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This collection brings together scholars from disciplines including
Children's Literature, Classics, and History to develop fresh
approaches to children's culture and the uses of the past. It
charts the significance of historical episodes and characters
during the long nineteenth-century (1750-1914), a critical period
in children's culture. Boys and girls across social classes often
experienced different pasts simultaneously, for purposes of
amusement and instruction. The book highlights an active and
shifting market in history for children, and reveals how children
were actively involved in consuming and repackaging the past: from
playing with historically themed toys and games to performing in
plays and pageants. Each chapter reconstructs encounters across
different media, uncovering the cultural work done by particular
pasts and exposing the key role of playfulness in the British
historical imagination. -- .
This collection brings together scholars from disciplines including
Children's Literature, Classics, and History to develop fresh
approaches to children's culture and the uses of the past. It
charts the significance of historical episodes and characters
during the long nineteenth-century (1750-1914), a critical period
in children's culture. Boys and girls across social classes often
experienced different pasts simultaneously, for purposes of
amusement and instruction. The book highlights an active and
shifting market in history for children, and reveals how children
were actively involved in consuming and repackaging the past: from
playing with historically themed toys and games to performing in
plays and pageants. Each chapter reconstructs encounters across
different media, uncovering the cultural work done by particular
pasts and exposing the key role of playfulness in the British
historical imagination. -- .
Rachel Bryant Davies and Erin Johnson-Williams lead a cast of
renowned scholars to initiate an interdisciplinary conversation
about the mechanisms of power that have shaped the
nineteenth-century archive, to ask: What is a nineteenth-century
archive, broadly defined? This landmark collection of essays will
broach critical and topical questions about how the complex
discourses of power involved in constructions of the
nineteenth-century archive have impacted, and continue to impact,
constructions of knowledge across disciplinary boundaries, and
beyond academic confines. The essays, written from a range of
disciplinary perspectives, grapple with urgent problems of how to
deal with potentially sensitive nineteenth-century archival items,
both within academic scholarship and in present-day public-facing
institutions, which often reflect erotic, colonial and imperial,
racist, sexist, violent, or elitist ideologies. Each contribution
grapples with these questions from a range of perspectives:
Musicology, Classics, English, History, Visual Culture, and Museums
and Archives. The result is far-reaching historical excavation of
archival experiences.
This anthology presents annotated scripts of four major burlesques
by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas
John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R.
Planche (1834); The Iliad; or, the Siege of Troy by Robert Brough
(1858) and Ulysses; or the Ironclad Warriors and the Little Tug of
War by F.C. Burnand (1865). Beloved legend, archaeological riddle
and educational staple: Homer's epic tales of the Trojan War and
its aftermath were vividly reimagined in nineteenth-century
Britain. Classical burlesques-exceptionally successful theatrical
entertainments-continually mined the Iliad and Odyssey to lucrative
comic effect. Burlesques combined song, dance and slapstick comedy
with an eclectic kaleidoscope of topical allusions. From
namedropping boxing legends to recasting Shakespearean combats,
epic adaptations overflow with satirical commentary on politics,
cultural highlights and everyday current affairs. In uncovering
Homer's irreverently playful afterlife, this selection showcases
burlesque's development and wide appeal. The critical introduction
analyses how these plays contested the accessibility of classical
antiquity and dramatic performance. Textual and literary
annotations, with contemporary illustrations, illuminate the
juxtaposed sources to establish these repackaged epics as
indispensable tools for unlocking nineteenth-century social,
cultural and political history. Resources for further study are
available online.
This anthology presents annotated scripts of four major burlesques
by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas
John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R.
Planche (1834); The Iliad; or, the Siege of Troy by Robert Brough
(1858) and Ulysses; or the Ironclad Warriors and the Little Tug of
War by F.C. Burnand (1865). Beloved legend, archaeological riddle
and educational staple: Homer's epic tales of the Trojan War and
its aftermath were vividly reimagined in nineteenth-century
Britain. Classical burlesques-exceptionally successful theatrical
entertainments-continually mined the Iliad and Odyssey to lucrative
comic effect. Burlesques combined song, dance and slapstick comedy
with an eclectic kaleidoscope of topical allusions. From
namedropping boxing legends to recasting Shakespearean combats,
epic adaptations overflow with satirical commentary on politics,
cultural highlights and everyday current affairs. In uncovering
Homer's irreverently playful afterlife, this selection showcases
burlesque's development and wide appeal. The critical introduction
analyses how these plays contested the accessibility of classical
antiquity and dramatic performance. Textual and literary
annotations, with contemporary illustrations, illuminate the
juxtaposed sources to establish these repackaged epics as
indispensable tools for unlocking nineteenth-century social,
cultural and political history. Resources for further study are
available online.
Rachel Bryant Davies and Erin Johnson-Williams lead a cast of
renowned scholars to initiate an interdisciplinary conversation
about the mechanisms of power that have shaped the
nineteenth-century archive, to ask: What is a nineteenth-century
archive, broadly defined? This landmark collection of essays will
broach critical and topical questions about how the complex
discourses of power involved in constructions of the
nineteenth-century archive have impacted, and continue to impact,
constructions of knowledge across disciplinary boundaries, and
beyond academic confines. The essays, written from a range of
disciplinary perspectives, grapple with urgent problems of how to
deal with potentially sensitive nineteenth-century archival items,
both within academic scholarship and in present-day public-facing
institutions, which often reflect erotic, colonial and imperial,
racist, sexist, violent, or elitist ideologies. Each contribution
grapples with these questions from a range of perspectives:
Musicology, Classics, English, History, Visual Culture, and Museums
and Archives. The result is far-reaching historical excavation of
archival experiences.
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