Victorian Appropriations of Shakespeare: George Eliot, A.C. Swinburne, Robert Browning, and Charles DickensFairleigh 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 |
Des de l'interior del llibre
Resultats 1 - 5 de 61.
Pàgina 14
... Hamlet and King Lear will serve as central examples . Both the theater audience and the culture that produced it were diverse in the nineteenth century . As Michael Booth argues , " If the Queen were the apex of the English audience ...
... Hamlet and King Lear will serve as central examples . Both the theater audience and the culture that produced it were diverse in the nineteenth century . As Michael Booth argues , " If the Queen were the apex of the English audience ...
Pàgina 18
... Hamlet , a stage tradition many ac- tresses had followed , beginning with Sarah Siddons , who played Hamlet in 1775. In Daniel Deronda , Eliot's last novel ( published almost exactly one hundred years after Siddons's innovation ) ...
... Hamlet , a stage tradition many ac- tresses had followed , beginning with Sarah Siddons , who played Hamlet in 1775. In Daniel Deronda , Eliot's last novel ( published almost exactly one hundred years after Siddons's innovation ) ...
Pàgina 19
... Hamlet to express their disappointment . According to the Edinburgh Review , although the book was " received with a ... Hamlet , " Daniel Deronda , fares much better in his relations with others than most interpretations of ...
... Hamlet to express their disappointment . According to the Edinburgh Review , although the book was " received with a ... Hamlet , " Daniel Deronda , fares much better in his relations with others than most interpretations of ...
Pàgina 20
... Hamlet , a function that I believe will increase our understand- ing of Eliot's power as a novelist . Eliot appropriated Shakespeare , but she also influenced Shakespeare : her feminized Hamlet may represent a piv- otal point in the ...
... Hamlet , a function that I believe will increase our understand- ing of Eliot's power as a novelist . Eliot appropriated Shakespeare , but she also influenced Shakespeare : her feminized Hamlet may represent a piv- otal point in the ...
Pàgina 23
... Hamlet , in her rewriting of his story in Daniel Deronda . As a woman writer , though , Jameson departs from her male critical forefathers . While Jameson borrows from the romantic notion " that Shakespeare enjoys a superior grasp of ...
... Hamlet , in her rewriting of his story in Daniel Deronda . As a woman writer , though , Jameson departs from her male critical forefathers . While Jameson borrows from the romantic notion " that Shakespeare enjoys a superior grasp of ...
Continguts
18 | |
Characterizing Shakespeare A Study of Algernon Charles Swinburne | 49 |
The Shakespeareanization of Robert Browning The Objective and Subjective Poet | 84 |
An Eminently Practical Father Dickens Hard Times and the Family | 114 |
Afterword | 138 |
Notes | 146 |
References | 153 |
Index | 165 |
Altres edicions - Mostra-ho tot
Victorian Appropriations of Shakespeare: George Eliot, A.C. Swinburne ... Robert Sawyer Visualització de fragments - 2003 |
Victorian Appropriations of Shakespeare: George Eliot, A. C. Swinburne ... Robert Sawyer Previsualització no disponible - 2003 |
Frases i termes més freqüents
A. C. Swinburne actor Alcharisi alternative-voiced discourse appropriation of Shakespeare argues audience Austen Browning Society Browning's Caliban Caliban upon Setebos Carlyle century challenges character Charles Charles Dickens Childe Roland claims concludes critique cultural Daniel Deronda Dark Tower Dickens Dickens's dramatic essay Falstaff father Fechter feeling female feminine feminized feminized Hamlet Forster G. H. Lewes gender George Eliot Hamlet Hazlitt Henry Henry IV homoerotic homosexuality human influence Kean Kean's King Lear later letter Lewes Lewes's literary Louisa Macready male masculine Mirah moral Morgan Morgann's mother nineteenth-century notion novel novelist Novy Ophelia Pauline performances playwright poem poet poetry portrayal praised readers reading relationship Review Robert Browning role romantic scene seems Setebos sexual Shake Shakespeare's plays Shakespearean appropriation Shakespearean criticism Shelley stage Study of Shakespeare suggests Swinburne 1895 Swinburne's Swinburne's criticism sympathetic sympathy textual theater tion traditional Victorian women words writing wrote
Passatges populars
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.
Referències a aquest llibre
The Merchant of Venice: Shakespeare: The Critical Tradition William Baker,Brian Vickers Visualització de fragments - 2005 |