Gender, Theatre, and the Origins of Criticism: From Dryden to ManleyIn Gender, Theatre and the Origins of Criticism, Marcie Frank explores the theoretical and literary legacy of John Dryden to a number of prominent women writers of the time. Frank examines the pre-eminence of gender, sexuality and the theatre in Dryden's critical texts that are predominantly rewritings of the work of his own literary precursors - Ben Jonson, Shakespeare and Milton. She proposes that Dryden develops a native literary tradition that is passed on as an inheritance to his heirs - Aphra Behn, Catharine Trotter, and Delarivier Manley - as well as their male contemporaries. Frank describes the development of criticism in the transition from a court-sponsored theatrical culture to one oriented toward a consuming public, with very different attitudes to gender and sexuality. This study also sets out to trace the historical origins of certain aspects of current criticism - the practices of paraphrase, critical self-consciousness and performativity. |
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Tartalomjegyzék
| 1 | |
John Drydens national | 15 |
John Drydens | 42 |
gender and criticism | 64 |
The female playwright and the city lady | 91 |
Scandals of a female nature | 116 |
Notes | 140 |
Bibliography | 163 |
Index | 173 |
Más kiadások - Összes megtekintése
Gender, Theatre, and the Origins of Criticism: From Dryden to Manley Marcie Frank Korlátozott előnézet - 2002 |
Gender, Theatre, and the Origins of Criticism: From Dryden to Manley Marcie Frank Nincs elérhető előnézet - 2002 |
Gender, Theatre, and the Origins of Criticism: From Dryden to Manley Marcie Frank Nincs elérhető előnézet - 2011 |
Gyakori szavak és kifejezések
achievement appear argues aristocratic associated audience authority becomes Behn century changes character claim classical Cleopatra comes context contributions conversation court Cressida critical critical practice culture depends describes desire difference discourse discussion dramatic Dryden Dryden's critical eighteenth-century emergence English epilogue Essay establishes example expressed female femininity figure French gender gives grounds heroic identification important improvement inheritance interest John Jonson judgment ladies lines literary literary criticism literary tradition Love male Manley Manley's masculinity means Milton nature notes Oedipus offers Paradise Lost past performance play poem Poesy poet poetic political position preface present produce prologue proposes provides Queen question reading relation representation represents Restoration rewriting role satire scene sense separation sexual Shakespeare social stage status success suggests takes theatre theatrical treatment Troilus Trotter true turn understanding University Press virtue woman women writing York
Népszerű szakaszok
53. oldal - THE measure is English heroic verse without rime, as that of Homer in Greek, and of Virgil in Latin — rime being no necessary adjunct or true ornament of poem or good verse, in longer works especially, but the invention of a barbarous age, to set off wretched matter and lame metre...
47. oldal - Glistering with dew ; nor fragrance after showers; Nor grateful evening mild; nor silent night. With this her solemn bird, nor walk by moon, Or glittering starlight, without thee is sweet. But wherefore all night long shine these ? for whom This glorious sight, when sleep hath shut all eyes?
44. oldal - THREE Poets, in three distant ages born, Greece, Italy, and England did adorn. The first in loftiness of thought surpassed; The next in majesty •, In both the last. The force of Nature could no further go ; To make a third, she joined the former two.
69. oldal - Magick could not copy'd be, Within that Circle none durst walk but he. I must confess 'twas bold, nor would you now, That liberty to vulgar Wits allow, Which works by Magick supernatural things: But Shakespear's pow'r is sacred as a King's.
26. oldal - But he has done his robberies so openly, that one may see he fears not to be taxed by any law. He invades authors like a monarch ; and what would be theft in other poets, is only victory in him.
53. oldal - This neglect then of Rime, so little is to be taken for a defect, though it may seem so perhaps to vulgar readers, that it rather is to be esteem'd an example set, the first in English, of ancient liberty recover'd to Heroic Poem from the troublesom and modern bondage of Rimeing.
50. oldal - Town-Bayes writes all the while and spells, And, like a pack-horse, tires without his bells. Their fancies like our bushy points appear ; The poets tag them, we for fashion wear. I too, transported by the mode, offend, And, while I meant to praise thee, must commend.
24. oldal - And this leads me to the last and greatest advantage of our writing, which proceeds from conversation. In the age wherein those poets lived, there was less of gallantry than in ours ; neither did they keep the best company of theirs.
Hivatkozások erre a könyvre
Style and the Nineteenth-century British Critic: Sincere Mannerisms Jason Camlot Korlátozott előnézet - 2008 |
Bibliográfiai információk
| Cím | Gender, Theatre, and the Origins of Criticism: From Dryden to Manley |
| Szerző | Marcie Frank |
| Kiadó | Cambridge University Press, 2002 |
| ISBN | 1139434888, 9781139434881 |
| Terjedelem | 175 oldal |
| Idézet exportálása | BiBTeX EndNote RefMan |