The Theatre of Shelley
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![Premature and Dissolving Endings in Shelley's Poetry Author[S]: Julia Tejblum Source: Moveabletype, Vol](https://docslib.b-cdn.net/cover/1891/premature-and-dissolving-endings-in-shelleys-poetry-author-s-julia-tejblum-source-moveabletype-vol-101891.webp)
Premature and Dissolving Endings in Shelley's Poetry Author[S]: Julia Tejblum Source: Moveabletype, Vol
Article: The Fisher, The Spear, and the Fortunate Fish: Premature and Dissolving Endings in Shelley's Poetry Author[s]: Julia Tejblum Source: MoveableType, Vol. 7, ‘Intersections’ (2014) DOI: 10.14324/111.1755-4527.059 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2014 Julia Tejblum. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. The Fisher, the Spear, and the Fortunate Fish: Premature and Dissolving Endings in Shelley’s Poetry Walter Benjamin famously o served that our interest in narrative is bound up not only with our in" terest in life, but, more tellingly, with our interest in death: we hope to learn something of the meaning of our o!n lives from the lives of fctional chara$ters, but mu$h of that meaning is revealed to us only through our witnessing the chara$ter’s death% The revelation of meaning through death, which Ben" jamin likens to cat$hing the heat of a fame, is impossi le without fction, sin$e none of us survives our o!n death and, therefore, none can ta&e part in the revelation unless it is at the e(pense of another: )What dra!s the reader to the novel is the hope of warming his shivering life with a death he reads a out%*+ But Benjamin’s o servations go beyond the sphere of the novel; a curiosity a out any narrative ending is a curiosity -
Women Playwrights and the Early Modern “Closet”
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 4-30-2018 LITERARY EQUIVOCATION: WOMEN PLAYWRIGHTS AND THE EARLY MODERN “CLOSET” Nancy Paxton-Wilson Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Paxton-Wilson, Nancy, "LITERARY EQUIVOCATION: WOMEN PLAYWRIGHTS AND THE EARLY MODERN “CLOSET”." Dissertation, Georgia State University, 2018. https://scholarworks.gsu.edu/english_diss/193 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. LITERARY EQUIVOCATION: WOMEN PLAYWRIGHTS AND THE EARLY MODERN “CLOSET” by NANCY PAXTON-WILSON Under the Direction of Tanya Caldwell, PhD ABSTRACT In general, “closet dramas,” because they have been falsely considered failed stage plays, have received minimal scholarly attention. This dissertation situates itself as a re- evaluation of female authors’ manuscript and printed plays: Elizabeth Cary’s Mariam, Jane Cavendish and Elizabeth (Cavendish) Brackley’s The Concealed Fancies, Margaret Cavendish’s The Convent of Pleasure and Anne Finches’ Aristomenes, Or The Royal Shepherd. These plays use the coded rhetorical tool of literary equivocation to conceal yet reveal subversive political information which -
Il Crociato in Egitto ORC 10
MEYERBEER Il Crociato in Egitto ORC 10 in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan. Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1– GIACOMO MEYERBEER IL CROCIATO IN EGITTO Heroic melodrama in two acts Libretto by Gaetano Rossi Aladino, Sultan of Damietta................................................................Ian Platt Adriano di Montfort, Grand Master of the Knights of Rhodes.............Bruce Ford Armando D’Orville, a Knight of Rhodes..................................Diana Montague Palmide, daughter of the Sultan...................................................Yvonne Kenny Felicia, in the attire of a Knight........................................................Della Jones Alma, confidante of Palmide........................................................Linda Kitchen Osmino, the Grand Vizier..............................................................Ugo Benelli Geoffrey Mitchell Choir Chorus master: Geoffrey Mitchell Royal Philharmonic Orchestra Conductor: David Parry –2– Managing Director: Stephen Revell Producer: Patric Schmid Performing edition for this recording prepared by Robert Roberts Assistant conductors: Paul McGrath, Peter Lipari Répétiteur and recitatives: Rosemary Barnes Italian coach: Gabriella Bullock English libretto: Gwyn Morris Article: Don White Recording engineer: -
The Short-Story;
: THE SHORT-STORY Itt Introduction antr Notes BY W. PATTEESON ATKINSON, A.M. VICE-PRINCIPAL OF THE LINCOLN HIGH SCHOOL JERSEY CITY ALLYN AND BACON Boston Wefo gork COPYRIGHT, 1916, BY ALLYN AND BACON. J. 8. Gushing Co. Berwick & Smith Co. Norwood, Mass., U.S.A. WASHINGTON IRVING FOREWORD THIS book is the result of actual work with first year High School pupils. Furthermore, the completed text has been tried out with them. Their difficulties, stand- ards of reading, and the average development of their minds and taste have constantly been remembered. Whatever teaching quality the book may possess is due to their criticisms. Hearty thanks are due Messrs. G. P. Putnam's Sons, Messrs. Charles Scribner's Sons, The Thomas Y. Crowell Company, and The Houghton Mifflin Company for gra- cious permission to use copyrighted material. 35796.0 CONTENTS PORTRAITS OF AUTHORS ....... INTRODUCTION I. Definition and Development ..... II. Forms III. The Short-story as Narration .... IV. Representative Short-stories .... V. Bibliography WASHINGTON IRVING: Rip Van Winkle (1820) . EDG/R ALLAN POE: The Gold Bug (1842) . The Purloined Letter (1845) . NATHANIEL HAWTHORNE: Howe's Masquerade (1838) The Birthmark (1843) FRANCIS BRET HARTE : of Poker Flat The^Outcasts ^1869) ROBERT Louis STEVENSON : The Sire de Maletroit's Door (1878) 148 Markheim (1885) .... 174 RUDYARD KIPLING: Wee WiliSwmkie"( 1888) . - . 196 NOTES 211 LIST OF PORTRAITS WASHINGTON IRVING Frontispiece FACING PAGE EDGAR ALLAN POE . .23 NATHANIEL HAWTHORNE ........ 93 ' FRANCIS BRET HARTE 134 ROBERT Louis STEVENSON . .148 RUDYARD KIPLING ......... 196 vii INTRODUCTION i DEFINITION AND DEVELOPMENT MANKIND has always loved to tell stories and to listen to them. -
Regency Actors and the Inspiration Behind Romantic Drama
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind. -
Of Titles (PDF)
Alphabetical index of titles in the John Larpent Plays The Huntington Library, San Marino, California This alphabetical list covers LA 1-2399; the unidentified items, LA 2400-2502, are arranged alphabetically in the finding aid itself. Title Play number Abou Hassan 1637 Aboard and at Home. See King's Bench, The 1143 Absent Apothecary, The 1758 Absent Man, The (Bickerstaffe's) 280 Absent Man, The (Hull's) 239 Abudah 2087 Accomplish'd Maid, The 256 Account of the Wonders of Derbyshire, An. See Wonders of Derbyshire, The 465 Accusation 1905 Aci e Galatea 1059 Acting Mad 2184 Actor of All Work, The 1983 Actress of All Work, The 2002, 2070 Address. Anxious to pay my heartfelt homage here, 1439 Address. by Mr. Quick Riding on an Elephant 652 Address. Deserted Daughters, are but rarely found, 1290 Address. Farewell [for Mrs. H. Johnston] 1454 Address. Farewell, Spoken by Mrs. Bannister 957 Address. for Opening the New Theatre, Drury Lane 2309 Address. for the Theatre Royal Drury Lane 1358 Address. Impatient for renoun-all hope and fear, 1428 Address. Introductory 911 Address. Occasional, for the Opening of Drury Lane Theatre 1827 Address. Occasional, for the Opening of the Hay Market Theatre 2234 Address. Occasional. In early days, by fond ambition led, 1296 Address. Occasional. In this bright Court is merit fairly tried, 740 Address. Occasional, Intended to Be Spoken on Thursday, March 16th 1572 Address. Occasional. On Opening the Hay Marker Theatre 873 Address. Occasional. On Opening the New Theatre Royal 1590 Address. Occasional. So oft has Pegasus been doom'd to trial, 806 Address. -
Shelley's Hellas and the Mask of Anarchy Are Thematically, Linguistically
63 Percy Bysshe Shelley, the Newspapers of 1819 and the Language of Poetry Catherine Boyle This essay rediscovers the link between the expatriate newspaper Gali- gnani’s Messenger and Shelley’s 1819 political poetry, particularly The Mask of Anarchy and Song, To the Men of England. It is suggested that a reading of this newspaper helps us to understand Shelley’s response to the counter-revolutionary press of his day; previous accounts have tended to solely stress Shelley’s allegiance to Leigh Hunt’s politics. As well as being a contribution to book history, this essay highlights the future of the nine - teenth-century book by exploring the ways the ongoing digitization of nine - teenth-century texts can enable new readings of familiar texts. It also covers some theoretical issues raised by these readings, namely the development of the Digital Humanities and intertextual theory. I must trespass upon the forgiveness of my readers for the display of newspaper erudition to which I have been reduced. Percy Bysshe Shelley, Preface to Hellas, 1821 1 helley’s Hellas and The Mask of Anarchy are thematically, linguistically, and compositionally related , and these resemblances can lead into a close S reading of Shelley’s 1819 political poetry. Both feature revolutions: an actual Greek revolution that had already occurred, and the putative revolution after the events of the Peterloo Massacre in 1819. Both mythologize historical events. In Hellas , the figure of the Jew Ahasuerus, doomed to wander the earth eternally, appears amidst an account of historical events. In The Mask of Anarchy Shelley inserts an apocalyptic, ungendered Shape which enacts the downfall of Anarchy. -
They Were Always Doing Shakespeare: Antebellum Southern
They Were Always Doing Shakespeare: Antebellum Southern Actresses and Shakespearean Appropriation Robin O. Warren, University of Georgia Abstract Antebellum actresses performed in a wide variety of plays meant to appeal to the diversity of spectators who attended the nineteenth-century theater. Theater historians agree, though, that plays by William Shakespeare dominated standard repertory offerings. No one has recognized, however, that many of the non-Shakespearean plays actually appropriate Shakespearean plots, a phenomenon that may partly account for the popularity of these dramas. While many plays popular on Old South stages appropriated Shakespearean plots, four especially stand out for paralleling closely their early modern inspirations. Evadne (1819), by Richard Lalor Sheil, draws on Much Ado About Nothing (1600); Virginius (1820), by James Sheridan Knowles, uses Titus Andronicus (1592) as a guide; The Wife (1833), also by Knowles, follows the plot of Othello (1603); and The Honey Moon (1805), by John Tobin, corresponds to The Taming of the Shrew (1592). Evadne and Virginius stress the necessity of protecting a young, unmarried woman's purity while The Wife and The Honey Moon emphasize the importance of wifely fidelity and deference. As the experience of antebellum actresses Eliza Logan, Jane Placide, Frances Denny Drake, and Julia Dean Hayne shows, however, women who performed the lead female parts in these plays did not always live up to the expectations espoused in their stage roles; instead, they often exposed the artificiality of rigidly prescribed gender roles in their daily lives by transgressing against the very norms they affirmed on stage. In 1820, Jane Placide, a young actress from Charleston, South Carolina, debuted with Charles Gilfert's Virginia Company in John Tobin's The Honey Moon (1805), an appropriation of William Shakespeare's The Taming of the Shrew (1592). -
Transformations Class Discussions
TRANSFORMATIONS CLASS DISCUSSIONS FOR THE TEACHERS The Excellence Through Classics Resource Committee wants to provide you with some resources that you can use in your classroom to help foster a deeper understanding of the myths present in our exam. There is a debate currently occurring in classrooms about how to approach teaching myths that have underlying violence against women in them. Excellence Through Classics acknowledges that the way the D’Aulaires presented their stories erases these violent actions. Many myths about transformations are about how one character (god or human) breaks societal rules and expectations and often acts with hubris. These stories serve as warnings about how not to act in ancient Mediterranian society, like La Llorona of the Southwest, or the Boy Who Cried Wolf for children today. We should remember that the ancient Mediterranian had different rules of conduct than the modern world. So while these stories may have told a Greek boy, a Roman Girl, an Egyptian teenager or a Celtic baby how to act in their world, it does not always tell us how to act in ours. Poetry and mythology can also be seen as a way for the reader to understand and discuss problematic modern situations. Many of these stories in D’Aulaires’ Book of Greek Myths are to Greek Mythology like the Disney version are to the German Fairy Tales, and some of the darker elements are masked or ignored completely. The Little Mermaid ends on a happy note in the Disney movie while Hans Christian Andersen’s original tale has a darker tone. -
'A' That's Past Forget – Forgie': National Drama and the Construction of Scottish National Identity on the Nineteenth
Studies in Scottish Literature Volume 44 Article 5 Issue 2 Reworking Walter Scott 12-31-2018 ‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage Paula Sledzinska University of Aberdeen Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Sledzinska, Paula (2019) "‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage," Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. “A’ THAT’S PAST FORGET—FORGIE”: NATIONAL DRAMA AND THE CONSTRUCTION OF NATIONAL IDENTITY ON THE NINETEENTH-CENTURY STAGE Paula Sledzinska For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored.1 The -
"Theater and Empire: a History of Assumptions in the English-Speaking Atlantic World, 1700-1860"
"THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" BY ©2008 Douglas S. Harvey Submitted to the graduate degree program in History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ____________________________________ Chairperson Committee Members* ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Defended: April 7, 2008 The Dissertation Committee for Douglas S. Harvey certifies that this is the approved version of the following dissertation: "THEATER AND EMPIRE: A HISTORY OF ASSUMPTIONS IN THE ENGLISH-SPEAKING ATLANTIC WORLD, 1700-1860" Committee ____________________________________ Chairperson ___________________________________* ___________________________________* ___________________________________* ___________________________________* Date Approved: April 7, 2008 ii Abstract It was no coincidence that commercial theater, a market society, the British middle class, and the “first” British Empire arose more or less simultaneously. In the seventeenth century, the new market economic paradigm became increasingly dominant, replacing the old feudal economy. Theater functioned to “explain” this arrangement to the general populace and gradually it became part of what I call a “culture of empire” – a culture built up around the search for resources and markets that characterized imperial expansion. It also rationalized the depredations the Empire brought to those whose resources and labor were coveted by expansionists. This process intensified with the independence of the thirteen North American colonies, and theater began representing Native Americans and African American populations in ways that rationalized the dominant society’s behavior toward them. By utilizing an interdisciplinary approach, this research attempts to advance a more nuanced and realistic narrative of empire in the early modern and early republic periods. -
Fate and Death Through a Daimonic Lens
FATE AND DEATH THROUGH A DAIMONIC LENS FATE AND DEATH THROUGH A DAIMONIC LENS By JASON SOLOMON BINDER, B.A.Sc., B.A. Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Jason Solomon Binder, September 2014 MA Thesis – J. Binder; McMaster University – Classics. McMaster University MASTER OF ARTS (2014) Hamilton, Ontario (Classics) TITLE: Fate and Death through a Daimonic Lens AUTHOR: Jason Solomon Binder, B.A.Sc., B.A. (McMaster University) SUPERVISOR: Dr. Sean Corner NUMBER OF PAGES: vi, 101 ii MA Thesis – J. Binder; McMaster University – Classics. Abstract This thesis is concerned with the ancient Greek conceptualization of fate and death, as explored through the figure of the daimon in literature from Homer and Hesiod to Plato and Euripides. Filling a gap in scholarship, I elucidate the spectrum of meaning inherent in the word daimon, and how it shifts over time. From the Archaic to the Classical period the word daimon is found as a synonym for theos, “god”, as a vocative address, or in reference to “fate” and the generalized “will of heaven.” At the same time, a particular group of divine personifications, including Thanatos, Moira, Ker, and Erinys are counted as daimones. We also find the term used to designate unnamed but individuated lesser divinities, guardian spirits, and demonic possessors, and even as the divine aspect of the self. In the early Archaic poets these latter categories are only nascent. The individuated daimon becomes the focus of the lyric poets and pre-Socratic philosophers; in the later pre-Socratics the daimon begins to be internalized, moving from possessive spirit to psychic force.