Notes on Contributors
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
From the Rhetoric of Longinus to the Poetics of John Dennis the Role of Terror in the Theories of the Sublime in the 18Th Century
FROM THE RHETORIC OF LONGINUS TO THE POETICS OF JOHN DENNIS THE ROLE OF TERROR IN THE THEORIES OF THE SUBLIME IN THE 18TH CENTURY ZOLTÁN CORA Within the huge literary and artistic tradition of the sublime in Western culture, map- ping, analysing and interpreting the relations of literary and visual sublime is a highly complex issue.1 The affective qualities within the sublime are usually connected to the aesthetic categories of greatness, infinity and terror as well as to philosophical con- cepts of the transcendental. This paper endeavours to interpret the sublime as a possi- ble aesthetic form of an ontological insight that is not gained through conventional syllogisms.2 Additionally, the paper also investigates the role of terror in the rhetorical 1 I will dwell on art theory and art history only where it seems necessary for the coherence of the ar- gumentation, and due to the limits of this study, this restriction will be applied to the theological impli- cations of the sublime as well. 2 Though this statement has been pre-eminently valid since the Kantian discussion of the sublime, still with regard to classical philosophy, it is plausible to argue for a similar meaning already in Greek philosophy, especially Neoplatonism and the tradition of Hermes Trismegistos, and thereby Alexandrian Hermetism. See Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction Et al. — Critical Theory Online, www.etal.hu 1 Terror(ism) and Aesthetics (2014), eds. György Fogarasi, Zoltán Cora, and Ervin Török Et al. ZOLTÁN CORA 2 and poetical theories of the sublime which are based on aesthetic qualities which are not built upon cognition. -
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. -
The Songs of the Beggar's Opera
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S. -
The Eighteenth-Century Playbill at Scale
Archives, Numbers, Meaning: The Eighteenth-Century Playbill at Scale Mark Vareschi and Mattie Burkert In response to the growing prominence of quantifcation in the humanities, scholars of media and digital culture have highlighted the friction between the cultural and disciplinary roles of data and the epistemologies of humanistic inquiry. Johanna Drucker aptly characterizes the humanities as felds that emphasize “the situated, partial, and constitutive character of knowledge production,” while data are often taken to be representations of “observer-independent reality.”1 Lisa Gitelman and Virginia Jackson likewise critique the dominant assumption of data’s transparency: data, they insist, “are always already ‘cooked’ and never entirely ‘raw.’”2 The choices involved in data collection and preparation are not objective; they are shaped by the always subjective, often tacit, and sometimes shared presuppositions of the domain-specialist researcher. Practitioners of computational approaches to literature have shown that analyzing large corpora of texts “at a distance” may reveal phenomena not readily accessible through close reading of individual texts.3 Yet, the notion of distance fosters an illusion Mark Vareschi is an assistant professor in the Department of English at the University of Wisconsin– Madison. His work in eighteenth-century literature and culture is situated at the intersection of literary history, media studies, performance studies, and digital humanities. He has published articles in Eng- lish Literary History, Eighteenth-Century Life, and Authorship. He is currently completing a monograph on authorial anonymity and mediation in eighteenth-century Britain. Mattie Burkert is an assistant professor in the Department of English at Utah State University. She is currently at work on a monograph that examines the relationship between public finance and the London theatre during the decades following the 1688 Revolution Settlement. -
THE DRAGON of WANTLEY October 27 & 29, 2019 Studebaker Theater | Chicago, Illinois DEAR HAYMARKET FRIENDS
John Frederick Lampe THE DRAGON OF WANTLEY October 27 & 29, 2019 Studebaker Theater | Chicago, Illinois DEAR HAYMARKET FRIENDS, You are about to hear and see a comedy by the “obscure” composer John Frederick Lampe and his equally unknown librettist Henry Carey. The Dragon of Wantley has rarely been performed since its premiere in 1737, despite receiving more performances in the 18th century than any opera by the celebrated Mr. Handel and holding the London stages in thrall for 45 years. Presenting an unfamiliar work to modern audiences is a risky undertaking. At Haymarket Opera Company we delight in finding musical gems that have been buried in history’s jewel box, polishing them up, and putting them on display for you. Our exceptional team of artists and our steadfast board of directors have given their hearts and souls to this exciting and unusual project so that you might have a memorable experience. Lampe’s charming and elegant music, melded with Carey’s often naughty libretto makes for a wickedly merciless dressing down of the entire opera seria tradition. We have so much in store for you in this ninth season. Please join us on February 28, 2020 for our Lenten concert of sacred cantatas by J.S. Bach, when internationally renowned-mezzo Elizabeth DeShong makes her Haymarket debut. The Haymarket Opera Orchestra will perform concertos of Handel and Vivaldi with virtuosi soloists Jory Vinikour, harpsichord, and Sally Jackson, bassoon (both HOC regulars!). To top it off, the concert will take place in the gorgeous new Gannon Concert Hall at DePaul University. -
Studies in the Work of Colley Cibber
BULLETIN OF THE UNIVERSITY OF KANSAS HUMANISTIC STUDIES Vol. 1 October 1, 1912 No. 1 STUDIES IN THE WORK OF COLLEY CIBBER BY DE WITT C.:'CROISSANT, PH.D. A ssistant Professor of English Language in the University of Kansas LAWRENCE, OCTOBER. 1912 PUBLISHED BY THE UNIVERSITY CONTENTS I Notes on Cibber's Plays II Cibber and the Development of Sentimental Comedy Bibliography PREFACE The following studies are extracts from a longer paper on the life and work of Cibber. No extended investigation concerning the life or the literary activity of Cibber has recently appeared, and certain misconceptions concerning his personal character, as well as his importance in the development of English literature and the literary merit of his plays, have been becoming more and more firmly fixed in the minds of students. Cibber was neither so much of a fool nor so great a knave as is generally supposed. The estimate and the judgment of two of his contemporaries, Pope and Dennis, have been far too widely accepted. The only one of the above topics that this paper deals with, otherwise than incidentally, is his place in the development of a literary mode. While Cibber was the most prominent and influential of the innovators among the writers of comedy of his time, he was not the only one who indicated the change toward sentimental comedy in his work. This subject, too, needs fuller investigation. I hope, at some future time, to continue my studies in this field. This work was suggested as a subject for a doctor's thesis, by Professor John Matthews Manly, while I was a graduate student at the University of Chicago a number of years ago, and was con• tinued later under the direction of Professor Thomas Marc Par- rott at Princeton. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
Matteo Revolti « Remarks Upon That Wonderful Chapter »: the Controversy About Luxury Between Mandeville and Dennis on 9Th Ap
Matteo Revolti « Remarks upon that wonderful chapter1»: the controversy about luxury between Mandeville and Dennis On 9th April 1724 the Daily Courant published the advertising of a book entitled Vice and luxury publick mischiefs: the author of the book was the sixty-four year John Dennis, English critic, who was engaged in those years in a literary controversy with Alexander Pope. The work came out some months after the early attacks moved by Law and Fiddes against the Fable of the Bees: unlike those authors, the criticism of Dennis concerned particularly the problem of luxury exposed in Mandeville’s text2. That subject, soon become the Leitmotiv of many critics of the Fable, played an essential role within the public debate in Great Britain at the beginning of the Eighteenth century. Dennis’s contribution to the topic is important for two reasons: the topos of luxury is strongly anchored within his literary productions; moreover his book against Fable symbolized the clash between the values of the ancient Constitution and the new economy model promoted by Mandeville. Born in London from a saddler family in 1657, Dennis attended the Caius College of Cambridge and he received his Master of Art in 1683 at the Trinity Hall. After his degree he began to hang around the Will’s Coffee-house where he met the famous dramatist John Dryden who afterwards became his patron. Dennis was soon known in London for his ferocious reviews against some contemporaries authors such as Blackmore, Steele and Gay. The same Mandeville in his Letter to Dion described him as «a noted Critick, who seems to hate all Books that sell, and no other[…]3». -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
Mask, Mirror, and Weapon:Pope's Versatile Satire
Grant 1 Mask, Mirror, and Weapon: Pope’s Versatile Satire Nina Grant The history and life of a writer are often a monumental influence on their works and opinions. Alexander Pope is no exception, and he had a great deal of experience to draw from. Pope was a person closely acquainted with hardship from a multitude of sources, including reli- gious discrimination, harsh critiques of his writing, and an extreme physical disability. Instead of dwelling on miserable events and pouring his suffering into his work emotionally, Pope uses his poetry to correct the prejudice thrown his way through calculated vocabulary choices and direct analogies of those for whom he had ample distaste. Pope elevates his most desirable qualities while simultaneously criticizing and pushing down his rivals and enemies, all under the cover of satire and fiction. Through his writing, Pope reverses the multitude of prejudices that he has ex- perienced through judgement of his faith, his writing, and his physicality, both to preserve his dignity and status as well as to pursue the contentedness that he was never able to obtain. From a young age, Pope endured a physical disability that left him at under five feet in height. This is something that was clearly a struggle for him both as a label and a physical com- plication, because he experienced several severe health conditions as a result (Deutsch 2). He also expressed his pain, both physical and emotional, in several letters to the close people in his life. Damrosch examines these correspondences with special attention to one addressed to Bath- urst, in which Pope lamentingly describes his body as a burden to himself and others, claiming it is as useless as dead weight (21). -
Eighteenth-Century Reception of Italian Opera in London
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2013 Eighteenth-century reception of Italian opera in London. Kaylyn Kinder University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Kinder, Kaylyn, "Eighteenth-century reception of Italian opera in London." (2013). Electronic Theses and Dissertations. Paper 753. https://doi.org/10.18297/etd/753 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Submitted to the Faculty of the Division of Music History of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music Department of Music University of Louisville Louisville, Kentucky August 2013 EIGHTEENTH-CENTURY RECEPTION OF ITALIAN OPERA IN LONDON By Kaylyn Kinder B.M., Southeast Missouri State University, 2009 A Thesis Approved on July 18, 2013 by the following Thesis Committee: Jack Ashworth, Thesis Director Douglas Shadle Daniel Weeks ii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Jack Ashworth, for his guidance and patience over the past two years. I would also like to thank the other members of my committee, Dr. -
Download Master List
Code Title Poem Poet Read by Does Note the CD Contain AIK Conrad Aiken Reading s N The Blues of Ruby Matrix Conrad Aiken Conrad Aiken Time in the Rock (selections) Conrad Aiken Conrad Aiken A Letter from Li Po Conrad Aiken Conrad Aiken BEA(1) The Beat Generation (Vol. 1) Y San Francisco Scene (The Beat Generation) Jack Kerouac Jack Kerouac The Beat Generation (McFadden & Dor) Bob McFadden Bob McFadden Footloose in Greenwich Village Blues Montage Langston Hughes Langston Hughes / Leonard Feather Manhattan Fable Babs Gonzales Babs Gonzales Reaching Into it Ken Nordine Ken Nordine Parker's Mood King Pleasure King Pleasure Route 66 Theme Nelson Riddle Nelson Riddle Diamonds on My Windshield Tom Waits Tom Waits Naked Lunch (Excerpt) William Burroughs William Burroughs Bernie's Tune Lee Konitz Lee Konitz Like Rumpelstiltskin Don Morrow Don Morrow OOP-POP-A-DA Dizzy Gillespie Dizzy Gillespie Basic Hip (01:13) Del Close and John Del Close / John Brent Brent Christopher Columbus Digs the Jive John Drew Barrymore John Drew Barrymore The Clown (with Jean Shepherd) Charles Mingus Charles Mingus The Murder of the Two Men… Kenneth Patchen Kenneth Patchen BEA(2) The Beat Generation (Vol.2) Y The Hip Gahn (06:11) Lord Buckley Lord Buckley Twisted (02:16) Lambert, Hendricks & Lambert, Hendricks & Ross Ross Yip Roc Heresy (02:31) Slim Gaillard & His Slim Gaillard & His Middle Middle Europeans Europeans HA (02:48) Charlie Ventura & His Charlie Ventura & His Orchestra Orchestra Pull My Daisy (04:31) David Amram Quintet David Amram Quintet with with Lynn Sheffield Lynn Sheffield October in the Railroad Earth (07:08) Jack Kerouac Jack Kerouac / Steve Allen The Cool Rebellion (20:15) Howard K.