Victorian Appropriations of Shakespeare: George Eliot, A.C. Swinburne, Robert Browning, and Charles DickensFairleigh Dickinson Univ Press, 2003 - 172 páginas 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 |
De dentro do livro
Resultados 1-5 de 30
Página 14
... mind Cavendish's earlier claim that in his writing , Shakespeare " had been Metamorphosed from a Man to a Woman " ( Cavendish 1997 , 13 ) . Recently , other critical studies have also suggested that the Victorian period was one of ...
... mind Cavendish's earlier claim that in his writing , Shakespeare " had been Metamorphosed from a Man to a Woman " ( Cavendish 1997 , 13 ) . Recently , other critical studies have also suggested that the Victorian period was one of ...
Página 15
... mind , and this notion may further ex- plain why Shakespeare on the page predominates over dramatic Shakespeare during this time . Borrowing from M. H. Abrams , Jonathan Arac refers to this movement as the " romantic shift from audience ...
... mind , and this notion may further ex- plain why Shakespeare on the page predominates over dramatic Shakespeare during this time . Borrowing from M. H. Abrams , Jonathan Arac refers to this movement as the " romantic shift from audience ...
Página 21
... an 1854 letter to Sara Hennell , both of her sources of sympa- thetic identification were clearly on her mind , as she mentions both Feuerbach and Shakespeare in the same letter ( 14 July 1 / GEORGE ELIOT AND THE ART OF DRAMATIC REALISM 21.
... an 1854 letter to Sara Hennell , both of her sources of sympa- thetic identification were clearly on her mind , as she mentions both Feuerbach and Shakespeare in the same letter ( 14 July 1 / GEORGE ELIOT AND THE ART OF DRAMATIC REALISM 21.
Página 28
... mind to dwell on them " ( 101 ) . After their fourth reading of Austen , he claims nothing but an " increase of admiration " ( 101 ) . Lewes suggests that realism , which he considers to be the hallmark of Austen's fiction , and ...
... mind to dwell on them " ( 101 ) . After their fourth reading of Austen , he claims nothing but an " increase of admiration " ( 101 ) . Lewes suggests that realism , which he considers to be the hallmark of Austen's fiction , and ...
Página 29
... mind , and depth of emotional sensibility " and quotes three paragraphs from Scenes to support his point ( 104 ) . Returning to Austen , he proclaims that she possesses the " rare and difficult art of dramatic presen- tation : instead ...
... mind , and depth of emotional sensibility " and quotes three paragraphs from Scenes to support his point ( 104 ) . Returning to Austen , he proclaims that she possesses the " rare and difficult art of dramatic presen- tation : instead ...
Conteúdo
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 |
Outras edições - Ver todos
Victorian Appropriations of Shakespeare: George Eliot, A. C. Swinburne ... Robert Sawyer Prévia não disponível - 2003 |
Termos e frases comuns
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
Passagens mais conhecidas
Página 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...
Página 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.
Página 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.
Página 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.
Página 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.
Página 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.
Página 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.