Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
The Cambridge Companion to the Fin de Siècle
Publisher description
Shakespeare in the Nineteenth Century
An illustrated collection of new essays with valuable reference material on the performance and reception of Shakespeare's plays.
The Shakespearean World
The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare ...
Remediating Shakespeare in the Eighteenth and Nineteenth Centuries
Remediating Shakespeare in the Eighteenth and Nineteenth Centuries analyzes literary remediations of Shakespeare’s works, particularly those written for young readers. This book explores adaptations, revisions, and reimaginings by Lewis Theobald, the Bowdlers, the Lambs, and Mary Cowden Clarke, among others, to provide a theoretical account of the poetics and practices of remediating literary texts. Considering the interplay between the historical fascination with Shakespeare and these practices of adaptation, this book examines the endless attempt to mediate our relationship to Shakespeare. Howard Marchitello investigates the motivations behind various forms of remediation, ultimately expanding theories of literary adaptation and appropriation.
Shakespeare's ‘Lady Editors'
This bold and compelling revisionist history tells the remarkable story of the forgotten lives and labours of Shakespeare's women editors.
Born In Huronia
On September 28, 1941, the same day that Robert Popple was born in Penetanguishene, Ontario, Ted Williams ended his baseball season with a .406 batting average, a MLB record that still stands today. Patterned after Mark Twain’s recently published autobiography, this memoir describes Popple’s life growing up in 1950s Huronia and later, making his way in the world. With public confidence in nuclear power declining after the Three Mile Island accident and CANDU reactors supplying the lion’s share of Ontario’s electric power, Popple acted as the Ontario Hydro nuclear spokesman for five years. An exact transcript of his mother’s 53-year Family Log is included, a prized source of detail on early events.
Shakespeare's Women and the Fin de Siècle
Sophie Duncan illuminates iconoclastic performances of Shakespeare's heroines in late Victorian theatre, through the celebrity, commentary, and careers of the actresses who played them. Duncan draws on a wealth of archival material to explore the vital ways in which fin-de-siecle Shakespeare and Victorian theatre culture conditioned each other.
The Victorian Cult of Shakespeare
How and why did Victorian culture make Shakespeare into a literary deity and his work into a secular Bible?
Actresses on the Victorian Stage
Gail Marshall argues that the professional and personal history of the Victorian actress was largely defined by her negotiation with the sculptural metaphor, and that this was authorized and determined by the Ovidian myth of Pygmalion and Galatea. Drawing on evidence of theatrical fictions, visual representations and popular culture's assimilation of the sculptural image, as well as theatrical productions, she examines some of the manifestations of the sculptural metaphor on the legitimate English stage, and its implications for the actress in the later nineteenth century. Within the legitimate theatre, the 'Galatea-aesthetic' positioned actresses as predominantly visual and sexual commodities whose opportunities for interpretative engagement with their plays were minimal. This dominant aesthetic was effectively challenged only at the end of the century, with the advent of the 'New' drama, and the emergence of a body of autobiographical writings by actresses.
