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Fatal Desire
Women, Sexuality, and the English Stage, 1660-1720
Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in...
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Brandenburgische Technische Universität Cottbus - Senftenberg, Universitätsbibliothek
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Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period
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The appropriation of Shakespeare
post-Rennaissance reconstructions of the works and the myth
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Universität Mainz, Zentralbibliothek
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Fatal desire
women, sexuality, and the English stage, 1660 - 1720
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Universitätsbibliothek J. C. Senckenberg, Bibliothekszentrum Geisteswissenschaften (BzG)
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01/HK 1241 M364
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The re-imagined text
Shakespeare, adaptation, & eighteenth-century literary theory
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Universitätsbibliothek J. C. Senckenberg, Zentralbibliothek (ZB)
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Universität Mainz, Bereichsbibliothek Translations-, Sprach- und Kulturwissenschaft
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Universität Mainz, Zentralbibliothek
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The Re-Imagined Text
Shakespeare, Adaptation, and Eighteenth-Century Literary Theory
Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history -- the...
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Universität Frankfurt, Elektronische Ressourcen
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Universitätsbibliothek Gießen
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Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history -- the rewriting and restructuring of Shakespeare's plays.Many of us are familiar with Nahum Tate's ""audacious"" adaptation of King Lear with its resoundingly happy ending, but Tate was only one of a score of playwrights who adapted Shakespeare's plays. Between 1660 and 1777, more than fifty adaptations appeared in print and on the stage, works in which playwri...
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Theatres of feeling
affect, performance, and the eighteenth-century stage
Location:
Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
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The re-imagined text
Shakespeare, adaptation & eighteenth-century literary theory
Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history - the...
more
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Universitätsbibliothek Augsburg
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Universitätsbibliothek Bamberg
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Universitätsbibliothek Regensburg
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Universitätsbibliothek Würzburg
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Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history - the rewriting and restructuring of Shakespeare's plays. Many of us are familiar with Nahum Tate's "audacious" adaptation of King Lear with its resoundingly happy ending, but Tate was only one of a score of playwrights who adapted Shakespeare's plays. Between 1660 and 1777, more than fifty adaptations appeared in print and on the stage, works in which playwrights augmented, substantially cut, or completely rewrote the original plays. The plays were staged with new characters, new scenes, new endings, and, underlying all this novelty, new words. Why did this happen? And why, in the later eighteenth century, did it stop? These questions have serious implications regarding both the aesthetics of the literary text and its treatment, for the adaptations manifest the period's perceptions of Shakespeare. As such, they demonstrate an important evolution in the definition of poetic language, and in the idea of what constitutes a literary work. In The Re-Imagined Text, Jean I. Marsden examines both the adaptations and the network of literary theory that surrounds them thereby exploring the problems of textual sanctity and of the author's relationship to the text. As she demonstrates, Shakespeare's works, and English literature in general, came to be defined by their words rather than by the plots and morality on which the older aesthetic theory focused - a clear step toward our modern concern for the word and its varying levels of signification.
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Fatal Desire
Women, Sexuality, and the English Stage, 1660-1720
Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in...
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Ostbayerische Technische Hochschule Amberg-Weiden / Hochschulbibliothek Amberg
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TH-AB - Technische Hochschule Aschaffenburg, Hochschulbibliothek
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Technische Hochschule Augsburg
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Universitätsbibliothek Bamberg
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Hochschule Coburg, Zentralbibliothek
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Hochschule Kempten, Hochschulbibliothek
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Hochschule Landshut, Hochschule für Angewandte Wissenschaften, Bibliothek
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Universitätsbibliothek Passau
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Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period
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The re-imagined text
Shakespeare, adaptation, & eighteenth-century literary theory
Location:
Kunsthistorisches Institut in Florenz, Max-Planck-Institut, Bibliothek
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Fatal desire
women, sexuality, and the English stage, 1660 - 1720
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Universitätsbibliothek Bayreuth
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Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek
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Bayerische Staatsbibliothek
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The re-imagined text
Shakespeare, adaptation, & eighteenth century literary theory
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Ruhr-Universität Bochum, Universitätsbibliothek
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Ruhr-Universität Bochum, Fakultät für Philologie, Englisches Seminar, Bibliothek
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Universität Bonn, Institut für Anglistik, Amerikanistik und Keltologie, Bibliothek
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Universitäts- und Stadtbibliothek Köln, Hauptabteilung
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Universitäts- und Landesbibliothek Münster
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Fatal desire
women, sexuality, and the English stage, 1660 - 1720
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Universitätsbibliothek Bielefeld
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Ruhr-Universität Bochum, Fakultät für Philologie, Englisches Seminar, Bibliothek
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Universitäts- und Landesbibliothek Düsseldorf
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Englisches Seminar I, Bibliothek
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Englisches Seminar der Universität, Bibliothek
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Theatres of feeling
affect, performance, and the eighteenth-century stage
"Historicizing affect provides an important register of cultural developments, and because of this link between theatre and culture, explorations of performance as well as affect have turned to the work of Raymond Williams, in particular to his...
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Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
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Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
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"Historicizing affect provides an important register of cultural developments, and because of this link between theatre and culture, explorations of performance as well as affect have turned to the work of Raymond Williams, in particular to his discussion of 'structures of feelings,' as a means of approaching the complex operation of emotion and theatre. Williams's work has a strong affinity for eighteenth-century studies, and his discussion of what he famously termed 'structures of feeling' is admirably suited to a consideration of the overtly emotional world of eighteenth-century theatre. It is a slippery term, as Williams himself admits, and he suggests as an alternative structures of experience before rejecting that term because of its potential to imply past rather than present experience. These structures are, as Williams emphasizes, a process rather than an ideological system, growing out of lived experience, so that one of the crucial components of these structures of feeling is that they are immediate, situated in a specific moment"--
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Theatres of feeling
affect, performance, and the eighteenth-century stage
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Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
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Universitätsbibliothek Freiburg
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Gottfried Wilhelm Leibniz Bibliothek - Niedersächsische Landesbibliothek
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Universitätsbibliothek Heidelberg
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Anglistisches Seminar der Universität, Bibliothek
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Universitätsbibliothek der Eberhard Karls Universität
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Klassik Stiftung Weimar / Herzogin Anna Amalia Bibliothek
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Herzog August Bibliothek Wolfenbüttel
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Theatres of feeling
affect, performance, and the Eighteenth-century stage
Engaging account of theatregoing in the later eighteenth century that explores how audiences responded emotionally to the performances.
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Universität Mainz, Zentralbibliothek
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Engaging account of theatregoing in the later eighteenth century that explores how audiences responded emotionally to the performances.
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Fatal Desire
Women, Sexuality, and the English Stage, 1660-1720
Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in...
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Universitätsbibliothek Gießen
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Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel
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Universität Mainz, Zentralbibliothek
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Universität Marburg, Universitätsbibliothek
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Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period.
|
-
The re-imagined text
Shakespeare, adaptation & eighteenth-century literary theory
Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history - the...
more
Location:
Freie Universität Berlin, Universitätsbibliothek
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Unlimited inter-library loan, copies and loan
Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history - the rewriting and restructuring of Shakespeare's plays. Many of us are familiar with Nahum Tate's "audacious" adaptation of King Lear with its resoundingly happy ending, but Tate was only one of a score of playwrights who adapted Shakespeare's plays. Between 1660 and 1777, more than fifty adaptations appeared in print and on the stage, works in which playwrights augmented, substantially cut, or completely rewrote the original plays. The plays were staged with new characters, new scenes, new endings, and, underlying all this novelty, new words. Why did this happen? And why, in the later eighteenth century, did it stop? These questions have serious implications regarding both the aesthetics of the literary text and its treatment, for the adaptations manifest the period's perceptions of Shakespeare. As such, they demonstrate an important evolution in the definition of poetic language, and in the idea of what constitutes a literary work. In The Re-Imagined Text, Jean I. Marsden examines both the adaptations and the network of literary theory that surrounds them thereby exploring the problems of textual sanctity and of the author's relationship to the text. As she demonstrates, Shakespeare's works, and English literature in general, came to be defined by their words rather than by the plots and morality on which the older aesthetic theory focused - a clear step toward our modern concern for the word and its varying levels of signification.
|
-
The Re-Imagined Text
Shakespeare, Adaptation, and Eighteenth-Century Literary Theory
Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history -- the...
more
Location:
Universität Frankfurt, Elektronische Ressourcen
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Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history -- the rewriting and restructuring of Shakespeare's plays.Many of us are familiar with Nahum Tate's ""audacious"" adaptation of King Lear with its resoundingly happy ending, but Tate was only one of a score of playwrights who adapted Shakespeare's plays. Between 1660 and 1777, more than fifty adaptations appeared in print and on the stage, works in which playwri...
|
-
The re-imagined text
Shakespeare, adaptation, & eighteenth-century literary theory
Location:
Universitätsbibliothek J. C. Senckenberg, Zentralbibliothek (ZB)
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Rewritten woman
Shakespearean heroines in the restoration
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The Appropriation of Shakespeare
post-renaissance reconstructions of the works and the myth
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Early manuscript books
This is the first ever complete critical edition of the writings of Anne Finch, Countess of Winchilsea (1661-1720), including work printed in her lifetime and material left in manuscript form at her death. Textual analysis, based on print and...
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Universität Frankfurt, Elektronische Ressourcen
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Universitätsbibliothek Gießen
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This is the first ever complete critical edition of the writings of Anne Finch, Countess of Winchilsea (1661-1720), including work printed in her lifetime and material left in manuscript form at her death. Textual analysis, based on print and manuscript copies in repositories across the United Kingdom and the United States, reveals her revision processes and uses of manuscript and print. Extensive commentary clarifies her techniques, sources, contexts, and diction. A detailed essay traces the history of her works' reception and transmission. The result is a complete view of her achievements that will promote more accurate assessments of her contributions to literary and cultural shifts, including perspectives on literary value, women's equality, religion, and affairs of state. This first volume provides established texts of Finch's early manuscript books, including Poems on Several Subjects and Miscellany Poems with Two Plays written under her pen name, Ardelia.
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Fatal Desire
Women, Sexuality, and the English Stage, 1660-1720
Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in...
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Hochschule für Gesundheit, Hochschulbibliothek
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Initiative E-Books.NRW
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Universitätsbibliothek Braunschweig
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Staats- und Universitätsbibliothek Bremen
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Zentrale Hochschulbibliothek Flensburg
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Universitätsbibliothek Greifswald
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HafenCity Universität Hamburg, Bibliothek
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Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
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Hochschule für Angewandte Wissenschaften Hamburg, Hochschulinformations- und Bibliotheksservice (HIBS), Fachbibliothek Technik, Wirtschaft, Informatik
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Technische Universität Hamburg, Universitätsbibliothek
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Gottfried Wilhelm Leibniz Bibliothek - Niedersächsische Landesbibliothek
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Universitätsbibliothek Hildesheim
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Thüringer Universitäts- und Landesbibliothek
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Universitätsbibliothek Kiel, Zentralbibliothek
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Leuphana Universität Lüneburg, Medien- und Informationszentrum, Universitätsbibliothek
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Otto-von-Guericke-Universität, Universitätsbibliothek
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Hochschule Merseburg, Bibliothek
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Bibliotheks-und Informationssystem der Carl von Ossietzky Universität Oldenburg (BIS)
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Bibliotheks-und Informationssystem der Carl von Ossietzky Universität Oldenburg (BIS)
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Jade Hochschule Wilhelmshaven/Oldenburg/Elsfleth, Campus Oldenburg, Bibliothek
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Jade Hochschule Wilhelmshaven/Oldenburg/Elsfleth, Campus Elsfleth, Bibliothek
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Universitätsbibliothek Osnabrück
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Hochschulbibliothek Pforzheim, Bereichsbibliothek Technik und Wirtschaft
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eBook de Gruyter
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Universitätsbibliothek der Eberhard Karls Universität
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Jade Hochschule Wilhelmshaven/Oldenburg/Elsfleth, Campus Wilhelmshaven, Bibliothek
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Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century-a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience. Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period.
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Fatal desire
women, sexuality, and the English stage, 1660-1720
"Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century - a period when for the first time female actors could perform in...
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Hochschule Aalen, Bibliothek
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Hochschule Esslingen, Bibliothek
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Saarländische Universitäts- und Landesbibliothek
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Universitätsbibliothek der Eberhard Karls Universität
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"Informed by film theory and a broad historical approach, Fatal Desire examines the theatrical representation of women in England, from the Restoration to the early eighteenth century - a period when for the first time female actors could perform in public. Jean I. Marsden maintains that the feminization of serious drama during this period is tied to the cultural function of theater. Women served as symbols of both domestic and imperial propriety, and so Marsden links the representation of women on the stage to the social context in which the plays appeared and to the moral and often political lessons they offered the audience. The witty heroines of comedies were usually absorbed into the social fabric by marrying similarly lighthearted gentlemen, but the heroines of tragedy suffered for their sins, real or perceived. That suffering served the dual purpose of titillating and educating the theater audience." "Marsden discusses such plays as William Wycherley's Plain Dealer (1676), John Vanbrugh's Provoked Wife (1697), Thomas Otway's Orphan (1680), Thomas Southerne's Fatal Marriage (1694), and William Congreve's Mourning Bride (1697). The author also addresses tragedies written by three female playwrights, Mary Pix, Catharine Trotter, and Delarivier Manley, and sketches developments in tragedy during the period."--Jacket Female spectatorship, Jeremy Collier, and the antitheatrical debate -- Women watching : the female spectator in late-seventeenth-century comedy -- Falling women : she-tragedy and sexual spectacle -- Women writing women : female authors of she-tragedy -- Nicholas Rowe and the second generation of she-tragedy -- Sex, politics, and the Hanoverian succession : refiguring Lady Jane Grey
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Affect and the problem of theater
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Herzog August Bibliothek Wolfenbüttel
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