George William Alberti's Life and Work (1724-1758)
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Spectacular Disappearances: Celebrity and Privacy, 1696-1801
Revised Pages Spectacular DiSappearanceS Revised Pages Revised Pages Spectacular Disappearances Celebrity and Privacy, 1696– 1801 Julia H. Fawcett University of Michigan Press Ann Arbor Revised Pages Copyright © 2016 by Julia H. Fawcett All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. ISBN 978– 0- 472– 11980– 6 (hardcover : alk. paper) ISBN 978– 0- 472– 12180– 9 (e-book) Revised Pages Acknowledgments I have often wondered if my interest in authors who wrote themselves in order to obscure themselves stems from my own anxieties about the permanence of the printed word—m y own longing (that I imagine everyone shares?) for words that linger on the page for a moment only and then— miraculously, mercifully— disappear before their inadequacies can be exposed. I think I will always harbor this anxiety, but I have been blessed with mentors, colleagues, friends, and family members who have known how to couch their criticism in kindness and without whom I could never have summoned the courage to keep this work up or to set these words down. The germs for this book’s ideas began many years ago, when, as an under- graduate at Harvard, I stumbled somewhat accidentally (to fulfill a require- ment) into Lynn Festa’s course on “Sex and Sensibility during the Enlighten- ment.” Thank goodness for requirements. -
Sarah Siddons As Lady Macbeth / Patricia T
Lehigh University Lehigh Preserve Theses and Dissertations 1974 Sarah Siddons as Lady Macbeth / Patricia T. Michael Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Michael, Patricia T., "Sarah Siddons as Lady Macbeth /" (1974). Theses and Dissertations. 4414. https://preserve.lehigh.edu/etd/4414 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. SA.RAH SIDDONS AS LADY MACBETH by Patricia T. Michael A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1974 This thesis 1s accepted and approved in partial ru1- f111rncnt of tl1e requirements for the degree of ?-1aster of Arts. ~,} / g. H Chairman o , ii \ AC KNOW LEDGMEN'I' The completion of this thesis would not have been possible without the contstant advice and assistance of Professor Fraink S. Hook, who I deeply respect for his wisdom and knowledge, and admire for his patience and understanding. • • • lll ,A' Table of Contento Page 11 Certificate of Approval . • • • • • • • • • • • • • • 111 Acknowledgment • • • • • • • • • • • • • • • • • • • iv Table of Contents . • • • • • • • • • • • • • • • • • 1 Abstract • • • • • • • • • • • • • • • • • • • • • • 2 Chapter I: Before Sarah Siddons • • • • • • • • • • 11 Chapter II: Mrs. Siddons on Stage • • • • • • • • • • 28 Act I. Sc. V • • • • • • • • • • • • • • • • • • 34 Act I. Sc. vi • • • • • • • • • • • • • • • • • • • Act I. Sc. Vll • • • • • • • • • • • • • • • • • 35 38 Act II. Sc. ii • • • • • • • • • • • • • • • • • • • 4:J- Act III. Sc. ll • • • • • • • • • • • • • • • • • 48 Act III. Sc. lV • • • • • • • • • • • • • • • • 45 Act V. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
Eighteenth-Century Theatre
-,,,,-«- o~~ J:-\\u~\--ca...~~ \.\'b~v,\ o~ ~~¥~. £,c).. ~V\ ~~t'\' ~yo~"'. \~o....5.. f'.J€'-'.J '\0'<'<- '. a~~v-cJ l.)~\--.)Q.~' \-", ?-C-,,~) z..oO\. ~8~ EIGHTEENTH-CENTURY THEATRE ~~ PETER HOLLAN'D AND MICHAEL PATTERSON AT first sight the eighteenth century appears to be the least interesting and signi- ficant period of theatre history" since the Middle Ages, Some histories of theatre virtually omit it, while others treat it as some sort of connecting corridor from the splendours of the Renaissance to the innovations of the nineteenth century, essen- tial but not worth lingering in. Indeed the eighteenth century produced few great dramatists; several comic talents perhaps: Sheridan and Goldsmith, Marivaux and Beaumarchais, Goldoni and Gozzi, Holberg and Lessing. But an anthology of world drama could legiti- mately be published without including the works of any of these. Only in the emergent theatre of late eighteenth-century Germany can one point to the major dramas of Goethe and Schiller. Nor could the eighteenth century boast of import- ant innovations in theatre technology, except towards the end of the century with the replacement of candle-light by oil-lamps. What was significant about the theatre of the eighteenth century, however, is that it developed in Continental Europe a function in society unparalleled since its role in ancient Greece. From being an entertainment at court or in the market- place it became a political forum for the bourgeoisie, a focus for national identity and even revolution. It moved from being formal and stylized, or from being vulgar and coarse, to a new level of realism; the stage began to search for authen- ticity and newly to mirror the everyday lives of the spectators. -
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. -
Illuminating the Eighteenth-Century British Stage: Perfecting Performance Through Education Bethany Csomay
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 5-11-2018 Illuminating the Eighteenth-Century British Stage: Perfecting Performance through Education Bethany Csomay Follow this and additional works at: https://dsc.duq.edu/etd Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Literature in English, British Isles Commons, Performance Studies Commons, Theatre History Commons, and the Women's Studies Commons Recommended Citation Csomay, B. (2018). Illuminating the Eighteenth-Century British Stage: Perfecting Performance through Education (Master's thesis, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1455 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]. ILLUMINATING THE EIGHTEENTH-CENTURY BRITISH STAGE: PERFECTING PERFORMANCE THROUGH EDUCATION A Thesis Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Master of Arts By Bethany Jean Csomay May 2018 Copyright by Bethany Csomay 2018 ILLUMINATING THE EIGHTEENTH-CENTURY BRITISH STAGE: PERFECTING PERFORMANCE THROUGH EDUCATION By Bethany Jean Csomay Approved March 15, 2018 ________________________________ ________________________________ Laura Engel Susan Howard Professor -
Temple Newsletter 2011
Garrick’s Temple to Shakespeare Newsletter ISSUE 8 . SPRING 2019 The Great Washout of 1769 Celebrating its 250th Anniversary Clive Francis revisits David Garrick’s Shakespeare Jubilee ust before noon on September washout of all times’, the Shakespeare 7th 1769, a burst of cannon-fire My eyes, till then, no sights like these will see, Jubilee of 1769 was an outstanding Jexploded across Stratford-upon- Unless we meet at Shakespeare’s Jubilee! achievement, despite its disastrous Avon, followed by another, followed To him all honour, gratitude is due, circumstances, and an occasion that by an echo from the heavens that To him we owe our all - to him and you. Garrick, great showman that he was, shook the very rafters of the rotunda. David Garrick turned to his advantage. An audience of two thousand, many It all began in May of that year, more than had been catered for, sat huddled for warmth. Outside, when a deputation on behalf of the Mayor of Stratford called the rain beat down ceaselessly, dripping through the roof at a upon Garrick at 27 Southampton St. steady rate upon the crowd beneath. All were wet and cold, and ‘‘Sir, the Mayor, Alderman and Burgesses of the ancient borough of many of them hungry, reeking of the mud they’d just been wading Stratford-upon-Avon; a town that glories in giving birth to the through across the Bancroft Gardens. As Holy Trinity clock struck immortal Shakespeare, whose memory you have so highly honoured, twelve, Thomas Arne raised his baton and a hundred-strong and whose conception you have ever so happily expressed - rejoice in orchestra and choir broke joyously into the opening strains of ‘Soft the opportunity of adding their mite to that universal applause which Flowing Avon’. -
'So Persuasive an Eloquence'? Roles for Women on the Eighteenth-Century Stage
CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online 'So Persuasive an Eloquence'? Roles for Women on the Eighteenth-Century Stage. PENNY GAY The question which has engaged my research interest for the last couple of decades might be summarised as: how does drama make meaning for the contemporary society on which-more than any other type of literary endeavour-it depends for its very survival? With a book called As She Likes It: Shakespeare's Unruly Women (Routledge, 1994) I ventured onto the sacred high ground of Shakespeare criticism to explore the particular eloquence of women's voices in comedy. When I later wrote Jane Austen and the Theatre (Cambridge University Press, 2002) I was following a hunch-that Austen, with her strong dramatic talent for comedy, knew that quasi-theatrical 'scenes' provided a medium for exploring women's roles and lives through their speech. Austen was, in fact, fascinated by theatre, and delighted 1 by I real acting, good hardened real acting', despite the unthinking common notion that she disapproved of theatre because the young people in Mansfield Park got into trouble for indulging in amateur theatricals. My research into the plays that Austen knew, and the theatrical productions that we know she attended, demonstrated that she was a discriminating and enthusiastic theatre-goer and play-reader; and that most of what she saw and read was contemporary drama. Writing that book left me with many further questions to pursue about the quality of eighteenth-century drama-and, in particular, I wondered if there was more to be known and understood about this drama than is acknowledged by the histories written in the twentieth century. -
Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807
“Carrying All Before Her:” Pregnancy and Performance on the British Stage in the Long Eighteenth Century, 1689-1807 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Chelsea Phillips, MFA Graduate Program in Theatre The Ohio State University 2015 Dissertation Committee: Dr. Lesley Ferris, Advisor; Dr. Jennifer Schlueter; Dr. Stratos Constantinidis; Dr. David Brewer Copyright by Chelsea Lenn Phillips 2015 ABSTRACT Though bracketed by centuries of greater social restrictions, the long eighteenth century stands as a moment in time when women enjoyed a considerable measure of agency and social acceptance during pregnancy. In part, this social acceptance rose along with birth rates: the average woman living in the eighteenth century gave birth to between four and eight children in her lifetime. As women spent more of their adult lives pregnant, and as childbearing came to be considered less in the light of ritual and more in the light of natural phenomenon, social acceptance of pregnant women and their bodies increased. In this same century, an important shift was occurring in the professional British theatre. The eighteenth century saw a rise in the respectability of acting as a profession generally, and of the celebrity stage actress in particular. Respectability does not mean passivity, however—theatre historian Robert Hume describes the history of commercial theatre in eighteenth century London as a “vivid story of ongoing competition, sometimes fierce, even destructive competition.”1 Theatrical managers deployed their most popular performers and entertainments strategically, altering the company’s repertory to take advantage of popular trends, illness or scandal in their competition, or to capitalize on rivalries. -
Lehigh Preserve Institutional Repository
Lehigh Preserve Institutional Repository Sarah Siddons as Lady Macbeth / Michael, Patricia T. 1974 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. SA.RAH SIDDONS AS LADY MACBETH by Patricia T. Michael A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1974 This thesis 1s accepted and approved in partial ru1- f111rncnt of tl1e requirements for the degree of ?-1aster of Arts. ~,} / g. H Chairman o , ii \ AC KNOW LEDGMEN'I' The completion of this thesis would not have been possible without the contstant advice and assistance of Professor Fraink S. Hook, who I deeply respect for his wisdom and knowledge, and admire for his patience and understanding. • • • lll ,A' Table of Contento Page 11 Certificate of Approval . • • • • • • • • • • • • • • 111 Acknowledgment • • • • • • • • • • • • • • • • • • • iv Table of Contents . • • • • • • • • • • • • • • • • • 1 Abstract • • • • • • • • • • • • • • • • • • • • • • 2 Chapter I: Before Sarah Siddons • • • • • • • • • • 11 Chapter II: Mrs. Siddons on Stage • • • • • • • • • • 28 Act I. Sc. V • • • • • • • • • • • • • • • • • • 34 Act I. Sc. vi • • • • • • • • • • • • • • • • • • • Act I. Sc. Vll • • • • • • • • • • • • • • • • • 35 38 Act II. Sc. ii • • • • • • • • • • • • • • • • • • • 4:J- Act -
The Stage History of Epicoene, Or the Silent Woman
THE SJAGE BISTORT OP EFICOEBB, OR Ttffi SIIBNT WOMAH A Thesis Presented to the Faculty of The Rice Institute in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of English by Rita Claire Gay May 1940 TABLE OF CONTENTS Pref sc® 1 Chapter I The Jacobean Period .......... 5 Chapter II The Restoration * ...... 52 Chapter III The Eighteenth Century ........ 77 Conclusion 89 Notes ' . 91 Bibliography 106 Of all Ben Jonson's plays Knicoene. or The Silent Woman has held the stage longest. From the time that Dryden selected it as the "pattern of a perfect play," and preferred it before all other plays, as he did its author "in judgment before all other poets," students of the theatre have accorded it an important place 1 in the history of comedy* Coleridge left his opinion that "this is to sy feelings the most entertaining of Old Ben’s comedies, and, more than any other, would admit of being brought out anew, if under the management of a judicious and stage-understanding 2 playwright." And three hundred years after its initial repre¬ sentation Aurelia Henry writes in the preface to her edition of the plays . .its intrigue is the finest Jenson ever contrived; it contains some of the most inimitable of his comic characters, and at least one of the best situations any comedy affords; it reflects with due subordination to plot the manners of its age • . * it is of perennially comic force, infinite in wit, and pervaded by a spirit more nearly gay than any other work of Its author. -
A Natural History of Teasing: British
UNLV Theses, Dissertations, Professional Papers, and Capstones 8-1-2016 A Natural History of Teasing: British Women Writers and the Shakespearean Courtship Narrative, 1677-~1818 Mary Vance University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the English Language and Literature Commons Repository Citation Vance, Mary, "A Natural History of Teasing: British Women Writers and the Shakespearean Courtship Narrative, 1677-~1818" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2812. https://digitalscholarship.unlv.edu/thesesdissertations/2812 This Dissertation is brought to you for free and open access by Digital Scholarship@UNLV. It has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. A NATURAL HISTORY OF TEASING: BRITISH WOMEN WRITERS AND THE SHAKESPEAREAN COURTSHIP NARRATIVE, 1677-1818 By Mary Vance Bachelor of Arts in English Bachelor of Arts in Theatre University of Nevada, Las Vegas 2009 Master of Arts in English University of Nevada, Las Vegas 2011 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Philosophy — English Department of English College of Liberal Arts The Graduate College University of Nevada, Las Vegas August 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas July 14, 2016 This dissertation prepared by Mary Vance entitled A Natural History of Teasing: British Women Writers and the Shakespearean Courtship Narrative, 1677-1818 is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy - English Department of English Anne Stevens, Ph.D.