Characters Theater: Genre and Identity on the Eighteenth-Century English Stage

ISBN 10: 0812236394 / ISBN 13: 9780812236392
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Characters Theater: Genre and Identity on the Eighteenth-Century English Stage. N° de ref. de la librería

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If the whole world acted the player, how did the player act the world? In Character's Theater, Lisa A. Freeman uses this question to test recent critical discussion of eighteenth-century literature and culture. Much current work, she observes, focuses on the concept of theatricality as both the governing metaphor of social life and a primary filter of psychic perception. Hume's "theater of the mind," Adam Smith's "impartial spectator," and Diderot's "tableaux" are all invoked by theorists to describe a process whereby the private individual comes to internalize theatrical logic and apprehend the self as other. To them theatricality is a critical mechanism of modern subjectivity but one that needs to be concealed if the subject's stability is to be maintained.

Finding that much of this discussion about the "Age of the Spectator" has been conducted without reference to the play texts or actual theatrical practice, Freeman turns to drama and discovers a dynamic model of identity based on eighteenth-century conceptualizations of character. In contrast to the novel, which cultivated psychological tensions between private interiority and public show, dramatic characters in the eighteenth century experienced no private thoughts. The theater of the eighteenth century was not a theater of absorption but rather a theater of interaction, where what was monitored was not the depth of character, as in the novel, but the arc of a genre over the course of a series of discontinuous acts.

In a genre-by-genre analysis of plays about plays, tragedy, comedies of manners, humours, and intrigue, and sentimental comedy, Freeman offers an interpretive account of eighteenth-century drama and its cultural work and demonstrates that by deploying an alternative model of identity, theater marked a site of resistance to the rise of the subject and to the ideological conformity enforced through that identity formation.

Biografía del autor: Lisa A. Freeman teaches English at University of Illinois at Chicago.

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Lisa A. Freeman
ISBN 10: 0812236394 ISBN 13: 9780812236392
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Descripción Hardcover. Estado de conservación: Like New. Very light use, FINE or better, very minor shelf wear. For non-UK markets items of 1.5 kg or more may require an additional shipping charge. Nº de ref. de la librería HBS-00254730-B

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Descripción University of Pennsylvania Press, 2001. HRD. Estado de conservación: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Nº de ref. de la librería CA-9780812236392

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Descripción University of Pennsylvania Press, United States, 2001. Hardback. Estado de conservación: New. New.. 244 x 164 mm. Language: English . Brand New Book. If the whole world acted the player, how did the player act the world? In Character s Theater, Lisa A. Freeman uses this question to test recent critical discussion of eighteenth-century literature and culture. Much current work, she observes, focuses on the concept of theatricality as both the governing metaphor of social life and a primary filter of psychic perception. Hume s theater of the mind, Adam Smith s impartial spectator, and Diderot s tableaux are all invoked by theorists to describe a process whereby the private individual comes to internalize theatrical logic and apprehend the self as other. To them theatricality is a critical mechanism of modern subjectivity but one that needs to be concealed if the subject s stability is to be maintained. Finding that much of this discussion about the Age of the Spectator has been conducted without reference to the play texts or actual theatrical practice, Freeman turns to drama and discovers a dynamic model of identity based on eighteenth-century conceptualizations of character.In contrast to the novel, which cultivated psychological tensions between private interiority and public show, dramatic characters in the eighteenth century experienced no private thoughts. The theater of the eighteenth century was not a theater of absorption but rather a theater of interaction, where what was monitored was not the depth of character, as in the novel, but the arc of a genre over the course of a series of discontinuous acts. In a genre-by-genre analysis of plays about plays, tragedy, comedies of manners, humours, and intrigue, and sentimental comedy, Freeman offers an interpretive account of eighteenth-century drama and its cultural work and demonstrates that by deploying an alternative model of identity, theater marked a site of resistance to the rise of the subject and to the ideological conformity enforced through that identity formation. Nº de ref. de la librería AAJ9780812236392

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Descripción University of Pennsylvania Press 2001-10-25, Philadelphia, 2001. hardback. Estado de conservación: New. Nº de ref. de la librería 9780812236392

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Descripción University of Pennsylvania Press, United States, 2001. Hardback. Estado de conservación: New. New.. 244 x 164 mm. Language: English . Brand New Book. If the whole world acted the player, how did the player act the world? In Character s Theater, Lisa A. Freeman uses this question to test recent critical discussion of eighteenth-century literature and culture. Much current work, she observes, focuses on the concept of theatricality as both the governing metaphor of social life and a primary filter of psychic perception. Hume s theater of the mind, Adam Smith s impartial spectator, and Diderot s tableaux are all invoked by theorists to describe a process whereby the private individual comes to internalize theatrical logic and apprehend the self as other. To them theatricality is a critical mechanism of modern subjectivity but one that needs to be concealed if the subject s stability is to be maintained. Finding that much of this discussion about the Age of the Spectator has been conducted without reference to the play texts or actual theatrical practice, Freeman turns to drama and discovers a dynamic model of identity based on eighteenth-century conceptualizations of character.In contrast to the novel, which cultivated psychological tensions between private interiority and public show, dramatic characters in the eighteenth century experienced no private thoughts. The theater of the eighteenth century was not a theater of absorption but rather a theater of interaction, where what was monitored was not the depth of character, as in the novel, but the arc of a genre over the course of a series of discontinuous acts. In a genre-by-genre analysis of plays about plays, tragedy, comedies of manners, humours, and intrigue, and sentimental comedy, Freeman offers an interpretive account of eighteenth-century drama and its cultural work and demonstrates that by deploying an alternative model of identity, theater marked a site of resistance to the rise of the subject and to the ideological conformity enforced through that identity formation. Nº de ref. de la librería AAJ9780812236392

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Descripción Estado de conservación: New. Depending on your location, this item may ship from the US or UK. Nº de ref. de la librería 97808122363920000000

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Descripción University of Pennsylvania Press, 2001. HRD. Estado de conservación: New. New Book. Delivered from our US warehouse in 10 to 14 business days. THIS BOOK IS PRINTED ON DEMAND.Established seller since 2000. Nº de ref. de la librería IP-9780812236392

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Descripción University of Pennsylvania Press, 2001. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX0812236394

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Descripción University of Pennsylvania Press. Hardcover. Estado de conservación: New. Hardcover. 312 pages. Dimensions: 9.6in. x 6.5in. x 1.1in.If the whole world acted the player, how did the player act the world In Characters Theater, Lisa A. Freeman uses this question to test recent critical discussion of eighteenth-century literature and culture. Much current work, she observes, focuses on the concept of theatricality as both the governing metaphor of social life and a primary filter of psychic perception. Humes theater of the mind, Adam Smiths impartial spectator, and Diderots tableaux are all invoked by theorists to describe a process whereby the private individual comes to internalize theatrical logic and apprehend the self as other. To them theatricality is a critical mechanism of modern subjectivity but one that needs to be concealed if the subjects stability is to be maintained. Finding that much of this discussion about the Age of the Spectator has been conducted without reference to the play texts or actual theatrical practice, Freeman turns to drama and discovers a dynamic model of identity based on eighteenth-century conceptualizations of character. In contrast to the novel, which cultivated psychological tensions between private interiority and public show, dramatic characters in the eighteenth century experienced no private thoughts. The theater of the eighteenth century was not a theater of absorption but rather a theater of interaction, where what was monitored was not the depth of character, as in the novel, but the arc of a genre over the course of a series of discontinuous acts. In a genre-by-genre analysis of plays about plays, tragedy, comedies of manners, humours, and intrigue, and sentimental comedy, Freeman offers an interpretive account of eighteenth-century drama and its cultural work and demonstrates that by deploying an alternative model of identity, theater marked a site of resistance to the rise of the subject and to the ideological conformity enforced through that identity formation. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Nº de ref. de la librería 9780812236392

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