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Restoration and Eighteenth-Century Theatre Research最新文献

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Eighteenth-Century Brechtians: Theatrical Satire in the Age of Walpole 18世纪布莱希特人:沃波尔时代的戏剧讽刺
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0111
C. Rawson
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引用次数: 2
School for Scandal 丑闻学校
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.1093/nq/s6-xi.283.438b
Srividhya Swaminathan
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引用次数: 0
“I will wear my heart upon my sleeve”: Haunted Stages in Frances Burney’s Camilla “我将把我的心放在我的袖子上”:弗朗西斯·伯尼的《卡米拉》中的闹鬼舞台
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0021
B. Wallace
{"title":"“I will wear my heart upon my sleeve”: Haunted Stages in Frances Burney’s Camilla","authors":"B. Wallace","doi":"10.5325/rectr.31.1.0021","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0021","url":null,"abstract":"\u0000 This article explores the significance of the “disastrous buskins” who perform Othello in Book VIII of Frances Burney’s Camilla. Deploying the concept of “haunting,” the article reads the scene against theatrical history. It further argues that the scene introduces weightier concerns about what it means for Burney’s characters to “perform” themselves. With Dror Wahrman’s account of the rise of the modern self as an anchor, I contend that Burney’s novel implicitly questions how individual subjectivity is best stabilized and publically presented as unified, immutable, and non-fungible, especially when the “ghost” of other more performative versions of the self threaten to destabilize that effort. Lastly, the essay reads the privileging of the non-performative self (best embodied in Camilla’s sister Eugenia) as a sign that the novel is also invested in the notion of a “true” worth that is incontrovertible and fixed, one that is removed simultaneously from the vagaries of the stage and the marketplace.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123107082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Manuscript of Unpublished Restoration Comedy, The Dutch Lady, Located at Boston Public Library 未出版的复辟喜剧手稿，荷兰女士，位于波士顿公共图书馆
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0063
Joseph F. Stephenson
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引用次数: 2
Sancho: An Act of Remembrance 桑丘:纪念的行为
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0099
Kristina Huang
{"title":"Sancho: An Act of Remembrance","authors":"Kristina Huang","doi":"10.5325/rectr.31.1.0099","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0099","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124906389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Theatre and the Novel from Behn to Fielding 从贝恩到菲尔丁的戏剧与小说
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0125
C. Rawson
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引用次数: 0
Restoration Staging, 1660-74 修复分期(1660- 1674
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0129
Juan A. Prieto-Pablos
{"title":"Restoration Staging, 1660-74","authors":"Juan A. Prieto-Pablos","doi":"10.5325/rectr.31.1.0129","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0129","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127031240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Dutch Lady 荷兰女士
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0083
J. Munns
{"title":"The Dutch Lady","authors":"J. Munns","doi":"10.5325/rectr.31.1.0083","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0083","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132896360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Masks of Aphra Behn 阿芙拉·本恩的面具
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0095
Angela Escott
{"title":"The Masks of Aphra Behn","authors":"Angela Escott","doi":"10.5325/rectr.31.1.0095","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0095","url":null,"abstract":"","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116171472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Is this my native country?”: Reviving Elizabeth Inchbald’s Every One Has His Fault in Postcolonial Philadelphia “这是我的祖国吗?”:重温伊丽莎白·英奇博尔德的《后殖民时代的费城人人都有错》
Restoration and Eighteenth-Century Theatre Research Pub Date : 2016-07-01 DOI: 10.5325/rectr.31.1.0005
J. MacDonald
{"title":"“Is this my native country?”: Reviving Elizabeth Inchbald’s Every One Has His Fault in Postcolonial Philadelphia","authors":"J. MacDonald","doi":"10.5325/rectr.31.1.0005","DOIUrl":"https://doi.org/10.5325/rectr.31.1.0005","url":null,"abstract":"\u0000 This paper considers the socio-political implication of two productions of Elizabeth Inchbald’s tragic-comedy Every One Has His Fault. First produced at Covent Garden in 1793, the play reflects London back to itself in ways that question the moral fiber of “this civilized city.” The play was offered in postcolonial America a year later, in the wake of a devastating influx of yellow fever and for the patriotic cause of relieving and redeeming American citizens suffering as captives in Algiers. Under such circumstances, politically charged elements of Every One Has His Fault took on more potent meaning.\u0000 Though Inchbald herself rejected the charge of sedition that her play prompted from conservative parties, Every One Has His Fault obtained a life of its own in post-revolutionary America, where a perspective emboldened by distance and independence could critique the land in which the play was born. This discussion of its afterlife in America highlights the play’s core values of moral attentiveness and governance, illuminates its latent radicalism, and recognizes the transformative power of a change in production venue from a theatre venerated in a land of oppression to one newly opened in the land of the free.","PeriodicalId":366404,"journal":{"name":"Restoration and Eighteenth-Century Theatre Research","volume":"397 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120875491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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