Closet Performances: Political Exhibition and Prohibition in the Dramas of Byron and Shelley
Stanford University Press, 1998 - 469 σελίδες
Displaced to Italy by their politics and morals, Byron and Shelley wrote, between 1816 and 1823, a series of closet dramas that the author reveals as being deeply embedded in contemporary radical culture. Why did they write dramas in Italy that were to be published in England but not to be produced theatrically? Why do these dramas invoke and apparently oppose textual and theatrical versions of themselves? In answering these questions, this book addresses other questions about the historical invention of English literature, the relation between literature and drama, and the relation between literature and political culture.
The plays are shown to acquiesce in, and yet also resist, subvert, and ironize by means of a parodic self-censorship, the political, theatrical, and ecclesiastical censorship of the post-Waterloo period. The author argues that they not only explore questions of political action in their plots but also reconstruct, by reconvening, a radical audience that had been virtually eliminated in England during the period of the counterrevolutionary and Napoleonic wars.
Like the radical culture of the 1790's, Byron and Shelley's plays are informed by a "new" politics of language. Focusing on the discursive conditions of radical culture and the plays, and bringing the procedures of cultural materialism into contact with those of deconstruction, the author highlights the political and literary operation of the plays' language. In the process, he shows how the plays contributed to the recrudescence of a polite radicalism that sought to align itself with and establish control over its plebeian counterpart.
Detailed discussion of individual plays--Manfred, Sardanapalus, Prometheus Unbound, Marino Faliero, Hellas, Cain, Heaven and Earth, The Two Foscari, and The Cenci--is supported by investigations into Romantic criticism of the drama, the dynamics of the reviewing journals, and the philosophical construct of the "closet" of reasoning and reading.
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action actually addressed already answer apparently argues argument articulate audience authority Beatrice become beginning body Byron Cain cast cause Cenci censorship chapter characters claim closet constitution contemporary context course criticism culture curse demand Despite direct discussion distinction Doge drama earlier effect effort fact figure final formulated function Greek ideal identified imperative implied indicated insists institutions internal invoke Italy journals language largely later least less Letters literary Marino Faliero material means merely mind narrative notion object offered Once opposed otherwise particular performance perhaps period plays plot political discourse position possible practice preface present production Prometheus Prometheus Unbound proposed provides question radical reader relation represented rhetoric Rights roles Sardanapalus scene seems seen Shelley signs social speak specifically speech stage suggests supposed text's theater theatrical tion understood whole writing written
Romantic Sociability: Social Networks and Literary Culture in Britain, 1770-1840
Gillian Russell,Clara Tuite
Περιορισμένη προεπισκόπηση - 2006
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