DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fàce. while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMI UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE PREFACING THE POETESS: GENDER AND TEXTUAL PRESENTATION IN SEVENTEENTH-CENTURY ENGLAND A Dissertation SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of Doctor of Philosophy By AMY SCOTT-DOUGLASS Norman, Oklahoma 2000 UMI Number 9972512 _ ____ (r > UMI UMI Microform9972512 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Leaming Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor. Ml 48106-1346 © Copyright by AMY SCOTT-DOUGLASS 2000 AU Rights Reserved. PREFACING THE POETESS: GENDER AND TEXTUAL PRESENTATION IN SEVENTEENTH-CENTURY ENGLAND A Dissertation APPROVED FOR THE DEPARTMENT OF ENGLISH BY •V\ ACKNOWLEDGMENTS At a business lunch one June afternoon in 1996, as we were discussing how one goes about completing one's dissertation. Professor Eve Bannet remarked to me, "You know, Amy, it's not about tea parties and feeling good." At the time, I chuckled, but if I had known that her statement would turn out to be prophetic, I might have responded differently. By November 1998, I was faced with the task of having to reconstruct my dissertation committee. Given my situation, I was extremely fortunate to be able to find such excellent people to work with me. While all of my committee members provided useful suggestions. Eve Bannet and Jessica Munns engaged with my ideas in particularly rigorous and beneficial ways. June Lester and Catherine Hobbs projected a certain intelligent kindness and stability that I greatly appreciated. But my greatest debt is to my chair, Dan Cottom. And he knows why. The "preface " to this dissertation on prefaces was a paper that I wrote on Margaret Cavendish's prefatory rhetoric in a graduate seminar taught by Susan (Green) Donahue, and it is with great pleasure and gratitude that 1 acknowledge her influence on my dissertation and thank her for her continued friendship and interest in my work. Along the way, and especially in the past two years, several professors at the University of Oklahoma took an interest in me and my project even though they were not on my committee and, in some cases, were unfamiliar with my subject of study. I am thankful for the kind words and useful advice 1 received from George Economou, Larry Frank, Susan Kates, David Mair, Ron Schleifer, Alan Velie, and James Yoch through the challenges of writing this dissertation and finding a good job in a competitive market. Thanks to the patient Dan Ransom for showing me (twice) how to cite signature pages. iv I am also grateful to the Department of English for awarding me the dissertation research grant that allowed me a semester off from teaching and to the Department of International Programs, the Graduate College, and the Graduate Student Senate at the University of Oklahoma for funding my research trip to Oxford, UK. While in Oxford, Ros Ballaster graciously agreed to supervise my work. With her unique blend of humor and intelligence, she provided exactly the kind of guidance that 1 needed at the time, making valuable comments on early drafts of the Cavendish and Philips chapters and suggesting how I might restructure the project. Additionally, a number of people have been important in other ways. I would be lost without the friendship of the matchless, incomparable, thrice noble, illustrious, and excellent Heather Haines. I am also grateful to my best teacher Hunter Cadzow for the many deep, provocative conversations that helped me to produce this dissertation. My friend Daniel Scott-Douglass was my extremely supportive partner through two master theses and seven years of graduate school. It is with deep affection that I thank him for helping me to write the epilogue to our play with decency and grace. To my loving parents, Norma and Gordon Schaechterle, 1 owe more than I could ever express. In this case, I am especially grateful to them for financial and moral support. They also read an early draft of my chapter on Margaret Cavendish (and only yawned once each). Finally, I have benefited immeasurably from my relationship with Dominic Rainsford. His encouragement and guidance was indispensable in helping me through the processes of getting a job, finishing my dissertation, and starting to publish. Most importantly, he has been a dear friend. In the company of these people, I am reminded that sometimes, fortunately, it is about tea parties and feeling good. TABLE OF CONTENTS ACKNOWLEDGMENTS...............................................................................................iv LIST OF ILLUSTRATIONS..........................................................................................vii LIST OF ABBREVIATIONS....................................................................................... viii CHAPTER ONE WOMAN WRITERS, MODERN CRITICS, AND THE TRADITION OF THE PATRONYMIC PREFACE............................1 CHAPTER TWO RESTORING ORINDA'S FACE: PREFATORY COMMENDATION AND KATHERINE PHILIPS'S POETRY............................................................. 34 CHAPTER THREE SELF-CROWNED LAUREATESS: TOWARD A CRITICAL REVOLUTION OF THE CAVENDISH PREFACE............................................ 87 CHAPTER FOUR A MOVEABLE PREFACE: APHRA BEHN AND THE COVENT GARDEN DROLLERY.......................................................................158 CONCLUSION.............................................................................................................211 BIBLIOGRAPHY OF PRIMARY AND SECONDARY SOURCES....................... 219 VI LIST OF ILLUSTRATIONS Figure Page 1. The Matchless Orinda. Frontispiece to Katherine Philips's Poems (1667). By William Faithome. It is also reproduced in Beals, page 176..........................................................................................................68 2. Margaret Cavendish. Frontispiece to Philosophical and Physical Opinions (1655). By Abraham van Diepenbeke Engraved by Peter van Schuppen. It is also reproduced in Grant, after page 166.............................................................................................. 127 3. Matthew Stevenson. Frontispiece to Norfolk Drollery (1673)..................... 201 Vll LIST OF ABBREVIATIONS CGD Covent Garden Drollery. Cited from the first edition and issue: Covent Garden Drolery [sic].. Collected by R. B. [sic] Servant to His Majesty (London: James Magnes, 1672). Ferguson Moira Ferguson, ed.. First Feminists: British Women Writers 1578-1799 (Bloomington: Indiana UP, 1985). Gerbert Clara Gerbert, ed.. An Anthology of Elizabethan Dedications and Prefaces (Philadelphia: U of Pennsylvania P, 1933). Hazlitt William C. Hazlitt, ed.. Prefaces, Dedications, and Epistles Selected from Early English Books 1540-1701 (London: privately printed, 1874). Poems Poems, By the most deservedly Admired Mrs KATHERINE PHILIPS The matchless ORINDA (London: J. M. for H. Herringman, 1667). Rhys Margaret Cavendish, A True Relation of My Birth and Breeding, cited from Ernest Rhys' edition. The Cavalier in Exile being the Lives of the First Duke and Duchess of Newcastle Written by Margaret Duchess of Newcastle (London: J. M. Dent, 1903). Sum m ers The Works of Aphra Behn, ed. Montague Summers, 6 vols. (New York: Benjamin Bloom, 1915, reprinted 1967). Todd The Works of Aphra Behn, ed. Janet Todd, 7 vols. (Columbus: Ohio State UP, 1992-1997). Travitsky Betty Travitsky, ed.. The Paradise o f Women: Writings by Englishwomen of the Renaissance (New York: Columbia UP, 1989). W orks The Collected Works of Katherine Philips, the Matchless Orinda, ed. Patrick Thomas, Germaine Greer, and R. Little, 3 vols. (Cambridge: Stump Cross, 1993). V lll CHAPTER ONE WOMEN WRITERS, MODERN SCHOLARSHIP, AND THE TRADITION OF THE PATRONYMIC PREFACE Commenting on the "great Dryden," Jonathan Swift wrote, "the world would have never suspected him to be so great a poet if he had not assured them so frequently in his prefaces that it was impossible they could either doubt or forget it" (Tale of a Tub 444). Swift's joke is an appropriate place to begin a discussion of textual
Load more

Recommended publications
  • John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
    JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire.
    [Show full text]
  • The Theatre of Aphra Behn Pdf, Epub, Ebook
    THE THEATRE OF APHRA BEHN PDF, EPUB, EBOOK D. Hughes | 230 pages | 20 Feb 2001 | Palgrave MacMillan | 9780333760307 | English | Basingstoke, United Kingdom The Theatre of Aphra Behn PDF Book Visit Home Events Exhibitions Library. Tonson, Hugh James Rose. Her parentage has been traced to Wye, and tradition has it that she was born in This suggests the importance of visual spectacle, that the lighting effects and music and their splendour were as important to the dramatic experience as the plays itself. In this characterization, the country, wholesome and clean, promises to be a refuge from the temptations and evils of London for the puritanical Sir Patient Fancy in the play of the same name. Further, since that by which society defines sex is not found in the female form, that is, women do not have the necessary physical equipment to consummate what is culturally considered "the sex act," love between women is, by definition, "innocent," and therefore not subject to censure. Show More. Holt for Will. Although he made many vows, he betrayed her. The efforts to bar James from succeeding his brother spawned several dangerous plots, the most infamous of which was the Popish plot, which purported that Catholic insiders in Whitehall were planning to assassinate the King. See a problem on this page? Sir Patient Fancy: A Comedy. The speaker of the poem takes delight in his ability to play the game of love in appearances only, exempting himself from serious hurt. Public spaces and places are for the men, where they can meet, scheme, fight with each other, serenade ladies, or outwit fools.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Maryland Gazette
    (Lth YEAR.) E (No. 2529*) MARYLAND GAZETTE. T -Hf\ U R S D A Y, JULY 2, 1795- ^- ^ I/E Y D E N, Apil 27. of CuirraRiers began its march thii day, from Purfte- reign people, and to feite and detain hii* property, .V^APTAIN BARTLETT, from Bil- nau towards Magdeburg; the regiment of Kalkreuth wherever (ound, till the event of the profccution fhould X boa, fay*, he wai told there, by Mr. goes to Mindtn. The Hanoverian, Heffian and other decide hb fate. f Gardoquij that be had a letter from troops, are obliged to evacuate the Eaft Friefland, to hit brother, at Madrid, which in- make room Tor rruffians, who are returning froan the LONDON, XI formed him that every effort wa» bifhopric of Mundcr. Important intelligence to the navigaton to the Baltic. making by Spain to obtain peace with From fome new geographical map publifhed in, AMSTERDAM, Afnl \i. Dcnimrk. it appear*, that the pofition of Anholt, aa (j.meral Moreau fucceedi Pichegru in the command The provifional reprefentativei of the people at Am- hitherto laid down in the ordinary charts, it greatly «f ike Preach army whi«b remain* in Holland. The derdam, complain in a publication, that the loan of erroneous. The ligUt-houfe of Anholt, and the whole mublicin government of Holland, in return for the eight million* of guilders to be raifed for the ufe of Ifle, i* from 7 to 9 m Lutes too much wcfterly ; and fatictt rendered to their country by general Picheg/u, that city, hat not fucceeded to their with.
    [Show full text]
  • Melanie Bigold, ' “The Theatre of the Book”: Marginalia and Mise En
    occasional publications no.1 ‘Theatre of the Book’ Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection Melanie Bigold Centre for Editorial and Intertextual Research, Cardiff University ‘ “Theatre of the Book”: Marginalia and Mise en Page in the Cardiff Rare Books Restoration Drama Collection’ (CEIR Occasional Publications No. 1). Available online <http://cardiffbookhistory.files.wordpress.com/2013/12/bigold.pdf>. © 2013 Melanie Bigold; (editor: Anthony Mandal). The moral rights of the author have been asserted. Originally published in December 2013, by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Minion Pro 11 / 13, at the Centre for Editorial and Intertextual Research, using Adobe InDesign cc; final output rendered with Adobe Acrobat xi Professional. Summary he value-added aspect of both marginalia and provenance has long Tbeen recognized. Ownership marks and autograph annotations from well-known writers or public figures increase the intellectual interest as well as monetary value of a given book. Handwritten keys, pointers, and marginal glosses can help to reveal unique, historical information unavaila- ble in the printed text; information that, in turn, can be used to reconstruct various reading and interpretive experiences of the past. However, increas- ingly scholars such as Alan Westphall have acknowledged that the ‘study of marginalia and annotations’ results in ‘microhistory, producing narratives that are often idiosyncratic’. While twenty to fifty percent of early modern texts have some sort of marking in them, many of these forays in textual alterity are unsystematic and fail to address, as William Sherman notes, ‘the larger patterns that most literary and historical scholars have as their goal’.
    [Show full text]
  • GREAT BRITONS Other Books by Anglotopia
    GREAT BRITONS Other Books by Anglotopia 101 Budget Britain Travel Tips 101 London Travel Tips 101 UK Culture Tips Anglotopia’s Guide to British Slang Other Books by Jonathan Thomas Adventures in Anglotopia Anglophile Vignettes GREAT BRITONS TOP 50 GREATEST BRITS W HO EVER LIVED By Anglotopia Copyright © 2021 by Anglotopia LLC Cover Design by Anglotopia LLC Cover Copyright © 2021 Anglotopia LLC Anglotopia LLC supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Anglotopia Press - An Imprint of Anglotopia LLC www.anglotopia.press Printed in the United States of America 1st US Edition: May 2021 Published by Anglotopia Press, an imprint of Anglotopia LLC. The Anglotopia Press Name and Logo is a trademark of Anglotopia LLC. Print Book interior design by Jonathan Thomas, all fonts used with license. All location photographs © Jonathan Thomas All photos and art used in this book are in the public domain in the USA except for the following licensed images: Image of Grace Darling © Colin Waters / Alamy Stock Photo Image of J.R.R Tolkien © INTERFOTO / Alamy Stock Photo Image of John Constable © V&A Images / Alamy Stock Photo
    [Show full text]
  • ABSTRACT ANDERSON, JENNIFER. Author's Choice
    ABSTRACT ANDERSON, JENNIFER. Author’s Choice: The Relevance of Author as Casting Director on the Restoration Stage. (Under the direction of Dr. John Morillo.) During the Restoration playwrights were often able to act as directors when their works reached the stage. Playwrights were also very public about their intentions within their plays: the attitudes they wished the audience to take and the emotions they hoped their works to instill. As a result, we are able to examine the author/director’s choice of cast and determine how those choices were intended to directly affect interpretation. With the loss of a play’s original cast, much of the author’s intent was lost. John Dryden wrote his story of Antony and Cleopatra, All For Love, as a tragedy, with the intent of evoking the pity of the audience. His choice of cast for the play’s premiere in 1677 reflects this intent. Though the play was still highly popular in 1718, the changing cast had counteracted the intended pity. In 1696, Sir John Vanbrugh wrote The Relapse in response to Colley Cibber’s move toward sentimental comedy in Love’s Last Shift. Vanbrugh’s play immediately met criticism from moralists, and by the time of its performance in 1716 the changing cast indicated the first shift of many that took the play from a reaction against sentimental comedy to a specimen of the same. Dryden’s most extravagant heroic drama, The Conquest of Granada, used the personalities of its original cast to add depth to the play. By the play’s final production in 1709, the new cast was unable to sustain the claims and characterizations necessary to the genre.
    [Show full text]
  • Censorship of Early English Women Dramatists. Sigrid Marika King Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 "Vertue Vanish'd": Censorship of Early English Women Dramatists. Sigrid Marika King Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation King, Sigrid Marika, ""Vertue Vanish'd": Censorship of Early English Women Dramatists." (1994). LSU Historical Dissertations and Theses. 5807. https://digitalcommons.lsu.edu/gradschool_disstheses/5807 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Cottage SELWITZ BEER Prees to Suspend Its Onu-Britlsh Oa $71,704,406
    SATCKDAT. JUNE 8,1988. ftrW B L V l m attrifrstnr ^m nhtg UrntOi A\XRAOB DAILY CXaCULATION tor tko BseaUi of May, INS THE WEATHBB 1985, at which tima sha was triad Wayne Womer, secretary of the Williams, are Charles Jacobbon and not an agent of the NBA but was Foroeoot of U. ». Weathot BatMi Connecticut Tem^ranee Union, will the Diamond Shoe Stores, Inc., Peter acting at the request of tha other and acquitted. Bortfoivi SUES LOCAL MAN Lost Larga Bom ABwrrrowN supply the pulpit at the South Meth­ GriUo and the Spencer Shoe Stores, defendants. 5,519 odist church Sunday, June 16. Rev. Inc., V. C. Tongren, owner of Ton- On August 31, ahe aald.sbe was Another result of her arresL atie + DANCE + MsHOwr of tlM Aofftt Oloadjr witk rain toalght, prob­ alleges, was Uiat aba found heraelf IB^mad Mr*. Jeremiah Maher, Mr. Leonard C. Harris will be in attend­ gren’B Shoe store and Kies Shoe arrested on a warrant charging her A T T H E Bnroo* of OIroatolloM ilanrlirBfrr Surning ralb ably mdlng Toeoday mornliig; slow­ unable to conduct the Norwich store m tt Ml*. Harry Hilton. Mr. and Mra. ance at the Southern New England ON FRAUD CHARGE store; David Nowlck, Harry Drapkln with violating the itinerant vendor ly rhiing toreperotw e Tnesdsy. successfully and was forced to liqui­ tte e Pe if” . Arthur Shorti, Mrs. Methodist Conference In Taunton, and the ’Thom McAn Shoe store; A. law as a result of a complaint sworn Abelman and the Abelmaa Shoe date it about January 1, with the Qfrttud* Buchanan.
    [Show full text]
  • A Re-Examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714
    Changing Scenes and Flying Machines: A Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660-1714 Lyndsey Bakewell A Doctoral Thesis Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University October 2015 ©Lyndsey Bakewell, 2015 i Abstract Changing Scenes and Flying Machines: A Re-examination of Spectacle in Restoration Theatre, 1660-1714. Key words: Restoration Theatre, Spectacle, Plays, Machinery, Scenery, Costumes, Performers, Puppetry, Automata, Special Effects. This thesis builds upon the existing scholarship of theatrical historians such as Robert D. Hume, Judith Milhous and Jocelyn Powell, and seeks to broaden the notion of the term spectacle in relation to Restoration theatrical performances, as defined by Milhous as scenery, machinery, large cast sizes and music.1 By arguing that we should not see spectacle in Restoration theatre merely in terms of machinery and scenery, as some have done, but that it properly includes a wider range of elements, such as puppetry and performers, the thesis contends that spectacle on the Restoration stage was more of an integral aspect of theatrical development than previously thought. Through drawing on the wide aspects of theatrical presentation, including setting, stage use, mechanics, costumes and properties, puppetry and performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of theatrical performance in this period, the thesis has been divided into key aspects of theatrical presentation, each of which are argued to offer a variant of spectacle.
    [Show full text]
  • Lady Libertines, Female Fops, and Lady Julia Fulbank: Aphra Behn's Extraordinary Female Characters
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2011-06-16 Lady Libertines, Female Fops, and Lady Julia Fulbank: Aphra Behn's Extraordinary Female Characters. Sarah Audine Amundsen Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Film and Media Studies Commons, and the Theatre and Performance Studies Commons BYU ScholarsArchive Citation Amundsen, Sarah Audine, "Lady Libertines, Female Fops, and Lady Julia Fulbank: Aphra Behn's Extraordinary Female Characters." (2011). Theses and Dissertations. 2653. https://scholarsarchive.byu.edu/etd/2653 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. i LADY LIBERTINES, FEMALE FOPS, AND LADY JULIA FULBANK: APHRA BEHN‘S EXTRAORDINARY FEMALE CHARACTERS. By Sarah A. Amundsen A Thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Megan Sanborn Jones, Chair Darl Larsen Eric Samuelsen Department of Theatre and Media Arts Brigham Young University June, 2011 Copyright © 2011 Sarah A. Amundsen All Rights Reserved ii ABSTRACT LADY LIBERTINES, FEMALE FOPS, AND LADY JULIA FULBANK: APHRA BEHN‘S EXTRAORDINARY FEMALE CHARACTERS. Sarah A. Amundsen Department of Theatre and Media Arts, BYU Master of Arts Aphra Behn has, throughout her life and subsequent years, been both demonized as a writer of bawdy and licentious plays and poetry as well as being hailed as the forerunner of female writers.
    [Show full text]