{"title":"制造信念:约翰·霍姆戏剧改编《奥西安》的认识论与舞台学","authors":"Ephraim Levinson","doi":"10.1093/camqtly/bfad009","DOIUrl":null,"url":null,"abstract":"Abstract:LEVINSON: John Home's The Fatal Discovery is an unusual intervention in the controversy over James MacPherson's 'translations' of Ossian. In this article I argue that Home's play is not simply an adaptation of an Ossianic poem; it makes a case for the historical truth of Ossian's narrative. In so doing, Home confronts the philosophy of his close friend and relative, David Hume, and appropriates the scenographic changes made to DruryLane Theatre by David Garrick in the 1760 s.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"34 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Making Belief: Epistemology and Scenography in John Home's Theatrical Adaptation of Ossian\",\"authors\":\"Ephraim Levinson\",\"doi\":\"10.1093/camqtly/bfad009\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:LEVINSON: John Home's The Fatal Discovery is an unusual intervention in the controversy over James MacPherson's 'translations' of Ossian. In this article I argue that Home's play is not simply an adaptation of an Ossianic poem; it makes a case for the historical truth of Ossian's narrative. In so doing, Home confronts the philosophy of his close friend and relative, David Hume, and appropriates the scenographic changes made to DruryLane Theatre by David Garrick in the 1760 s.\",\"PeriodicalId\":374258,\"journal\":{\"name\":\"The Cambridge Quarterly\",\"volume\":\"34 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Cambridge Quarterly\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/camqtly/bfad009\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Cambridge Quarterly","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/camqtly/bfad009","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Making Belief: Epistemology and Scenography in John Home's Theatrical Adaptation of Ossian
Abstract:LEVINSON: John Home's The Fatal Discovery is an unusual intervention in the controversy over James MacPherson's 'translations' of Ossian. In this article I argue that Home's play is not simply an adaptation of an Ossianic poem; it makes a case for the historical truth of Ossian's narrative. In so doing, Home confronts the philosophy of his close friend and relative, David Hume, and appropriates the scenographic changes made to DruryLane Theatre by David Garrick in the 1760 s.
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