dunnettreader + theater   46

FRANCE, Anatole – Histoire comique | Litterature audio.com
Donneur de voix : René Depasse | Durée : 5h 30min | Genre : Romans
Le sens premier de l’adjectif « comique » n’est pas « qui fait rire, drôle, plaisant, » mais « qui appartient à la comédie » disent tous les dictionnaires. Histoire comique est en fait un sombre roman peu connu d’Anatole France racontant l’histoire d’un amour contrarié et dramatique dans une troupe de comédiens.
« C’était dans une loge d’actrice, à l’Odéon. Sous la lampe électrique, Félicie Nanteuil, la tête poudrée, du bleu aux paupières, du rouge aux joues et aux oreilles, du blanc au cou et aux épaules, donnait le pied à madame Michon, l’habilleuse, qui lui mettait de petits souliers noirs à talons rouges. Le docteur Trublet, médecin du théâtre et ami des actrices, appuyait sur un coussin du divan son crâne chauve, et, les mains jointes sur le ventre, croisait ses jambes courtes. Il interrogeait :
- Quoi encore, ma chère enfant ?
- Est-ce que je sais !… Des étouffements… des vertiges… Tout d’un coup, une angoisse comme si j’allais mourir. C’est même ça le plus pénible. »
Nous est contée la destinée de Félicie, jeune et belle actrice, dont la vie est empoisonnée par le retour du fantôme de l’amant qui s’est suicidé pour elle. Considérations techniques sur l’humanité du docteur Trublet un peu radoteur, rivalités mesquines des comédiennes, rugissements du directeur pendant les répétitions, terreurs de l’héroïne alimentent ce roman noir bourré d’anecdotes.
audio-books  19thC  Fin-de-Siècle  20thC  French_lit  French_language  France_Anatole  fiction  theater  actresses 
november 2016 by dunnettreader
FRANCE, Anatole – Les Désirs de Jean Servien | Litterature audio.com
Donneur de voix : René Depasse | Durée : 3h 50min | Genre : Romans
Jean Servien, fils d’un relieur, souffre d’être pauvre et a des goûts et des ambitions de riche. Rêveur et nourri de poésie, il assiste, un jour, au théâtre à une représentation de Cinna avec Gabrielle dans le rôle d’Émilie. Rentré chez lui :
« Il ne savait pas encore qu’il était amoureux, mais quelque chose lui manquait. Il n’eut pourtant d’autre envie que de lire les vers qu’il avait entendu réciter par l’actrice. Il prit sur son étagère un tome de Cor­neille et lut le rôle d’Émilie. Tous les vers l’enchan­taient également parce qu’ils ranimaient tous en lui le même souvenir. »
La destinée romantique de ce jeune homme, mêlant fiction et réel, finira tragiquement pendant les horreurs de la Commune. Il n’aura pas goûté, victime de ses désirs, à la vraie vie.
audio-books  19thC  French_lit  French_language  France_Anatole  fiction  Paris  Paris_Commune  3rd_Republic  Franco-Prussian_war  theater 
november 2016 by dunnettreader
Roger Chartier's emeritus pages - Écrit et cultures dans l'Europe moderne (2006-2016) - Collège de France
Écrit et cultures dans l'Europe moderne (2006-2016) - links to his courses and seminars while he held the chair, and location for subsequent work especially the Débats d'histoire discussions - once a month starting in December 2015 - during the school year (i.e. through May) with announced intention to restart this school year. Joined for several by Patrick Boucheron who arrived (Dec 2015) as Chartier's regular appointment came to an end.
cultural_authority  Roman_Catholicism  Counter-Reformation  lit_crit  French_Enlightenment  religious_history  Europe-Early_Modern  podcast  intellectual_history  postmodern  cultural_capital  critical_theory  history_of_science  cultural_change  connected_history  historiography  theater  circulation-ideas  history_of_book  translation  microhistory  authority  interview  courses  classicism  Renaissance  website  literary_history  global_history  cultural_history  audio  Foucault  video  lecture 
october 2016 by dunnettreader
Classical E-Text: AESCHYLUS - texts of translations @ theoi.com
AESCHYLUS was a Greek tragedian who flourished in Athens in the early C5th BC. Of the 76 plays he is known to have written only seven survive: 1. the Persians; 2. Seven Against Thebes; 3. Suppliant Women; 4 - 6. the Oresteia trilogy (Agamemnon, Libation Bearers or Choephori and The Eumenides); 7. Prometheus Bound. The last of these, however, is usually attributed by modern scholars to an unknown playwright. -- the url is for the first page of the translations (Prometheus Unbound) with navigation to the other 6 plays -- text from Aeschylus. Translated by Smyth, Herbert Weir. Loeb Classical Library Volumes 145
translation  ancient_Greece  etexts  Aeschylus  tragedy  plays  Greek_lit  theater 
july 2016 by dunnettreader
Folgerpedia - Folger Shakespeare Library
Founded on 9 July 2014, Folgerpedia is the Folger Shakespeare Library's collaboratively-edited, search-based encyclopedia of all things "Folger." Content of the articles has been contributed by various departments within the institution, as well as Folger readers and other scholars. The articles address each topic as it relates to the Folger and the Folger collection. There is a variety of article types that can be found on Folgerpedia, including: lists; how tos; and encyclopedic entries concerning items in the collection, Shakespeare's works and characters, and his works in performance.

To read more about Folgerpedia, check out the Folger research blog, The Collation.
Reformation  Tudor  stagecraft  printing  political_culture  Italian_lit  English-language  English_lit  Europe-Early_Modern  religious_culture  Shakespeare  James_I  theater  Renaissance  digital_humanities  history_of_book  intellectual_history  British_history  publishing  plays  website  literary_language  cultural_history  actors  London  event  playwrights  Latin_lit  politics-and-literature  Elizabeth 
june 2016 by dunnettreader
A Guide to Leonard Bernstein's Candide
Michael H. Hutchins is the site developer - though Sondheim wrote lyrics only for a few new numbers in revivals that didn't use the original Hellemann book, or adjusted a few lyrics to make songs fit in new places in a revised narrative, Hutchins has done a fantastically detailed look at all the stages the musical composition, production and recordings have gone through.
post-WWII  composers  Voltaire  musical_theater  website  reviews  links  theater  music_history  audio 
april 2016 by dunnettreader
Review- Jerry Brotton, This Orient Isle (2016) – Elizabethan England's relationship with the Islamic world | Guardian April 2016
This Orient Isle by Jerry Brotton - Allen Lane , March 2016
Review – Elizabethan England's relationship with the Islamic world
Spies, merchants and chancers: this sparkling book sets out Elizabethan England’s complex and extensive relationship with the Islamic world
cultural_transmission  diffusion  connected_history  theater  voyages  orientalism  16thC  maritime_history  British_foreign_policy  Marlowe  Ottomans  books  Islamic_civilization  diplomatic_history  Elizabethan  Philip_II  English_lit  Spain  cultural_exchange  Shakespeare  cultural_history  reviews  Papacy-English_relations  travel_lit  British_history 
april 2016 by dunnettreader
Robert Burstein - The Schlepic (vacuous blockbuster musicals schleping from London) - The New Republic Archives
It could be argued that we no longerhave theater in America, we only haveEvents. And the blame for this restssquarely at the door of economics andthe media.…
Instapaper  theater  20thC  cultural_critique  elite_culture  popular_culture  from instapaper
march 2016 by dunnettreader
MELINDA C. FINBERG, Review -- Tiffany Stern, Rehearsal from Shakespeare to Sheridan (OUP 2000) | JSTOR - Eighteenth-Century Studies
Eighteenth-Century Studies, Vol. 43, No. 1 (FALL 2009), pp. 140-141 -- issued in pbk 2007 -- delightful review summarizing the ways the playwright was lowest on the pecking order for producing the "final" version, and the process of actors separately learning lines without run throughs, and adjusting parts to fit the "character" the audience came to see etc -- didn't download
books  reviews  jstor  literary_history  English_lit  theater  Shakespeare  theatre-Restoration  theatre-production  actors  playwrights  audience  16thC  17thC  18thC  Sheridan  theatre-sentimental  Garrick 
november 2015 by dunnettreader
Louis XIV à Versailles MOOC -October 2015 - February 2016
Le cours se déroulera du 26 octobre au 4 janvier 2016. Il est composé de 7 séquences : (1) Et Louis XIV créa Versailles. (2) Dans la chambre du Roi. (3) Le conseil des ministres. (4) A table et en cuisines. (5) Les « heures rompues » (6) Le Roi des Arts. (7) Fêtes et divertissements
courses  cultural_history  political_history  17thC  France  Louis_XIV  monarchy  Absolutism  Versailles  art_history  architecture  elite_culture  court_culture  courtiers  theater  music_history  French_government 
november 2015 by dunnettreader
Stephen Bernard, ed. - The Literary Correspondences of the Tonsons - Oxford University Press
The Tonsons were the pre-eminent literary publishers of the late seventeenth and early eighteenth centuries. It is difficult to estimate their contribution to the formation of English literature accurately. Nevertheless, it is clear that they carried Shakespeare into the eighteenth century and started the practice of modern editing of him. Without Rowe's life and without the Pope-Theobald controversy, the history of Shakespeare studies would have been different, perhaps much less illustrious. The same is true of Milton, a figure who through his political sympathies was in disrepute, but on whom Jacob Tonson the elder (and his nephew after him) decided to lavish the care, eventually including illustration and annotation, usually reserved for the classics. Later they issued an edition of Spenser by John Hughes, thus creating the triumvirate who for many years were to dominate the study of English renaissance literature. It is not unreasonable to claim that the house of Tonson invented English literature as matter for repeated reading and study. In addition, of course, the Tonsons were Dryden's main publisher, the first to publish Pope, and the consistent supporters of Addison and Steele and their early periodicals, while Jacob Tonson the elder had earlier shaped the miscellany, the translation of classical poetry into English, the pocket Elzevier series, and the luxury edition - practices carried on by the Tonson firm throughout the eighteenth century. They were at the forefront of the creation of a Whig literary culture and Jacob Tonson the elder was the founder of the famous Whig Kit-Cat Club which, it has been said, saved the nation. This edition brings together the correspondences of the Tonsons for the first time and represents a major intervention in the field of the history of the book and literary production. It includes 158 letters, with translations where necessary, from major authors, politicians, and men and women of letters of the period, discussing their work and the role that the Tonsons played in getting literature to the press and the reading nation. The letters are accompanied by generous and insightful annotation, as well as brief biographies of each of the Tonsons, and special sections on publishing, patronage, and retirement.
books  find  17thC  18thC  British_history  cultural_history  elite_culture  British_politics  Whigs  Whig_Junto  Whigs-grandees  Whigs-oligarchy  cultural_capital  cultural_authority  publishing  print_culture  printing  Dryden  Pope_Alexander  Addison  Steele  English_lit  poetry  theater  theatre-Restoration  theatre-politics  correspondence  EF-add 
april 2015 by dunnettreader
Works by Kenneth Burke | KB Journal - Bibliographies
Lengthy -- divided into categories, e.g. books (non-fiction), essays, poetry, fiction -- notes the main changes and additions to each edition of his major works, including tracking hardback and paperback versions, which is almost impossible to sort out on Amazon -- they note the bibliographies are updated (probably mostly the secondary works page) -- downloaded as pdf to Note
Burke_Kenneth  bibliography  US_history  20thC  intellectual_history  cultural_history  cultural_critique  social_theory  economic_theory  lit_crit  literary_theory  literary_language  rhetoric  rhetoric-political  rhetoric-writing  rhetoric-moral_basis  political_culture  political_sociology  action-theory  philosophy_of_language  epistemology  epistemology-social  dialectic  dialogue  historiography  English_lit  Shakespeare  poetry  poetics  theater  psychology  meaning  perspectivism  pragmatism  progressivism  socialism  communism  entre_deux_guerres  post-WWII  downloaded 
april 2015 by dunnettreader
James Chandler, ed. - The Cambridge History of English Romantic Literature (pbk 2012) | Cambridge University Press
The Romantic period was one of the most creative, intense and turbulent periods of English lit (..) revolution, reaction, and reform in politics, and by the invention of imaginative literature in its distinctively modern form. (..) an engaging account of 6 decades of literary production around the turn of the 19thC. Reflecting the most up-to-date research, (..) both to provide a narrative of Romantic lit and to offer new and stimulating readings of the key texts. (...) the various locations of literary activity - both in England and, as writers developed their interests in travel and foreign cultures, across the world. (..) how texts responded to great historical and social change. (..) a comprehensive bibliography, timeline and index, **--** Choice: 50 years ago, lit studies was awash in big theories of Romanticism, (e.g. M. H. Abrams, Geoffrey Hartman, Harold Bloom); 2 decades later, Marilyn Butler argued that the very label "Romantic" was "historically unsound." This collection suggests that no consensus has yet emerged: instead, the best of the essays suggest continuities with periods before and after. Rather than big theories, (..) kaleidoscopic snapshots of individual genres (the novel, the "new poetry," drama, the ballad, children's literature); larger intellectual currents (Brewer ... on "sentiment and sensibility"); fashionable topics (imperialism, publishing history, disciplinarity); and--most interesting--the varying cultures of discrete localities (London, Ireland, Scotland).(..) an excellent book useful not as a reference resource, (..) but for its summaries of early-21st-century thinking about British lit culture 1770s-1830s. -- downloaded pdfs of front matter and excerpt to Note
books  English_lit  Romanticism  literary_history  literary_language  literary_theory  lit_crit  18thC  19thC  British_history  cultural_history  literature-and-morality  politics-and-literature  French_Revolution-impact  sociology_of_knowledge  Enlightenment  religious_lit  genre  gender_history  historicism  art_history  art_criticism  novels  rhetoric-writing  intellectual_history  morality-conventional  norms  sensibility  social_order  public_sphere  private_life  lower_orders  publishing  publishing-piracy  copyright  British_politics  British_Empire  Scotland  Scottish_Enlightenment  Ireland  Ireland-English_exploitation  landed_interest  landowners-Ireland-Anglo_elite  authors  authors-women  political_culture  elite_culture  aesthetics  subjectivity  self  self-fashioning  print_culture  readership  fashion  credit  poetry  literary_journals  historical_fiction  historical_change  reform-political  reform-social  French_Revolution  anti-Jacobin  Evangelical  literacy  theater  theatre-sentimental  theatre-politics  actors  downloaded 
february 2015 by dunnettreader
Michèle Mendelssohn - Henry James, Oscar Wilde and Aesthetic Culture (2007) - Edinburgh University Press
Challenges critical assumptions about the way Aestheticism responded to anxieties about nationality, sexuality, identity, influence, originality and morality -- This book, the first fully sustained reading of Henry James’s and Oscar Wilde’s relationship, reveals why the antagonisms between both authors are symptomatic of the cultural oppositions within Aestheticism itself. The book also shows how these conflicting energies animated the late 19thC’s most exciting transatlantic cultural enterprise.Richly illustrated and historically detailed, this study of James’s and Wilde’s intricate, decades-long relationship brings to light Aestheticism’s truly transatlantic nature through close readings of both authors’ works, as well as 19thC art, periodicals and rare manuscripts. As Mendelssohn shows, both authors were deeply influenced by the visual and decorative arts, and by contemporary artists such as George Du Maurier and James McNeill Whistler. Henry James, Oscar Wilde and Aesthetic Culture offers a nuanced reading of a complex relationship that promises to transform the way in which we imagine late 19thC British and American literary culture.
books  kindle-available  cultural_history  literary_history  art_history  19thC  British_history  English_lit  US  Atlantic  Aestheticism  James_Henry  Wilde  sexuality  nationalism  national_ID  cosmopolitanism  identity  creativity  moral_reform  painting  theater 
august 2014 by dunnettreader
OLIVER J. W. COX -- FREDERICK, PRINCE OF WALES, AND THE FIRST PERFORMANCE OF ‘RULE, BRITANNIA!’ (2013). | The Historical Journal, 56, pp 931-954. - Cambridge Journals Online - Abstract
OLIVER J. W. COX - University College, Oxford -- The words and music of ‘Rule, Britannia!’ are synonymous with the expansionist, triumphalist, and imperialist Britain symbolized by fluttering Union Jacks on the Last Night of the Proms. This article explores the cultural and political contexts of the first performance of this important national cultural artefact as the finale of Alfred: a masque to suggest that this opening night served a very different purpose. The first audience was a court in exile from the metropolitan heart of London, popular amongst the general public, but without any prospects of government. Two of the most important members of this group of peers, politicians, poets and a prince had recently died, and with them any cohesive identity. Alfred is both a desperate plea for unity, a rallying cry which forcefully restated the key tenets of this group's identity, and a delayed expression of patriotic celebration occasioned by Admiral Vernon's capture of Portobello. Through addressing this performance, this article makes an important contribution to our understanding of Hanoverian political culture and highlights the continuing impact of Anglo-Saxon England on mid-eighteenth-century Britain. -* For comments and advice on earlier versions of my argument, I am grateful to Dr Hannah Smith and Dr Geoffrey Tyack. - Thanks are also due to John and Virginia Murray who ensured archival work at 50 Albemarle Street was always a pleasure.
article  paywall  find  18thC  British_history  British_politics  1740s  Whigs-opposition  Whigs-oligarchy  George_II  Walpole  Frederick_Prince_of_Wales  Britannia  Bolingbroke  Mallet  political_culture  political_nation  political_spectacle  theater  theatre-politics  elite_culture  patriotism  Anglo-Saxons  cultural_authority  cultural_pessimism  War_of_Austrian_Succession  British_Navy  EF-add 
august 2014 by dunnettreader
T.S. Eliot. - "Ben Jonson" - The Sacred Wood; Essays on Poetry and Criticism 1921. | bartleby.com
Attacks reducing Jonson to superficial humours theory - nice analysis of how his characters fit each other driven by action in his invented world rather than Shakespeare’s characters acting on each other in a broader imaginative setting, implying with less discrete boundaries -- again Eliot returns to rhetoric as something to analyze not just cast as contentless term of denigration. Sees Marlowe and Jonson in similar light
books  etexts  17thC  20thC  English_lit  literary_history  lit_crit  poetry  theater  rhetoric  Jonson  Marlowe  Shakespeare  Molière  satire  tragedy  comedy  farce  humours 
august 2014 by dunnettreader
T.S. Eliot - "Notes on the Blank Verse of Christopher Marlowe" - The Sacred Wood; Essays on Poetry and Criticism (1921) | bartleby.com
The comparative study of English versification at various periods is a large tract of unwritten history. To make a study of blank verse alone, would be to elicit some curious conclusions. It would show, I believe, that blank verse within Shakespeare’s lifetime was more highly developed, that it became the vehicle of more varied and more intense art-emotions than it has ever conveyed since; and that after the erection of the Chinese Wall of Milton, blank verse has suffered not only arrest but retrogression. That the blank verse of Tennyson, for example, a consummate master of this form in certain applications, is cruder (not “rougher” or less perfect in technique) than that of half a dozen contemporaries of Shakespeare; cruder, because less capable of expressing complicated, subtle, and surprising emotions. -- The development of blank verse may be likened to the analysis of that astonishing industrial product coal-tar. Marlowe’s verse is one of the earlier derivatives, but it possesses properties which are not repeated in any of the analytic or synthetic blank verses discovered somewhat later.
books  etexts  16thC  17thC  19thC  20thC  English_lit  literary_history  lit_crit  poetry  Elizabethan  Marlowe  Shakespeare  theater  playwrights  Milton  Tennyson  blank_verse  poetics  Eliot_TS 
august 2014 by dunnettreader
Isabel Karremann and Anja Müller, eds. - Mediating Identities in Eighteenth-Century England (2011) | Ashgate
This volume engages in a critical discussion of the connection between historically specific categories of identity determined by class, gender, nationality, religion, political factions and age, and the media available at the time, including novels, newspapers, trial reports, images and the theatre. Recognizing the proliferation of identities in the epoch, these essays explore the ways in which different media determined constructions of identity and were in turn shaped by them. *--* Introduction: mediating identities in 18th-century England, Isabel Karremann; *--* Identifying an age-specific English literature for children, Anja Müller; *--* Found and lost in mediation: manly identity in Defoe's A Journal of the Plague Year, Isabel Karremann; *--* Gender identity in sentimental and pornographic fiction: Pamela and Fanny Hill, Franz Meier; *--* Paratexts and the construction of author identities: the preface as threshold and thresholds in the preface, Katharina Rennhak; *--* Owning identity: the 18th-century actress and theatrical property, Felicity Nussbaum; *--* Constructing identity in 18th-century comedy: schools of scandal, observation and performance, Anette Pankratz; *--* Material sites of discourse and the discursive hybridity of identities, Uwe Böker; *--* Constructions of political identity: the example of impeachments, Anna-Christina Giovanopoulos; *--* The public sphere, mass media, fashion and the identity of the individual, Christian Huck; *--* Topography and aesthetics: mapping the British identity in painting, Isabelle Baudino; *--* The panoramic gaze: the control of illusion and the illusion of control, Michael Meyer; *--* Peripatetics of citizenship in the 1790s, Christoph Houswitschka; *--* Critical responses, Rainer Emig, Hans-Peter Wagner and Christoph Heyl - downloaded introduction to Note
books  find  17thC  18thC  British_history  British_politics  cultural_history  politics-and-literature  English_lit  literary_history  novels  theater  theatre-Restoration  gender  masculinity  partisanship  Whig_Junto  Tories  impeachment  Somers  Harley  public_sphere  Habermas  aesthetics  consumers  children  family  citizenship  national_ID  identity  identity_politics  Defoe  comedy  downloaded  EF-add 
june 2014 by dunnettreader
Mark Hutchings - The ' Turk Phenomenon' and the Repertory of the Late Elizabethan Playhouse | Early Modern Literary Studies Special Issue 16 (October, 2007) 10.1-39
"Turk plays" popular up to Charles I - late-Elizabethan theatre drew on a conventional narrative of fear that was also.. one of fascination. ?..also energised by 2 linked events: the Reformation and Elizabeth's promotion of Anglo-Ottoman relations after excommunication by Pope Pius V in 1570. ?..in the last decade or so of the 16thC a sizeable proportion of the playhouse repertory became deeply influenced by this development... a complex artistic, ideological, and commercial phenomenon. -- In shifting from "author"-centred approaches that many theorists believe to be anachronistic to an emphasis on how companies operated, scholars have drawn attention to ...early modern theatre as a collective enterprise. - By its very nature the staging of the Ottoman Empire was sustained by artistic cross-fertilisation that was, in a broader sense collaborative .. as well as competitive. -- These plays were not necessarily mere ciphers of the historical past or present. The Jew of Malta far from endorses the behaviour of the besieged Christians in 1565. It is remarkable for its resistance to the Malta narrative in Christian accounts where the Turkish defeat (like at Lepanto) was celebrated. - While the Tamburlaine plays and their spin-offs called attention to Turkish tyranny and the Ottoman threat, the move away from the Marlovian aesthetic signalled a more ironic approach. Thus in Henry V, Henry's proposal to Katherine that they should produce a son to recapture Constantinople (an anachronism) is undercut by the ambiguous, "Shall we not?" For the audience a deeper irony is available - "the original phrase 'to go to Constantinople to take the Turk by the beard' became a repository for vacuous ideals, a phrase that could only be rehearsed with an increasing sense of self-satire" -- online journal html
article  English_lit  theater  genre  16thC  Tudor  Elizabethan  Marlowe  Shakespeare  Ottomans  cultural_history  playwrights  actors  trade-policy  consumers  exotic  orientalism  diplomatic_history  Reformation  Christendom  Christianity-Islam_conflict  Papacy-English_relations  Counter-Reformation  elite_culture  EF-add 
june 2014 by dunnettreader
Rousseau (in 2 volumes, 1873) - John Morley - Google Books
This bookmark is to a reprint of Vol 1 in the late 1880s. The quality of the original edition on Google_Books is very poor. Unfortunately the reprint of Vol 2 isn't available on Google_Books. Check Hathi Trust or Internet Archive. Added to Google_Books library -- both 1873 volumes and the reprint of Vol 1
books  etexts  Google_Books  18thC  biography  intellectual_history  French_Enlightenment  Rousseau  Voltaire  d'Alembert  Diderot  Hume  political_philosophy  moral_philosophy  moral_sentiments  Geneva  general_will  cultural_critique  cultural_history  music_history  social_contract  elite_culture  Paris  theater  Morley  EF-add  philosophes  libertine 
may 2014 by dunnettreader
Bryn Mawr Classical Review (BMCR) - Home
Bryn Mawr Classical Review (BMCR) (ISSN 1055-7660) publishes timely open-access, peer-reviewed reviews of current scholarly work in the field of classical studies (including archaeology). This site is the authoritative archive of BMCR's publication, from 1990 to the present. Reviews from August 2008 on are also posted on our blog.
website  books  reviews  intellectual_history  literary_history  ancient_history  ancient_philosophy  social_history  cultural_history  economic_history  archaeology  art_history  religious_history  religious_culture  historiography  ancient_Greece  ancient_Rome  Greek_lit  Latin_lit  poetry  theater  Augustan_Rome  pre-Socratics  Plato  Socrates  Aristotle  Hellenism  Cicero  Stoicism  Epicurean  Virgil  Horace  Ovid  Roman_Empire  Roman_Republic  Roman_law 
may 2014 by dunnettreader
Matthew Meyer, review - Paul Raimond Daniels, Nietzsche and The Birth of Tragedy // Notre Dame Philosophical Reviews // Feb 2014
"The Birth of Tragedy was my first revaluation of all values. Herewith I again stand on the soil out of which my intention, my ability grows -- I, the last disciple of the philosopher Dionysus -- I, the teacher of the eternal recurrence." This claim, found at the end of the 1888 Twilight of the Idols, points the reader of Nietzsche's much-studied late works back to his first book-length publication from 1872, The Birth of Tragedy (BT). That the work of a young philologist should contain the seeds for Nietzsche's later revaluation of values and his teaching of the eternal recurrence will seem puzzling, if not absurd, to many. However, before such a judgment can be fairly rendered, one needs to have a good sense of what BT is about, and this poses some difficulty for many readers because the work requires a familiarity not only with philosophers such as Socrates, Plato, Kant, and Schopenhauer, but also the various genres of ancient Greek poetry and how they might relate to developments in modern opera. It is for these reasons that those interested in Nietzsche's later writings should always welcome informed, accurate, and accessible commentaries on BT, and although not flawless, Daniels' "Nietzsche and The Birth of Tragedy" constitutes such a contribution to the standing literature on Nietzsche's first work. Daniels' book is divided into six chapters and includes both a detailed chronology of Nietzsche's life and a guide for further reading. The first chapter elucidates the influences that inform BT, and the final chapter treats the relationship between BT and Nietzsche's later writings. The intervening four chapters are sensibly divided and largely remain faithful to the structure of Nietzsche's text. -- Meyer thinks Daniels doesn't get the dialectic within Appolonian and Dionysian, not just between them, in part because he doesn't "get" Nietzsche on music, especially dissonance. Recommends on this point another recent guide to BT.
books  reviews  intellectual_history  19thC  Germany  Nietzsche  ancient_Greece  tragedy  theater  Socrates  aesthetics  moral_psychology  EF-add 
march 2014 by dunnettreader
Robert D. Hume - The Economics of Culture in London, 1660–1740 JSTOR: Huntington Library Quarterly, Vol. 69, No. 4 (December 2006), pp. 487-533
Robert D. Hume asks four principal questions in this article: (1) Who were the consumers of elite culture, and what could and would they pay? (2) What could be earned by writers, actors, singers, musicians, painters? (3) Who actually profited from the sale of culture? (4) How did patronage affect the production of culture? A survey of surviving figures for income strata and the prices paid by buyers suggests that the consumers of elite culture belonged largely to the wealthiest two percent of the population. Analysis of incomes shows that trying to earn a living as a writer, actor, or musician was a tough proposition. Patronage turns out to be surprisingly important, but more in terms of jobs, sinecures, and subscriptions than from individual largesse. Exact equivalencies to modern buying power are impossible to calculate, but scholars need to realize, for example, that in 1709 fully two-thirds of the books advertised in the Term Catalogues cost two shillings or less: a five-shilling book was pricey.
article  jstor  cultural_history  social_history  17thC  18thC  British_history  elite_culture  court_culture  theater  publishing  actors  authors  patronage  patrons  prices  EF-add 
january 2014 by dunnettreader
Catherine M. S. Alexander, review essay - Re-viewing Shakespeare in the Long Eighteenth Century | JSTOR: Eighteenth-Century Studies, Vol. 41, No. 3 (Spring, 2008), pp. 426-429
Review of (1) Marketing the Bard: Shakespeare in Performance and Print 1660-1740 by Don-John Dugas; (2) Painting Shakespeare: The Artist as Critic, 1720-1820 by Stuart Sillars -- She was underwhelmed by the style and production of Marketing, and it seems heavy on quantitative measures, but looks useful in tracking changes in producing and consuming Shakespeare texts and performances that looks at commercial rather than political factors, as have recent studies. His commercial angle re publishing looks useful for Pope’s edition vs eg Rowe in c 1709 and competitors to Pope's edition. She thinks he does a lot with the staging in the 17thC by Davenant and Killigrew. "Painting Shakespeare" gets high marks for intelligent reading of the visual effects of artists from Hogarth to Fusilli, standalone paintings, narrative print series and illustrations in published texts from early 18thC to early19thC.
books  reviews  jstor  literary_history  cultural_history  British_history  English_lit  theater  publishing  readership  audience  Pope  EF-add 
january 2014 by dunnettreader
Oxford drama fit for a queen: William Gager’s “Dido” four centuries later | Hortulus Oct 2013
Note the tradition linking Queen Elizabeth to Christ Church - her portrait still over head tabke. An element in Queen Anne visit to Oxford in 1702?

The production of William Gager’s Dido in the Great Hall of Christ Church, Oxford, on 21st September 2013 was by any measure a special occasion. The Early Drama at Oxford (EDOX) research project aims to bring to light medieval and early modern plays staged within the University. One of the guiding lights of the project is Elisabeth Dutton, who directed Gager’s play as part of their ‘Performing Dido’ event, with the work performed alongside Edward’s Boys production of Christopher Marlowe’s more famous dramatization of the tale from Virgil. Gager’s Latin drama had been originally acted in June 1583 as part of the Christ Church celebrations in honour of visiting Polish prince, Albrecht Łaski. 430 years after this first performance, Gager’s Latin, smoothly translated into English by graduate student Elizabeth Sandis, was again staged before an influential Polish visitor – this time Minister Counsellor Mr Dariusz Łaska. As on the original occasion, parts were played by male university students (here with a couple of slightly older exceptions) before an audience partaking of a College banquet. It was impossible not to find thrilling an event so similar in many ways to that experienced by sixteenth century Oxonians – even down to a reconstructed period menu.
16thC  English_lit  theater  university  Oxford  Elizabeth  Virgil  actors  Bolingbroke  EF-add 
december 2013 by dunnettreader
Lord Chamberlain - Wikipedia, the free encyclopedia
The Licensing Act 1737 gave the Lord Chamberlain the statutory authority to veto the performance of any new plays: he could prevent any new play, or any modification to an existing play, from being performed for any reason, and theatre owners could be prosecuted for staging a play (or part of a play) that had not received prior approval. This act was replaced by the Theatres Act 1843, which restricted the powers of the Lord Chamberlain so that he could only prohibit the performance of plays where he was of the opinion that "it is fitting for the preservation of good manners, decorum or of the public peace so to do". This duty was abolished under the Theatres Act 1968; the first London performance of the musical Hair was delayed until the act was passed after a licence had been refused.[
British_history  18thC  19thC  20thC  censorship  theater  Walpole 
october 2013 by dunnettreader
Darryl P. Domingo: "THE NATURAL PROPENSITY OF IMITATION": or, Pantomimic Poetics and the Rhetoric of Augustan Wit (2009)
JSTOR: Journal for Early Modern Cultural Studies, Vol. 9, No. 2 (FALL/WINTER 2009), pp. 51-95 -- downloaded pdf to Note -- Drawing attention to the complex reciprocal relationship between commercialized leisure and commercial literature in the so-called "Age of Wit," this essay reconceives of the witty and witless in two important ways. Taking for granted, first of all, that wit is usually analyzed in terms of the efficacy of verbal language, the essay examines how and why debates concerning true and false wit were played out in physical terms—in this case, through the motions, gestures, and attitudes of the dancing body. Second of all, the essay attempts to account for the enduring, if unwitting, attractions of "false wit" by likening it to the tricks and transformations of contemporary English pantomime. Satirists of the 1720s, 1730s, and 1740s frequently invoke the unmeaning motion of Harlequin as a visual way of proscribing the verbal excesses of extravagant language. At the same time, apologists for pantomime associate Harlequin's "dumb Wit" with truth, reason, and the pattern of nature, claiming that the genre's corporeality allowed it to transcend the limitations and equivocations of words. The essay concludes that the popularity of pantomime contextualizes the Augustan reaction against false wit, in that it identifies a source of aesthetic pleasure in the public's eagerness to be duped by apparent sameness in difference. Early eighteenth-century readers enjoy luxuriant, illogical, and mixed metaphors, forced similes, and trifling jibes and quibbles for the same reason that early eighteenth-century spectators delight in the unexpected turns of pantomimic entertainment: in a world under the sway of Harlequin's magical slapstick, audiences derive satisfaction from being deceived. -- Looks pretty heavy on Theory but lots of useful primary sources -- May be useful for Beggars Opera, Dunciad, Three Hours after Marriage, Martinus Scriblerus and even Peri Bathous as well as Hogarth.
article  jstor  18thC  intellectual_history  popular_culture  English_lit  literary_history  theater  epistemology  satire  Pope  consumerism  wit  bibliography  EF-add 
september 2013 by dunnettreader
David Harris Sacks: Historiography review - Searching for "Culture" in the English Renaissance (1988)
JSTOR: Shakespeare Quarterly, Vol. 39, No. 4 (Winter, 1988), pp. 465-488 -- downloaded pdf to Note -- large number of studies in 1980s cultural history including popular culture of Early Stuarts
books  reviews  historiography  16thC  17thC  cultural_history  popular_culture  political_culture  court_culture  elites  patronage  English_lit  theater  Shakespeare  downloaded  EF-add 
september 2013 by dunnettreader
Review by: Paul Langford: The Licensing Act of 1737 by Vincent J. Liesenfeld (1987)
JSTOR: The English Historical Review, Vol. 102, No. 404 (Jul., 1987), p. 726 -- looks like lots of useful details including similar crackdown at Cambridge and Oxford
books  reviews  find  18thC  British_politics  1730s  political_press  censorship  free_speech  theater  university  satire  Walpole  George_II  EF-add 
september 2013 by dunnettreader
[no title]
JSTOR: Revue d'Histoire littéraire de la France, 93e Année, No. 5 (Sep. - Oct., 1993), pp. 702-716 -- Diderot issue from roundtable on Neveu de Rameau and Paradoxe sur le comédien downloaded pdf to Note -- Le Paradoxe sur le comédien de Diderot n'est pas une creatio ex nihilo. C'est une variation nouvelle sur un vieux topos de la doctrine rhétorique, Natura et Ars, Ingénium et Judicium, qui concerne l'orator en tant qu'actor aussi bien que l'interprétation du comédien. Diderot renouvelle le topos en introduisant, à la place de la traditionnelle conciliation entre natura et ars, ingenium et judicium, la distinction post-cartésienne moderne entre l'ego rationnel transcendantal et le moi subjectif, ce qui constitue une extension à l'art du comédien de la rhétorique rationaliste des Lumières. Mais la conception cicéronienne traditionnelle est encore bien vivante au XVII e siècle en France. Elle a été réaffirmée avec élégance par Rémond de Saint-Albine dans Le Comédien (1747), ouvrage qui a connu un long et vaste succès en Europe, et dont la doctrine peut être considérée comme l'équivalent "rocaille" de L'Art de l'acteur de Stanislavski. Cet article analyse le contenu de ce livre important et méconnu en opposition avec les théories de Diderot.
article  jstor  theater  actors  rhetoric  antiquity  Cicero  Quintillian  18thC  French_Enlightenment  Cartesian  self  sensibility  mind-body  downloaded  EF-add 
september 2013 by dunnettreader
Review by: Bénédicte Louvat - Lettre sur la comédie de l'Imposteur by La Mothe le Vayer; Robert Mc Bride
JSTOR: Revue d'Histoire littéraire de la France, 95e Année, No. 2 (Mar. - Apr., 1995), p. 314 -- thumbnail review of claim that Lettre defending Tartuffe written by La Mothe La Vayer
books  reviews  jstor  French_lit  17thC  France  culture_wars  theater  satire  libertine_erudite 
september 2013 by dunnettreader
Robert D. Hume: The Economics of Culture in London, 1660–1740 (2006)
JSTOR: Huntington Library Quarterly, Vol. 69, No. 4 (December 2006), pp. 487-533.....
Robert D. Hume asks four principal questions in this article: (1) Who were the consumers of elite culture, and what could and would they pay? (2) What could be earned by writers, actors, singers, musicians, painters? (3) Who actually profited from the sale of culture? (4) How did patronage affect the production ofculture? A survey of surviving figures for income strata and the prices paid by buyers suggests that the consumers of elite culture belonged largely to the wealthiest two percent of the population. Analysis of incomes shows that trying to earn a living as a writer, actor, or musician was a tough proposition. Patronage turns out to be surprisingly important, but more in terms of jobs, sinecures, and subscriptions than from individual largesse. Exact equivalencies to modern buying power are impossible to calculate, but scholars need to realize, for example, that in 1709 fully two-thirds of the books advertised in the Term Catalogues cost two shillings or less: a five-shilling book was pricey.

Downloaded pdf to Note
article  jstor  17thC  18thC  Britain  London  cultural_history  English_lit  theater  patronage  publishing  elites  downloaded  EF-add 
august 2013 by dunnettreader
Review by: Glen Campbell: Critical Guides to French Texts (1) Lesage: Crispin rival de son maître and Turcaret by George Evans; Lesage: Gil Blas. by Malcolm Cook (1990)
JSTOR: The French Review, Vol. 64, No. 2 (Dec., 1990), pp. 349-350

The 1st deals with Lesage plays for the Comédie Française c 1705 - contrast with the more exuberant and ignoring rules for later productions for Foires

The 2nd looks helpful for Gil Blas
books  reviews  18thC  French_lit  theater  novels  Paris 
july 2013 by dunnettreader

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