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List of Figures
Notes on Contributors
Introduction Lilla Maria Crisafulli Crisafulli, Lilla Maria Keir Elam Elam, Keir 1
Pt. I Historical Drama and Romantic Historiography
1 Baillie, Mitford, and the 'Different Track' of Women's Historical Drama on the Romantic Stage Greg Kucich Kucich, Greg 21
2 Historical Agency in Romantic Women's Drama Lilla Maria Crisafulli Crisafulli, Lilla Maria 43
3 Hannah More's and Ann Yearsley's Anglo-Saxon History Plays Cecilia Pietropoli Pietropoli, Cecilia 59
4 Historical Sieges in Women's Romantic Drama: Felicia Hemans, Joanna Baillie and Frances Brooke Serena Baiesi Baiesi, Serena 71
5 Felicia Hemans, Schillerian Drama, and the Feminization of History Gary Kelly Kelly, Gary 85
Pt. II Dramaturgical and Cultural Processes
6 The Erotics of Home: Staging Sexual Fantasy in British Women's Drama Catherine Burroughs Burroughs, Catherine 103
7 When Mitford Met Baillie: Theatre, Sociability and the Networks of Women's Romantic Drama Diego Saglia Saglia, Diego 123
8 Dramatic Theory and Critical Discourse in Elizabeth Inchbald's Remarks on The British Theatre Franca Dellarosa Dellarosa, Franca 147
9 Elizabeth Inchbald: Translation as Mediation and Re-writing Vita M. Mastrosilvestri Mastrosilvestri, Vita M. 159
10 Negotiating Voices in Romantic Theatre: Scottish Women Playwrights, Gender and Performativity Gioia Angeletti Angeletti, Gioia 169
Pt. III Women Staging, Women Staged
11 Inchbald, Holcroft and the Censorship of Jacobin Theatre Jane Moody Moody, Jane 199
12 From Darkness to Light: Science and Religion on Joanna Baillie's Stage Isabella Imperiali Imperiali, Isabella 215
13 Poses and Pauses: Sarah Siddons and the Romantic Theatrical Portrait Claudia Corti Corti, Claudia 231
14 When 'Poetry and Stage do Agree Together': Elizabeth Vestris's A Midsummer Night's Dream Stefania Magnani Magnani, Stefania 251
Bibliography 263
Index 287
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Christopher Ishii
reviewed Women's Romantic Theatre and Drama on August 23, 2014
Women's Romantic Theatre and Drama
I took advantage of my fixed immobilization forced to reread some books of Steiner. I began with real presences. Death of the tragedy is more ambitious. It is somewhere an history of the literature of the Greek until us. And particularly, he wonders about the disappearance of the tragedy as literary genre. It is for him because of the Christianity, the Marxism and the psychoanalysis. Edip who is the archetype of the tragic hero, toy of the fate, becomes at Freud the hero of a rational quest in search of cure.
Steiner puts texts in perspective. With his great erudition, he allows us to discover this end of the tragedy. The END? Not sure. Is the postmodernity propose to us a kind of new tragedy. There is new mythology. For exemple, when I see the TV series, not only game of thrones. I think in of television series Scandinavians (Swedish and Danish particularly), Israeli, English and some rare French, They are our new tragedies.
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Add Women's Romantic Theatre and Drama, As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, Nor, Women's Romantic Theatre and Drama to the inventory that you are selling on WonderClubX
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Add Women's Romantic Theatre and Drama, As theatre and drama of the Romantic Period undergo a critical reassessment among scholars internationally, the contributions of women as playwrights, actresses, and managers are also being revalued. This volume, which brings together leading British, Nor, Women's Romantic Theatre and Drama to your collection on WonderClub |
