|
Showing 1 - 7 of
7 matches in All Departments
Considers the reputations and biographical portrayal of three
innovative and controversial writers: Mary Elizabeth Braddon,
Wilkie Collins and William Thackeray. These anthologies of
contemporary biographical material shed light on the processes at
work in the establishment of a public image and a critical
reputation.
Considers the reputations and biographical portrayal of three
innovative and controversial writers: Mary Elizabeth Braddon,
Wilkie Collins and William Thackeray. These anthologies of
contemporary biographical material shed light on the processes at
work in the establishment of a public image and a critical
reputation.
Considers the reputations and biographical portrayal of three
innovative and controversial writers: Mary Elizabeth Braddon,
Wilkie Collins and William Thackeray. These anthologies of
contemporary biographical material shed light on the processes at
work in the establishment of a public image and a critical
reputation.
Considers the reputations and biographical portrayal of three
innovative and controversial writers: Mary Elizabeth Braddon,
Wilkie Collins and William Thackeray. These anthologies of
contemporary biographical material shed light on the processes at
work in the establishment of a public image and a critical
reputation.
Drawing on the rhetorical work of James Phelan, Wayne Booth's
ethical criticism, recent work on William Makepeace Thackeray, as
well as an understanding of the role of skepticism in eighteenth-
and nineteenth-century English thought, Thackeray's Skeptical
Narrative and the "Perilous Trade" of Authorship makes a
substantial contribution to nineteenth-century reading practices,
as well as narratology in general. Judith Fisher combines in this
study rhetorical and ethical analysis of Thackeray's narrative
techniques to trace how his fiction develops to educate his reader
into what she terms a "hermeneutic of skepticism." This is a kind
of poised reading which enables his readers to integrate his
fiction into their life in what Thackeray called "a world without
God" without becoming pessimistic or fatalistic. Although
Thackeray's narrative strategies have been the subject of study,
most have focused on Vanity Fair and Henry Esmond only, and none
look as closely as does this study at actual rhetorical techniques
such as his use of pronominalization to interpolate the reader into
his skeptical discourse. Fisher also brings her analysis to bear on
The Adventures of Philip and The Virginians, Thackeray's last two
complete novels, both of which were critical failures even as
contemporary critics acknowledged their stylistic excellence. This
is the first study to attempt to understand the puzzle of those two
books; Fisher recovers them from their marginalized position in
Thackeray's oeuvre. Fisher expertly weaves an accessible narrative
theory with thoroughgoing knowledge of Thackeray's life in an
integrated reading of his entire works. Reading Thackeray
holistically in spite of his own disruptive practices, she does
full justice to his critical skepticism while elucidating his canon
for a new readership.
Drawing on the rhetorical work of James Phelan, Wayne Booth's
ethical criticism, recent work on William Makepeace Thackeray, as
well as an understanding of the role of skepticism in eighteenth-
and nineteenth-century English thought, Thackeray's Skeptical
Narrative and the "Perilous Trade" of Authorship makes a
substantial contribution to nineteenth-century reading practices,
as well as narratology in general. Judith Fisher combines in this
study rhetorical and ethical analysis of Thackeray's narrative
techniques to trace how his fiction develops to educate his reader
into what she terms a "hermeneutic of skepticism." This is a kind
of poised reading which enables his readers to integrate his
fiction into their life in what Thackeray called "a world without
God" without becoming pessimistic or fatalistic. Although
Thackeray's narrative strategies have been the subject of study,
most have focused on Vanity Fair and Henry Esmond only, and none
look as closely as does this study at actual rhetorical techniques
such as his use of pronominalization to interpolate the reader into
his skeptical discourse. Fisher also brings her analysis to bear on
The Adventures of Philip and The Virginians, Thackeray's last two
complete novels, both of which were critical failures even as
contemporary critics acknowledged their stylistic excellence. This
is the first study to attempt to understand the puzzle of those two
books; Fisher recovers them from their marginalized position in
Thackeray's oeuvre. Fisher expertly weaves an accessible narrative
theory with thoroughgoing knowledge of Thackeray's life in an
integrated reading of his entire works. Reading Thackeray
holistically in spite of his own disruptive practices, she does
full justice to his critical skepticism while elucidating his canon
for a new readership.
The richness of Victorian theatre has often been neglected because
of the era's most celebrated productions of Shakespeare's plays.
Judith L. Fisher and Stephen Watt present a vigorous collection of
eighteen essays covering the vast expanse of this "other" theatre,
including social dramas, Christmas pantomimes, and adaptations of
Gothic novels such as "Guy Mannering" and "Metamora; or, The Last
of the Wampanoags."
Reflecting both the longings and values of the public and the
theatrical conventions of the times, Victorian productions could
capture audiences with the historical verisimilitude of William
Charles Macready's production of "Richelieu "or incite a storm of
public outrage with the too explicitly fallen woman in Olga
Nethersole's interpretation of "Sapho." Playwrights worked at
adapting such popular classic works as "The Count of Monte Cristo"
or devising new melodramas such as "Rent Day" and "Luke the
Labourer." Pandering to the tastes of an expanding middle-class
audience, theatre bills reflected popular fascination with the
daily newspapers' stories of social maladies. Transposed to the
stage, "bad" men and women could be punished for wrongdoings in a
way that was unlikely or impossible in real life. Emphasizing the
variety of stagecraft in the Victorian age, the contributors to
"When They Weren't Doing Shakespeare" present a composite portrait
of the vibrant theatrical worlds that existed in both
nineteenth-century New York and London.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|