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Showing 1 - 11 of
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Combining new musicology trends, formal musical analysis, and
literary feminist recovery work, Leslie Ritchie examines rare
poetic, didactic, fictional, and musical texts written by women in
late eighteenth-century Britain. She finds instances of and
resistance to contemporary perceptions of music as a form of social
control in works by Maria Barthelemon, Harriett Abrams, Mary
Worgan, Susanna Rowson, Hannah Cowley, and Amelia Opie, among
others. Relating women's musical compositions and writings about
music to theories of music's function in the formation of female
subjectivities during the latter half of the eighteenth century,
Ritchie draws on the work of cultural theorists and cultural
historians, as well as feminist scholars who have explored the
connection between femininity and performance. Whether crafting
works consonant with societal ideals of charitable, natural, and
national order, or re-imagining their participation in these
musical aids to social harmony, women contributed significantly to
the formation of British cultural identity. Ritchie's
interdisciplinary book will interest scholars working in a range of
fields, including gender studies, musicology, eighteenth-century
British literature, and cultural studies.
Combining new musicology trends, formal musical analysis, and
literary feminist recovery work, Leslie Ritchie examines rare
poetic, didactic, fictional, and musical texts written by women in
late eighteenth-century Britain. She finds instances of and
resistance to contemporary perceptions of music as a form of social
control in works by Maria Barthelemon, Harriett Abrams, Mary
Worgan, Susanna Rowson, Hannah Cowley, and Amelia Opie, among
others. Relating women's musical compositions and writings about
music to theories of music's function in the formation of female
subjectivities during the latter half of the eighteenth century,
Ritchie draws on the work of cultural theorists and cultural
historians, as well as feminist scholars who have explored the
connection between femininity and performance. Whether crafting
works consonant with societal ideals of charitable, natural, and
national order, or re-imagining their participation in these
musical aids to social harmony, women contributed significantly to
the formation of British cultural identity. Ritchie's
interdisciplinary book will interest scholars working in a range of
fields, including gender studies, musicology, eighteenth-century
British literature, and cultural studies.
What happens when an actor owns shares in the stage on which he
performs and the newspapers that review his performances? Celebrity
that lasts over 240 years. From 1741, David Garrick dominated the
London theatre world as the progenitor of a new 'natural' style of
acting. From 1747 to 1776, he was a part-owner and manager of Drury
Lane, controlling most aspects of the theatre's life. In a
spectacular foreshadowing of today's media convergences, he also
owned shares in papers including the St James's Chronicle and the
Public Advertiser, which advertised and reviewed Drury Lane's
theatrical productions. This book explores the nearly inconceivable
level of cultural power generated by Garrick's entrepreneurial
manufacture and mediation of his own celebrity. Using new
technologies and extensive archival research, this book uncovers
fresh material concerning Garrick's ownership and manipulation of
the media, offering timely reflections for theatre history and
media studies.
What happens when an actor owns shares in the stage on which he
performs and the newspapers that review his performances? Celebrity
that lasts over 240 years. From 1741, David Garrick dominated the
London theatre world as the progenitor of a new 'natural' style of
acting. From 1747 to 1776, he was a part-owner and manager of Drury
Lane, controlling most aspects of the theatre's life. In a
spectacular foreshadowing of today's media convergences, he also
owned shares in papers including the St James's Chronicle and the
Public Advertiser, which advertised and reviewed Drury Lane's
theatrical productions. This book explores the nearly inconceivable
level of cultural power generated by Garrick's entrepreneurial
manufacture and mediation of his own celebrity. Using new
technologies and extensive archival research, this book uncovers
fresh material concerning Garrick's ownership and manipulation of
the media, offering timely reflections for theatre history and
media studies.
The essays in English Theatrical Anecdotes, 1660-1800 explore the
theatrical anecdote’s role in the construction of stage fame in
England’s emergent celebrity culture during the long eighteenth
century, as well as the challenges of employing such anecdotes in
theatre scholarship today. This collection showcases scholarship
that complicates the theatrical anecdote and shows its many sides
and applications beyond the expected comic punch. Discussing
anecdotal narratives about theatre people as producing,
maintaining, and sometimes toppling individual fame, this book
crucially investigates a key mechanism of celebrity in the long
eighteenth century that reaches into the nineteenth century and
beyond. The anecdote erases boundaries between public and private
and fictionalizing the individual in ways deeply familiar to
twenty-first century celebrity culture.
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Women and Music in the Age of Austen
Linda Zionkowski, Miriam F. Hart; Contributions by Pierre Dubois, Kelly M. McDonald, Danielle Grover, …
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R1,233
R1,160
Discovery Miles 11 600
Save R73 (6%)
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Ships in 12 - 17 working days
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Women and Music in the Age of Austen highlights the central role
women played in musical performance, composition, reception, and
representation, and analyzes its formative and lasting effect on
Georgian culture. This interdisciplinary collection of essays from
musicology, literary studies, and gender studies challenges the
conventional historical categories that marginalize women’s
experience from Austen’s time. Contesting the distinctions
between professional and amateur musicians, public and domestic
sites of musical production, and performers and composers of music,
the contributors reveal how women’s widespread involvement in the
Georgian musical scene allowed for self-expression, artistic
influence, and access to communities that transcended the
boundaries of gender, class, and nationality. This volume’s
breadth of focus advances our understanding of a period that
witnessed a musical flourishing, much of it animated by female
hands and voices. Published by Bucknell University Press.
Distributed worldwide by Rutgers University Press. Â
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Women and Music in the Age of Austen
Linda Zionkowski, Miriam F. Hart; Contributions by Pierre Dubois, Kelly M. McDonald, Danielle Grover, …
|
R3,630
R3,364
Discovery Miles 33 640
Save R266 (7%)
|
Ships in 12 - 17 working days
|
Women and Music in the Age of Austen highlights the central role
women played in musical performance, composition, reception, and
representation, and analyzes its formative and lasting effect on
Georgian culture. This interdisciplinary collection of essays from
musicology, literary studies, and gender studies challenges the
conventional historical categories that marginalize women’s
experience from Austen’s time. Contesting the distinctions
between professional and amateur musicians, public and domestic
sites of musical production, and performers and composers of music,
the contributors reveal how women’s widespread involvement in the
Georgian musical scene allowed for self-expression, artistic
influence, and access to communities that transcended the
boundaries of gender, class, and nationality. This volume’s
breadth of focus advances our understanding of a period that
witnessed a musical flourishing, much of it animated by female
hands and voices. Published by Bucknell University Press.
Distributed worldwide by Rutgers University Press. Â
The essays in English Theatrical Anecdotes, 1660-1800 explore the
theatrical anecdote’s role in the construction of stage fame in
England’s emergent celebrity culture during the long eighteenth
century, as well as the challenges of employing such anecdotes in
theatre scholarship today. This collection showcases scholarship
that complicates the theatrical anecdote and shows its many sides
and applications beyond the expected comic punch. Discussing
anecdotal narratives about theatre people as producing,
maintaining, and sometimes toppling individual fame, this book
crucially investigates a key mechanism of celebrity in the long
eighteenth century that reaches into the nineteenth century and
beyond. The anecdote erases boundaries between public and private
and fictionalizing the individual in ways deeply familiar to
twenty-first century celebrity culture.
|
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