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008 240426t20191997nyu fo d z eng d
020 _a9781501737428
_qPDF
024 7 _a10.7591/9781501737428
_2doi
035 _a(DE-B1597)9781501737428
035 _a(DE-B1597)534572
035 _a(OCoLC)1178769709
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aLIT004180
_2bisacsh
082 0 4 _a821.6099287
_qOCoLC
_221/eng/20230216
084 _aonline - DeGruyter
100 1 _aPascoe, Judith
_eautore
245 1 0 _aRomantic Theatricality :
_bGender, Poetry, and Spectatorship /
_cJudith Pascoe.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2019]
264 4 _c©1997
300 _a1 online resource (272 p.) :
_b23 halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tIllustrations --
_tAcknowledgments --
_tAbbreviations --
_tIntroduction --
_t1. Sarah Siddons and the Performative Female --
_t2. The Courtroom Theater of the 1794 Treason Trials --
_t3. “That fluttering, tinselled crew”: Women Poets and Della Cruscanism --
_t4. Embodying Marie Antoinette: The Theatricalized Female Subject --
_t5. The Spectacular Flaneuse: Women Writers and the City --
_t6. Theatricality and the Literary Marketplace: Poetry Publication in the Morning Post --
_t7. Performing Wordsworth --
_tCoda. Letitia Landon and the Deathly Pose --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aIn a significant reinterpretation of early Romanticism, Judith Pascoe shows how English literary culture in the 1790s came to be shaped by the theater and by the public's fascination with theater. Pascoe focuses on a number of intriguing historical occurrences of the late eighteenth and early nineteenth centuries, emphasizing how writers in all areas of public life relied upon theatrical modes of self-representation. Pascoe adduces as evidence the theatrical posturing of the Della Cruscan poets, the staginess of the Marie Antoinette depicted in women's poetry, and the histrionic maneuverings of participants in the 1794 treason trials. Such public events as the treason trials also linked the newly powerful role of female theatrical spectator to that of political spectator. New forms of self representation and dramatization arose from that synthesis.In their uniting of theatrical and literary realms, Pascoe maintains, women writers were inspired by the most famous actress of the era, Sarah Siddons. Siddons's shrewd deployment of her private life in the construction of her public persona serves as a model for such disparate poets as Charlotte Smith and Mary Robinson.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)
650 4 _aGender Studies.
650 4 _aLiterary Studies.
650 4 _aPerforming Arts & Drama.
650 7 _aLITERARY CRITICISM / Gothic & Romance.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9781501737428
856 4 0 _uhttps://www.degruyter.com/isbn/9781501737428
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501737428/original
942 _cEB
999 _c222982
_d222982