Character's Theater: Genre and Identity on the Eighteenth-Century English Stage

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9780812236392: Character's Theater: Genre and Identity on the Eighteenth-Century English Stage

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.

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Descrizione libro University of Pennsylvania Press 2001-10-25, Pennsylvania, 2001. hardback. Condizione libro: New. Codice libro della libreria 9780812236392

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Descrizione libro 2001. Hardcover. Condizione libro: New. 164mm x 28mm x 244mm. Hardcover. 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 eig.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 312 pages. 0.676. Codice libro della libreria 9780812236392

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Descrizione libro University of Pennsylvania Press, 2001. Hardcover. Condizione libro: New. Codice libro della libreria DADAX0812236394

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Descrizione libro University of Pennsylvania Press. Hardcover. Condizione libro: 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. Codice libro della libreria 9780812236392

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Descrizione libro University of Pennsylvania Press, United States, 2001. Hardback. Condizione libro: New. New.. 244 x 164 mm. Language: English . Brand New Book ***** Print on Demand *****.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. Codice libro della libreria APC9780812236392

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Lisa A. Freeman
Editore: University of Pennsylvania Press, United States (2001)
ISBN 10: 0812236394 ISBN 13: 9780812236392
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Descrizione libro University of Pennsylvania Press, United States, 2001. Hardback. Condizione libro: New. New.. 244 x 164 mm. Language: English . Brand New Book ***** Print on Demand *****. 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. Codice libro della libreria APC9780812236392

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