DOCSLIB.ORG

John Larpent Plays

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
John Larpent Plays http://oac.cdlib.org/findaid/ark:/13030/tf1h4n985c No online items John Larpent Plays Processed by Dougald MacMillan in 1939; supplementary encoding and revision by Diann Benti in January 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2000 The Huntington Library. All rights reserved. John Larpent Plays mssLA 1-2503 1 Overview of the Collection Title: John Larpent Plays Dates (inclusive): 1737-1824 Collection Number: mssLA 1-2503 Creator: Larpent, John, 1741-1824. Extent: 2,503 pieces. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of official manuscript copies of plays submitted for licensing in Great Britain between 1737 and 1824 that were in the possession of John Larpent (1741-1824), the examiner of plays, at the time of his death in 1824. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. Preferred Citation [Identification of item]. John Larpent Plays, The Huntington Library, San Marino, California. Provenance Purchased with the Ellesmere collection from John Francis Granville Scroop Egerton, 3rd Earl of Ellesmere, through the agency of George D. Smith and Sotheby's of London, 1917. Biographical Note on John Larpent John Larpent (1741-1824), after posts in the foreign service and a term as secretary to the Duke of Bedford in Paris and to the Marquis of Hertford in Ireland, was appointed to the position of Examiner of Plays in November 1778. Larpent was assisted in his work by his wife, Anna Margaretta Larpent (1758-1832), whom he married in 1782. Larpent continued as Examiner until his death in 1824. Historical Note The licensing act of 1737 required that copies of all plays and other entertainments designed to be performed on the stage in Great Britain be submitted to the Lord Chamberlain for license fourteen days before their presentation. In order to carry out the provisions of the new law, the office of Examiner of Plays was established, and the first Examiner, William Chetwynd, was appointed on March 10, 1738. Chetwynd acted almost entirely through deputies: first Thomas Odell (1738-1749) and second Edward Capell (1749-1781). At the time of Chetwynd's death on April 3, 1770, apparently no successor was designated; and Capell acted as Examiner until the appointment of John Larpent on November 20, 1778. Larpent died in office on January 18, 1824. The official copies of plays submitted to the Examiner of Plays between 1737 and January 1824, in Larpent's possession at the time of his death, were bought by John Payne Collier and Thomas Amyot around 1832 and later purchased by Francis Egerton (1800-1857), Viscount Brackley and 1st Earl of Ellesmere, in 1853. During the years that he owned the collection, Collier referred to it twice in published articles in the New Monthly Magazine, XXXIV (1832), in "The Poetical and Literary Career of the Late John Philip Kemble" (page 174), and "New Facts Regarding Garrick and his Writings" (page 568). In January 1854, there was an announcement in the Athenaeum that the collection had been purchased by the Earl of Ellesmere. The plays had been offered, the notice continued, "to the Trustees of the British Museum, who declined to purchase them; they will, therefore, form a distinguishing feature in the library of his Lordship's new mansion in the Green Park, and no doubt will be accessible to all who wish to consult the plays for literary John Larpent Plays mssLA 1-2503 2 and historical purposes." After being purchased by the Earl of Ellesmere in 1853, the collection was incorporated into the Bridgewater House Library, where the plays (Numbers 1-2399) were bound in blue paper covers, neatly labeled, and shelved in boxes of four sizes (designated Large, Extra, Middle, and Small). Within the sizes, the arrangement was roughly chronological. Content lists were added to the spines of the boxes, and the boxes were stamped "Larpent Dramatic MSS." In addition, there were three scrapbook volumes (later disbound) containing occasional prologues and epilogues, addresses, and undated or unidentified short pieces (Numbers 2400-2502). The plays remained part of the library of Bridgewater House for sixty-three years before being acquired as part of the Bridgewater Library/Egerton Family Papers by Henry E. Huntington in 1917. The collection went largely unnoticed in published sources until well into the 20th century. An 1857 query in Notes and Queries (2d Ser., IV, 269) mentioned the supposed existence of the collection and requested information about its location. In his biographical sketch of Larpent in the Dictionary of National Biography, W. A. J. Archbold stated, "Larpent is said ... to have left behind him manuscript copies of all the plays submitted to the inspector from 1737 to 1824." Nor were the Larpent plays mentioned in the account of the Bridgewater Sale to Henry E. Huntington in 1917 by W. N. C. Carlton in Notes on the Bridgewater House Library (New York: privately printed, 1918). Finally in 1927, the collection was referenced in Allardyce Nicoll's A History of Late Eighteenth Century Drama, and it was described as the defining feature of the Bridgewater House Library in its later period by George Sherburn in an account of Huntington Library Collections in the Huntington Library Bulletin, (Number 1, May, 1931, pp. 49-50). Processing information This finding aid is based primarily on the Catalogue of the Larpent plays in the Huntington Library (San Marino, Calif., 1939) compiled by Dougald MacMillan, Professor of English at the The University of North Carolina. MacMillan was assisted by Marion Tinling and Dorothy Bowen, and other members of the staff of the Huntington Library. The principal task of the compilers of the Catalogue was to identify the plays, and secondly to compare the manuscript and printed texts, chiefly through the comparison of the Larpent manuscripts and the Kemble-Devonshire collection of English plays. Digitized materials This collection is digitized in the subscription database: "Eighteenth Century Drama: Censorship, Society and the Stage" (Adam Matthew Digital). In the Huntington Library • The Kemble-Devonshire collection of English plays is a collection of nearly 4,500 printed plays that have been individually cataloged in the Huntington Library's Online Catalog and most can be searched by the keyword phrase: "Kemble-Devonshire copy" • Anna Margaretta Larpent diaries, 1773-1830. (Call number: mssHM 31201, Volumes 1-17) • Larpent dramatic manuscripts catalogue, 1737-1824. (Call number: mssEL 26 B 11) • Two license books of John Larpent, 1801-1824 (Call number: mssHM 19926) • Baker, David Erskine, 1730-1767. Biographia dramatica ... (London : Longman, Hurst, Rees, Orme, and Brown [etc.], 1812) (Call number: 13729). Note: John Payne Collier's copy, with his annotations and notes by the sixth Duke of Devonshire. • Baker, David Erskine, 1730-1767. Biographia dramatica ... (London : Longman, Hurst, Rees, Orme, and Brown [etc.], 1812) (Call number: 134273). Note: Kemble-Devonshire copy. It contains manuscript notes by Kemble, with some additions by the Duke of Devonshire, mostly titles, etc., of plays in the Kemble-Devonshire Collection of Plays published after the Biographia Dramatica appeared and therefore not listed therein. This copy apparently served Kemble, and later the Duke, as a catalogue to his collection of plays, as it gives the number of the volume, in that collection, in which each play may be found. • Larpent, John, 1741-1824. An alphabetical catalogue with notes of theatrical representations &ca, approximately 1787 Scope and Content This collection consists of official manuscript copies of plays submitted for licensing between 1737 and 1824 that were in the possession of John Larpent, the examiner of plays, at the time of his death in 1824. These copies were later owned by John Payne Collier before being purchased by the Bridgewater House Library. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. These copies of plays, generally, were clearly written by professional copyists attached to the theaters, though some are partly, or entirely, in the authors' handwriting. Most copies are accompanied by a formal application for license to perform, signed by the manager of the theater. The name of the author only rarely appears upon the play, except on title-pages of John Larpent Plays mssLA 1-2503 3 printed copies, submitted instead of manuscripts. Presumably, all new plays performed between June 24, 1737, and January 18, 1824, were licensed as the law required, but Larpent's collection is not entirely complete. The most conspicuous of the plays not now in the Huntington's collection (e.g., The Clandestine Marriage and The School for Scandal) are also not listed in the manuscript Alphabetical Catalogue with Notes of Theatrical representations &ca Submitted for Licensing From The Year 1737, to the Year 1787 inclusive in the handwriting of Larpent and of his second wife (now held by the New York Public Library). Their omission in Larpent's list suggest that these plays were removed from the Examiners' papers before Larpent took office. Others appear to have been either returned to the managers or given away by Larpent or by Collier.
Load more

Recommended publications
  • Grosvenor Prints CATALOGUE for the ABA FAIR 2008
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books CATALOGUE FOR THE ABA FAIR 2008 Arts 1 – 5 Books & Ephemera 6 – 119 Decorative 120 – 155 Dogs 156 – 161 Historical, Social & Political 162 – 166 London 167 – 209 Modern Etchings 210 – 226 Natural History 227 – 233 Naval & Military 234 – 269 Portraits 270 – 448 Satire 449 – 602 Science, Trades & Industry 603 – 640 Sports & Pastimes 641 – 660 Foreign Topography 661 – 814 UK Topography 805 - 846 Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 GROSVENOR PRINTS Catalogue of new stock released in conjunction with the ABA Fair 2008. In shop from noon 3rd June, 2008 and at Olympia opening 5th June. Established by Nigel Talbot in 1976, we have built up the United Kingdom’s largest stock of prints from the 17th to early 20th centuries. Well known for our topographical views, portraits, sporting and decorative subjects, we pride ourselves on being able to cater for almost every taste, no matter how obscure. We hope you enjoy this catalogue put together for this years’ Antiquarian Book Fair. Our largest ever catalogue contains over 800 items, many rare, interesting and unique images. We have also been lucky to purchase a very large stock of theatrical prints from the Estate of Alec Clunes, a well known actor, dealer and collector from the 1950’s and 60’s.
    [Show full text]
  • Parody, Paradox and Play in the Importance of Being Earnest1
    Connotations Vol. 13.1-2 (2003/2004) Parody, Paradox and Play in The Importance of Being Earnest1 BURKHARD NIEDERHOFF 1. Introduction The Importance of Being Earnest is an accomplished parody of the con- ventions of comedy. It also contains numerous examples of Oscar Wilde’s most characteristic stylistic device: the paradox. The present essay deals with the connection between these two features of the play.2 In my view, the massive presence of both parody and paradox in Wilde’s masterpiece is not coincidental; they are linked by a num- ber of significant similarities. I will analyse these similarities and show that, in The Importance of Being Earnest, parody and paradox enter into a connection that is essential to the unique achievement of this play. 2. Parody The most obvious example of parody in Wilde’s play is the anagnori- sis that removes the obstacles standing in the way to wedded bliss for Jack and Gwendolen. The first of these obstacles is a lack of respect- able relatives on Jack’s part. As a foundling who was discovered in a handbag at the cloakroom of Victoria railway station, he does not find favour with Gwendolen’s mother, the formidable Lady Bracknell. She adamantly refuses to accept a son-in-law “whose origin [is] a Termi- nus” (3.129). The second obstacle is Gwendolen’s infatuation with the name “Ernest,” the alias under which Jack has courted her. When she discovers that her lover’s real name is Jack, she regards this as an “insuperable barrier” between them (3.51). Both difficulties are re- moved when the true identity of the foundling is revealed.
    [Show full text]
  • Romeo Revived .Pdf
    McGirr, E. (2017). "What's in a Name?": Romeo and Juliet and the Cibber Brand. Shakespeare. https://doi.org/10.1080/17450918.2017.1406983 Peer reviewed version Link to published version (if available): 10.1080/17450918.2017.1406983 Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Taylor and Francis at http://www.tandfonline.com/doi/full/10.1080/17450918.2017.1406983. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Elaine M. McGirr Reader in Theatre & Performance Histories University of Bristol “What’s in a name?”: Romeo and Juliet and the Cibber brand Abstract: The 1744 and 1748/50 performances of Romeo and Juliet by Theophilus Cibber, Jenny Cibber and Susannah Cibber explain the significance of the play’s return to the repertory, uncover the history of rival interpretations of Juliet’s character, and make sense of the careers and reputations of the theatrical Cibbers. The “Cibberian” airs of all three Cibbers were markedly different, as were their interpretations of Shakespeare’s star-crossed lovers. Keywords: Shakespearean adaptation, performance history, celebrity, authorial reputation, repertory In Romeo and Juliet, Juliet apostrophizes Romeo to deny thy father and refuse thy name, assuring her (supposedly) absent lover that a rose by any other name would smell as sweet.
    [Show full text]
  • Black English in Britain in the Eighteenth Century
    Black English in Britain in the Eighteenth Century David Paisey for Ziggi Alexander and Audrey Dewjee Historians have added in various ways to our knowledge of the black presence in Britain during the eighteenth century, but one aspect has not figured largely in the accumulated evidence, namely records of how black people, a distinct underclass, spoke to each other and to all classes of the native white population. In a period long before sound recording, we are obviously dependent on written sources for indications of how lower-class groups spoke, that is to say their deviations in vocabulary, grammar, syntax and pronunciation from what we must call standard English, itself a construct from written sources. Accessible Court records from the period, of testimony by black defendants and witnesses, seem not to have been verbatim,1 and there is no key which might lead us to potential untapped sources in private manuscripts. It is also the case that works actually written and published by literate members of all ethnic groups generally aimed at the standard: this certainly applies to the published works of well- known black writers such as Ignatius Sancho (c. 1729-1780), Olaudah Equiano (c. 1745-1797), Ottobah Cugoano (c. 1757-after 1791) and the African-American Phyllis Wheatley (c. 1753- 1784). There are exceptions, however, in various works of imaginative literature by non-black writers, and these will provide all my evidence here. Amongst these, drama looms large, since the words given to some (though not all) of its black characters constitute an attempt to provide non-speakers of Black English (the actors of the day) with what must have been thought a believable likeness of the real thing.
    [Show full text]
  • MWV Saverio Mercadante
    MWV Saverio Mercadante - Systematisches Verzeichis seiner Werke vorgelegt von Michael Wittmann Berlin MW-Musikverlag Berlin 2020 „...dem Andenken meiner Mutter“ November 2020 © MW- Musikverlag © Michael Wittmann Alle Rechte vorbehalten, insbesondere die des Nachdruckes und der Übersetzung. !hne schriftliche Genehmigung des $erlages ist es auch nicht gestattet, dieses urheberrechtlich geschützte Werk oder &eile daraus in einem fototechnischen oder sonstige Reproduktionverfahren zu verviel"(ltigen oder zu verbreiten. Musikverlag Michael Wittmann #rainauerstraße 16 ,-10 777 Berlin /hone +049-30-21*-222 Mail4 m5 musikverlag@gmail com Vorwort In diesem 8ahr gedenkt die Musikwelt des hundertfünzigsten &odestages 9averio Merca- dantes ,er Autor dieser :eilen nimmt dies zum Anlaß, ein Systematisches Verzeichnis der Wer- ke Saverio Mercdantes vorzulegen, nachdem er vor einigen 8ahren schon ein summarisches Werkverzeichnis veröffentlicht hat <Artikel Saverio Mercadante in: The New Groves ictionary of Musik 2000 und erweitert in: Neue MGG 2008). ?s verbindet sich damit die @offnung, die 5eitere musikwissenschaftliche ?rforschung dieses Aomponisten zu befördern und auf eine solide philologische Grundlage zu stellen. $orliegendes $erzeichnis beruht auf einer Aus5ertung aller derzeit zugänglichen biblio- graphischen Bindmittel ?in Anspruch auf $ollst(ndigkeit 5(re vermessen bei einem Aom- ponisten 5ie 9averio Mercadante, der zu den scha"fensfreudigsten Meistern des *2 8ahrhunderts gehört hat Auch in :ukunft ist damit zu rechnen, da) 5eiter Abschriften oder bislang unbekannte Werke im Antiquariatshandel auftauchen oder im :uge der fortschreitenden Aata- logisierung kleinerer Bibliotheken aufgefunden 5erden. #leichwohl dürfte (mit Ausnahme des nicht vollst(ndig überlieferten Brüh5erks> mit dem Detzigen Borschungsstand der größte &eil seiner Werk greifbar sein. ,ie Begründung dieser Annahme ergibt sich aus den spezi"ischen #egebenheiten der Mercadante-Überlieferung4 abgesehen von der frühen Aonservatoriumszeit ist Mercdante sehr sorgfältig mit seinen Manuskripten umgegangen.
    [Show full text]
  • The Times and Influence of Samuel Johnson
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Martina Tesařová The Times and Influence of Samuel Johnson Bakalářská práce Studijní obor: Anglická filologie Vedoucí práce: Mgr. Ema Jelínková, Ph.D. OLOMOUC 2013 Prohlášení Prohlašuji, že jsem bakalářskou práci na téma „Doba a vliv Samuela Johnsona“ vypracovala samostatně a uvedla úplný seznam použité a citované literatury. V Olomouci dne 15.srpna 2013 …………………………………….. podpis Poděkování Ráda bych poděkovala Mgr. Emě Jelínkové, Ph.D. za její stále přítomný humor, velkou trpělivost, vstřícnost, cenné rady, zapůjčenou literaturu a ochotu vždy pomoci. Rovněž děkuji svému manželovi, Joe Shermanovi, za podporu a jazykovou korekturu. Johnson, to be sure, has a roughness in his manner, but no man alive has a more tender heart. —James Boswell Table of Contents 1. Introduction ..................................................................................................... 1 2. The Age of Johnson: A Time of Reason and Good Manners ......................... 3 3. Samuel Johnson Himself ................................................................................. 5 3.1. Life and Health ......................................................................................... 5 3.2. Works ..................................................................................................... 10 3.3. Johnson’s Club ....................................................................................... 18 3.4. Opinions and Practice ............................................................................
    [Show full text]
  • 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).
    [Show full text]
  • Conference About Succession
    A CONFERENCE ABOUT THE NEXT SUCCESSION 1 ________________________________________________________________________ SUMMARY: The document below is a modern-spelling edition of A Conference about the Next Succession to the Crown of England. The frame story of A Conference is a fictitious conference in Amsterdam in the spring of 1593, fully described in the Preface to Part I. In that fictitious frame story, the principal speakers are two lawyers, the one an expert in the civil law of England, the other an expert in the common law. This frame story in itself makes it clear that the author himself had a legal background. The civil lawyer puts forward his arguments in Part I (or rather, the author of A Conference puts forward his arguments through the mouth of the fictitious civil lawyer). In Part II, it is the turn of the fictitious expert in the common law. The title page promises that ‘a new & perfect arbour or genealogy of the descents of all the Kings and Princes of England from the Conquest unto this day’ can be found at the end of the tract whereby the claims of all the current pretenders to the English crown will be made plain. This ‘arbour’ or genealogy may have been based on the work of Francis Peto (see below, and TNA SP 70/137, ff. 319-21). Unfortunately this promise is not fulfilled. The ‘arbour or genealogy’ does not appear, suggesting that the author of A Conference did not play a role in the book’s publication. A Conference is a well organized and well thought out presentation.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England Permalink https://escholarship.org/uc/item/1sg758sd Author Azevedo, Jillian Michelle Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Jillian Michelle Azevedo June 2014 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Jonathan Eacott Dr. Christine Gailey Copyright by Jillian Michelle Azevedo 2014 This Dissertation of Jillian Michelle Azevedo is approved: __________________________________________ __________________________________________ __________________________________________ Committee Chairperson University of California, Riverside Dedication To my Parents and Grandparents iv ABSTRACT OF THE DISSERTATION Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England by Jillian Michelle Azevedo Doctor of Philosophy, Graduate Program in History University of California, Riverside, June 2014 Dr. Thomas Cogswell, Chairperson During the seventeenth century, the English were integrating foreign foods into their lives at an unprecedented, and previously unacknowledged, rate. This is apparent in both English homes and popular culture, as foreign foods were featured in contemporary recipe books, medical manuals, treatises, travel narratives, and even in plays performed during the period. Their inclusion in the English home and in popular culture is important; it illustrates that there was a general fascination with these foods that went beyond just eating them. When written about in travel narratives or incorporated into plays, the English were able to mentally consume such products.
    [Show full text]
  • '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
    [Show full text]
  • I Give Permission for Public Access to My Thesis and for Any Copying to Be Done at the Discretion of the Archives Librarian And/Or the College Librarian
    I give permission for public access to my thesis and for any copying to be done at the discretion of the archives librarian and/or the College librarian. _________________________________________________ Molly G. Taylor 2 THE ITALIAN JOURNEY OF HESTER LYNCH PIOZZI; The personal and cultural transformation of a Georgian lady Molly George Taylor A Thesis Presented to the Faculty of Mount Holyoke College in partial fulfillment of The requirement for the degree of Bachelor of Arts with Honor. History Department Mount Holyoke College South Hadley, Massachusetts April 29, 2005 3 Acknowledgements This thesis project has taken me on journey across Europe and through time and it has only been possible through the generosity of both old and new friends. The journey began and ended with the guidance of Mount Holyoke College professors, foremost my advisor, Frederick McGinness. I am also grateful for the further mentoring of Barbara Stevenson, Ombretta Frau and Robert Schwartz. Research of my topic was generously funded by a Pugh grant in the summer of 2004 and the Almara grant in January 2005. Thanks to the benefactors of those awards and to the history department that administered them. The entire history department was supportive of this project, especially Holly Sharac and Holly Hanson. Youth hostels and dear friends in England and Italy provided inspiration, enlightening conversation, and lodgings while conducting research. The Langford family in Cambridge became my own for the month of June 2004. Tom Müller in Florence and Prudence Crane in Bologna were my spiritual mentors while abroad and their homes gave me quiet refuges for study.
    [Show full text]
  • Translating Allusions: the Case of Dubliners by James Joyce / S
    590 / RumeliDE Journal of Language and Literature Studies 2020.18 (March) Translating allusions: The case of Dubliners by James Joyce / S. Tekalp (pp. 590-609) Translating allusions: The case of Dubliners by James Joyce1 Selen TEKALP2 APA: Tekalp, S. (2020). Translating allusions: The case of Dubliners by James Joyce. RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, (18), 590-609. DOI: 10.29000/rumelide.706407 Abstract Intertextuality refers to the relation of a text to other texts. Although the notion has connections with many fields of art such as painting, sculpture, architecture, cinema and theatre, in this study it is examined as a literary concept within the framework of translation studies. Intertextual devices such as quotations, citations and allusions pose great challenge for translators as they require an extensive cultural knowledge and an awareness of the extratextual relations of the text. These relations can be built by author’s use of allusions, quotations, translation, pastiche, parody and other intertextual elements. However, the analysis of all these elements seems to be compelling for a translator. Therefore, to investigate how intertextuality is treated in the Turkish translations of Dubliners, the scope has been restricted to the allusions. Allusion is described as an indirect reference to a literary work, a person, place or thing that is already known. In Dubliners, Joyce uses multiple allusions dedicated to literary texts, historical and political figures and events. The case study has been carried out by examining the allusions separately in all fifteen stories within the book. After that, the Turkish translations performed by Murat Belge and Merve Tokmakçıoğlu were analysed, and the Turkish counterparts of the detected allusions were listed for each story.
    [Show full text]