeenth- and early eighteenth-century women playwrights make key interventions into period politics through comedic representations of sexualized female characters. During the Restoration and the early eighteenth century in England, partisan goings-on were repeatedly refracted through the prism of female sexuality. Charles II asserted his right to the throne by hanging portraits of his courtesans at Whitehall, while Whigs avoided blame for the volatility of the early eighteenth-century stock market by foisting fault for financial instability onto female gamblers. The discourses of sexuality and politics were imbricated in the texts of this period; however, scholars have not fully appreciated how female dramatists’ treatment of desiring female characters reflects their partisan investments. -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
The Rover by Aphra Behn
By Shailesh Ranjan Assistant Professor Dept. of English, Maharaja College, Ara. About the Author Aphra Behn was one of the first English professional writers wrote plays, poetry, short stories and novels. Little information is known about her early life. She was born in about 1640 near Canterbury, England.Her family were Royalists, connected with powerful catholic families and the court. She may have been raised Catholic and educated in a convent abroad. As one of the first English women to earn her living by her writing, she broke cultural barriers and served as a literary role model for later generations of women authors. Rising from obscurity, she came to the notice of Charles II , who employed her as a spy in Antwerp. •After her return to London she started her writings. •She wrote under the pastrol pseudonym Astrea. •A staunch supporter of the Stuart Line, she declined an invitation from Bishop Burnet to write a welcoming poem to the new king William III. •She died shortly after. Her grave is not included in the Poets Corner but lies in the East Cloister near the steps to the church. •Virginia Woolf writes about her in her famous work ‘A Room of One’s Own’ - “ All women together ought to let flowers fall upon the tomb of Aphra Behn which is , most scandalously but rather appropriately, in Westminster Abbey, for it was she who earned them the right to speak their minds.” • She challenged with expressing herself in a patriarchal system that generally refused to grant merit to women’s views.Women who went against were in risk of being exiled from their communities and targeted to be involved in witch hunts. -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit “Intriguing Heroines and Scheming Servants. Unconventional Female and Lower-Class Characters in Selected Plays by Susanna Centlivre and Mary Davys” Verfasserin Christine Grossberger angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2008 Studienkennzahl lt. Studienblatt: A 344 353 Studienrichtung lt. Studienblatt: LA Anglistik und Amerikanistik Betreuerin / Betreuer: Univ.-Prof. Dr. Margarete Rubik CORE Metadata, citation and similar papers at core.ac.uk Provided by OTHES 2 3 Acknowledgements First of all, I would like to thank Univ.-Prof. Dr. Margarete Rubik, the first female Professor of English Literature at the University of Vienna, for sparking my interest in Restoration and eighteenth-century drama and for her ongoing support during the completion of this thesis. I would also like to thank Jessica Munns, editor of Restoration and Eighteenth- Century Theatre Research for making Jane Milling’s valuable article “A Gotham Election: Women and Performance Politics” available for me. Additionally, I would like to thank Susan Glover for providing me with bibliographical reference of her article “Laying Claim to Title: Mary Davys and Authorial Dispossession.” Dedication This thesis is dedicated to my partner, Michael Schmid, and to the fulfilment of our dreams, to my parents, Silvia and Alfred, to my siblings Gabriele, Gerhard, and Günter Grossberger, and to my second family, Roswitha and Peter Schmid. Thank you all for your loving and understanding support, motivation, and encouragement. 4 5 CONTENTS I. SETTING THE PLAYS AND THEIR PLAYWRIGHTS IN CONTEXT ............. 9 1. Introduction ............................................................................................ 9 2. Establishing the historical and political context............................... 12 2.1. End of the Interregnum and Restoration of the Stuart monarchy . -
Making Space: the Case for Amatory Fiction, 1660-1740
MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ A Dissertation Presented to The Faculty of the Department Of English University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _______________ By Chrisoula M. Gonzales May, 2017 MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _________________________ Chrisoula M. Gonzales APPROVED: _________________________ Ann Christensen, Ph.D. Committee Chair _________________________ David Mazella, Ph.D. _________________________ Maria Gonzalez, Ph.D. _________________________ Lynn Voskuil, Ph.D. _________________________ Robert Shimko, Ph.D. University of Houston _________________________ Antonio D. Tillis, Ph.D. Dean, College of Liberal Arts and Social Sciences Department of Hispanic Studies ii MAKING SPACE: THE CASE FOR AMATORY FICTION, 1660-1740 _______________ An Abstract of a Dissertation Presented to The Faculty of the Department of Psychology University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy _____________ By Chrisoula M. Gonzales May, 2017 ABSTRACT This dissertation explores amatory fiction as a genre significant to English literary history. I ground the study of amatory fiction in literary history, specifically exploring the ways that amatory fiction participates in the development of the novel. In amatory fiction, female characters express desire in a public setting, a feature that distinguishes amatory fiction from the novel, where characters more often express themselves in private, domestic spaces. By analyzing the various expressions of female desire in the works of Aphra Behn, Delarivier Manley, Eliza Haywood, and Daniel Defoe, I show that female characters are motivated to inhabit public space because they seek to know themselves as sexual, social, and political agents. -
Print This Article
JOURNAL OF ENGLISH STUDIES – VOLUME 17 (2019), 127-147. http://doi.org/10.18172/jes.3565 “DWINDLING DOWN TO FARCE”?: APHRA BEHN’S APPROACH TO FARCE IN THE LATE 1670S AND 80S JORGE FIGUEROA DORREGO1 Universidade de Vigo [email protected] ABSTRACT. In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer. Keywords: Aphra Behn, farce, commedia dell’arte, Restoration England, deception, physical comedy. 1 The author wishes to acknowledge funding for his research from the Spanish government (MINECO project ref. FFI2015-68376-P), the Junta de Andalucía (project ref. P11-HUM-7761) and the Xunta de Galicia (Rede de Lingua e Literatura Inglesa e Identidade III, ref. ED431D2017/17). 127 Journal of English Studies, vol. 17 (2019) 127-147 Jorge Figueroa DORREGO “DWINDLING DOWN TO FARCE”?: LA APROXIMACIÓN DE APHRA BEHN A LA FARSA EN LAS DÉCADAS DE 1670 Y 1680 RESUMEN. -
The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More Information
Cambridge University Press 0521820197 - The Cambridge Companion to Aphra Behn Edited by Derek Hughes and Janet Todd Frontmatter More information The Cambridge Companion to Aphra Behn Traditionally known as the first professional woman writer in English, Aphra Behn has now emerged as one of the major figures of the Restoration. During the 1670s and 1680s, she provided more plays for the stage than any other author, and greatly influenced the development of the novel with her ground- breaking fiction, especially Love-Letters between a Noble-Man and his Sister, and Oroonoko, the first English novel set in America. Behn’s work straddles the genres: beside drama and fiction, she also excelled in poetry and she made several important translations from French libertine and scientific works. The chapters in this Companion discuss and introduce her writings in all these fields and provide the critical tools with which to judge their aesthetic and historical importance. The book also includes a full bibliography, a detailed chronology, and a description of the known facts of her life. The Companion will be an essential tool for the study of this increasingly important writer and thinker. derek hughes is Professor of English Literature at the University of Aberdeen. In addition to many articles on Restoration drama and its back- ground, he has published Dryden’s Heroic Plays (1980), English Drama, 1660– 1700 (1996), and The Theatre of Aphra Behn (2001). He was the general editor of the six-volume Eighteenth Century Women Playwrights (2001), and has just completed an edition of early modern texts concerning slavery and America, which includes Behn’s and Southerne’s versions of Oroonoko. -
Princes, Power, and Politics in the Early Plays of Aphra Behn
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository PRINCES, POWER, AND POLITICS IN THE EARLY PLAYS OF APHRA BEHN by JESSICA KATE BENTLEY PIRIE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English Literature College of Arts and Law University of Birmingham February 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract My thesis explores Aphra Behn’s early plays and their portrayal of monarchical power within the political contexts of Charles II’s reign. The plays are studied chronologically, beginning with The Young King – which Behn claimed she wrote in c.1664 – and continuing through the first four of her works performed on the Restoration stage: The Forc’d Marriage, The Amorous Prince, The Dutch Lover, and Abdelazer. These works have been largely neglected by previous Behn studies, dismissed as experimental forerunners of her better-known works, like The Rover. By contrast, this thesis argues that these plays contain complex analogies of the political concerns and events troubling Charles II’s reign. -
University of California
UC Riverside UC Riverside Electronic Theses and Dissertations Title The English Novel's Cradle: The Theatre and the Women Novelists of the Long Eighteenth Century Permalink https://escholarship.org/uc/item/5q32j478 Author Howard, James Joseph Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The English Novel‘s Cradle: The Theatre and the Women Novelists of the Long Eighteenth Century A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by James Joseph Howard March 2010 Dissertation Committee: Dr. George E. Haggerty, Chairperson Dr. Carole Fabricant Dr. Deborah Willis Copyright by James Joseph Howard 2010 The Dissertation of James Howard is approved: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I wish to express my appreciation for the guidance and encouragement provided during this project by my Dissertation Committee Chair, Dr. George Haggerty, and the positive support of the other committee members, Dr. Carole Fabricant and Dr. Deborah Willis. I would also like to thank Dr. John Ganim, who served on my doctoral examination committee, for his helpful insights before and especially during my oral examination, and Dr. John Briggs, for his initial encouragement of my entering the doctoral program at UC Riverside. I also extend my gratitude to all the English faculty with whom I had the pleasure of studying during my six years at the Riverside campus. Finally, I must make special mention of the English Graduate Staff Advisor, Tina Feldmann, for her unflinching dedication and patience in resolving not only my own interminable queries and needs, but also those of her entire ―family‖ of English graduate students. -
Politics of Gender and National Identity in Susanna Centlivre's
Anagnórisis. Revista de investigación teatral, nº. 16, diciembre de 2017 Págs. 54-79, ISSN: 2013-6986 www.anagnorisis.es Politics of Gender and National Identity in Susanna Centlivre’s Iberian Plays: A Defence of Whig Feminism Laura Martínez-García Universidad de Oviedo [email protected] Key Words: Centlivre. Whig. Feminism. Gender politics. Abstract: This paper argues that Susanna Centlivre’s choice of setting in her Portuguese plays (Marplot in Lisbon or the Second Part of The BusyBody (1710), The Wonder! A Woman Keeps a Secret (1714) and A Wife Well Mananag’d (1715)) not only works as the only logical meeting point where the clash of three cultures (British, Spanish and Portuguese) can take place, but as a liminal space where the author can freely express her views on politics, gender relations and the situation of women in Britain, a liminoid stage where, through déplacement, gender ideologies, identities, discourses of truth and national stereotypes can be contested, reformulated and interrogated. Políticas de género e identidad nacional en las obras ‘Ibéricas’ de Susanna Centlivre: una defensa del feminismo Whig Palabras clave: Centlivre. Feminismo. Whig. Políticas de género. Resumen: Este ensayo sostiene que la elección de Lisboa como escenario de las obras ‘Portuguesas’ (Marplot in Lisbon or the Second Part of The BusyBody (1710), The Wonder! A Woman Keeps a Secret (1714) y A Wife Well Mananag’d (1715)) de Susanna Centlivre, no solo atiende a una necesidad lógica (Portugal sería el terreno neutral en el que Gran Bretaña, -
This Is the File GUTINDEX.ALL Updated to July 5, 2013
This is the file GUTINDEX.ALL Updated to July 5, 2013 -=] INTRODUCTION [=- This catalog is a plain text compilation of our eBook files, as follows: GUTINDEX.2013 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2013 and December 31, 2013 with eBook numbers starting at 41750. GUTINDEX.2012 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2012 and December 31, 2012 with eBook numbers starting at 38460 and ending with 41749. GUTINDEX.2011 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2011 and December 31, 2011 with eBook numbers starting at 34807 and ending with 38459. GUTINDEX.2010 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2010 and December 31, 2010 with eBook numbers starting at 30822 and ending with 34806. GUTINDEX.2009 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2009 and December 31, 2009 with eBook numbers starting at 27681 and ending with 30821. GUTINDEX.2008 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2008 and December 31, 2008 with eBook numbers starting at 24098 and ending with 27680. GUTINDEX.2007 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2007 and December 31, 2007 with eBook numbers starting at 20240 and ending with 24097. GUTINDEX.2006 is a plain text listing of eBooks posted to the Project Gutenberg collection between January 1, 2006 and December 31, 2006 with eBook numbers starting at 17438 and ending with 20239.