Victorian Appropriations of Shakespeare: George Eliot, A.C. Swinburne, Robert Browning, and Charles Dickens
Fairleigh Dickinson Univ Press, 2003 - 172 pàgines
This book explores the creation of imperial identities in Britain and several of its colonies- South Africa, India, Australia, Wales- and the ways in which the Victorian press around the world shaped and reflected these identities. The concept of co-histories, borrowed from Edward Said and Frantz Fanon, helps explain how the press shaped the imperial and national identities of Britain and of the colonies into co-histories that were thoroughly intertwined and symbiotic. Exploring a variety of press media, this book argues that the press was a site of resistance and revision by colonial authority for the British government. The contributors analyze the writings of British and colonial writers, editors, and publishers, who projected a view of the empire to their British, colonial, and colonized readers. Topics include 'The Journal of Indian Art and Industry' produced by the British art schools in India, women's periodicals, Indian writers in the British press, 'The Imperial Gazetteer' published in Scotland, the rise of telegraphic news agencies, the British press's images of China seen through exhibitions of its art, the Tory periodical 'Blackwood's Magazine, ' and the Imperial Press
Què en diuen els usuaris - Escriviu una ressenya
No hem trobat cap ressenya als llocs habituals.
Characterizing Shakespeare A Study of Algernon Charles Swinburne
The Shakespeareanization of Robert Browning The Objective and Subjective Poet
An Eminently Practical Father Dickens Hard Times and the Family
Altres edicions - Mostra-ho tot
Victorian Appropriations of Shakespeare: George Eliot, A.C. Swinburne ...
Visualització de fragments - 2003
according acting actor appropriation argues associated attempt audience becomes began begins believe Browning Browning's Caliban called century challenges chapter character Charles Childe claims concerns concludes connection consider continues create critics cultural Daniel Deronda Dickens Dickens's discourse dramatic early Eliot essay example fact Falstaff father Fechter feeling female feminine final George Hamlet Hazlitt Henry human idea important influence interest interpretation Kean King language later Lear less letter Lewes literary male masculine mind moral mother nature never noted notion novel objective Ophelia particularly performances perhaps play poem poet poetry politics posits possesses praised production published question readers reading recent refers relation relationship represents Review Roland role scene seems sense sexual Shake Shakespeare similar Society stage Study suggests Swinburne Swinburne's sympathy thing tion traditional turn understanding Victorian women writing wrote
Pàgina 96 - This is the excellent foppery of the world, that, when we are sick in fortune, — often the surfeit of our own behaviour, — we make guilty of our disasters the sun, the moon, and the stars...
Pàgina 68 - The moral to be drawn from this representation is, that no man is more dangerous than he that, with a will to corrupt, hath the power to please ; and that neither wit nor honesty ought to think themselves safe with such a companion, when they see Henry seduced by Falstaff.
Pàgina 93 - It has been obtained through the poet's double faculty of seeing external objects more clearly, widely, and deeply than is possible to the average mind, at the same time that he is so acquainted and in sympathy with its narrower comprehension as to be careful to supply it with no other materials than it can combine into an intelligible whole.
Pàgina 93 - ... pass to the reality it was made from, and either corroborate their impressions of things known already, or supply themselves with new from whatever shows in the inexhaustible variety of existence may have hitherto escaped their knowledge. Such a poet is properly the TTOITJTT;?, the fashioner; and the thing fashioned, his poetry, will of necessity be substantive, projected from himself and distinct.
Pàgina 51 - ... his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language (it is not, after all, out of a dictionary that the speaker gets his words!), but rather it exists in other people's mouths, in other people's contexts, serving other people's intentions: it is from there that one must take the word, and make it one's own.
Pàgina 55 - Shakespear was inspiration indeed : he is not so much an imitator, as an instrument, of Nature ; and it is not so just to say that he speaks from her, as that she speaks through him.
Pàgina 93 - Doubtless we accept gladly the biography of an objective poet, as the phrase now goes ; one whose endeavour has been to reproduce things external (whether the phenomena of the scenic universe, or the manifested action of the human heart and brain) with an immediate reference, in every case, to the common eye and apprehension of his fellow men, assumed capable of receiving and profiting by this reproduction.