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Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 2,0, Johannes Gutenberg University Mainz (Institut für Anglistik), course: Seminar, language: English, abstract: This paper shall analyse Richard Brinsley Sheridan`s play “The School for Scandal”. This drama was first performed in 1776 in London’s Drury Lane Theatre, and was a cultural part of the colonization process in India. The aim of the first chapter is to provide some background information about Sheridan and his time, and also serves to explain the role which the concept of the sentimental comedy played during the time it was first performed in London. The main focus here, however, is to explore the differences as well as the comparable elements with other comedy genres. The second chapter deals with the production of “The School for Scandal” which was first performed in Calcutta in 1777. Here it seem appropriate to analise the motives behind the exportation of British culture into the colony and to find out more about the commercial as well as the cultural aspects. An important source of information in reference to this production is the Folger manuscript; a handwritten copy of the play complete with stage directions, which had been used at the New Playhouse in Calcutta. It is necessary to mention here that this Folger manuscript “recovered” by Mita Choudhury, whose essay about the production of “The School for Scandal” is the main source for the second part of this paper. The aim of this chapter however, is not to summarise her work, but rather to approach her argumentation critically. The last part of the paper deals with the question whether or not there is a connection between the play and the process of colonialism in Calcutta in terms of the production itself and its content. It also examines the part which colonialism plays within the drama, with regards to its moral and financial aspects.
Why did Britons get up a play wherever they went? Kathleen Wilson reveals how the performance of English theater and a theatricalized way of viewing the world shaped the geopolitics and culture of empire in the long eighteenth century. Ranging across the Atlantic, Indian and Pacific Oceans to encompass Kingston, Calcutta, Fort Marlborough, St. Helena and Port Jackson as well as London and provincial towns, she shows how Britons on the move transformed peripheries into historical stages where alternative collectivities were enacted, imagined and lived. Men and women of various ethnicities, classes and legal statuses produced and performed English theater in the world, helping to consolidate a national and imperial culture. The theater of empire also enabled non-British people to adapt or interpret English cultural traditions through their own performances, as Englishness also became a production of non-English peoples across the globe.
Colonization, slavery, traffic in women, and connoisseurship seem to have particularly captured the imaginations of circumatlantic writers of the later eighteenth century. In this book, Nandini Bhattacharya examines the works of such writers as Richard Brinsley Sheridan, George Colman Jr., James Cobb and Phillis Wheatley, who redefined ideas about Value and Taste. Writers re-presented the ethical debate on Value and trade through aesthetic metaphors and discourse, thus disguising the distasteful nature of the ownership and exchange of human beings and mitigating the guilt associated with that traffic. Bhattacharya explores the circumatlantic redefinition of Taste and Value as cultural and moral concepts in gender and racial discourses in slave-owning, colonizing, and connoisseurial Britain, and demonstrates how Value and aesthetics were redefined in late eighteenth-century circumatlantic discourses with particular focus on the language of slavery, trade and connoisseurship. She also delineates the workings of transnational consciousness and experience of race, class, gender, slavery, colonialism and connoisseurship in the late eighteenth-century circumatlantic rim. Throughout the study, Bhattacharya rereads late eighteenth-century British literature as a stage for the articulation of theories of difference and domination.
'A landmark in the process of decolonizing imperial Western knowledge.' Walter Mignolo, Duke University To the colonized, the term 'research' is conflated with European colonialism; the ways in which academic research has been implicated in the throes of imperialism remains a painful memory. This essential volume explores intersections of imperialism and research - specifically, the ways in which imperialism is embedded in disciplines of knowledge and tradition as 'regimes of truth.' Concepts such as 'discovery' and 'claiming' are discussed and an argument presented that the decolonization of research methods will help to reclaim control over indigenous ways of knowing and being. Now in its eagerly awaited second edition, this bestselling book has been substantially revised, with new case-studies and examples and important additions on new indigenous literature, the role of research in indigenous struggles for social justice, which brings this essential volume urgently up-to-date.
This book on Richard Brinsley Sheridan (1751-1816) demonstrates how he occupies a significant and unique place in the theatrical and political life of Great Britain. Both leading Whig politician and the most dominant figure in the British theatre in the late 18th century, his reputation was based on The Rivals (1775) and The School for Scandal (1777). Theatre historians tend to view these works as manners comedies which are long on style but appropriately short on substance. This book argues that Sheridan's dramaturgy offers snapshots of the state of negotiations between the classes over British identity.
Winner of the Pulitzer Prize and a documentary from Ken Burns on PBS, this New York Times bestseller is “an extraordinary achievement” (The New Yorker)—a magnificent, profoundly humane “biography” of cancer—from its first documented appearances thousands of years ago through the epic battles in the twentieth century to cure, control, and conquer it to a radical new understanding of its essence. Physician, researcher, and award-winning science writer, Siddhartha Mukherjee examines cancer with a cellular biologist’s precision, a historian’s perspective, and a biographer’s passion. The result is an astonishingly lucid and eloquent chronicle of a disease humans have lived with—and perished from—for more than five thousand years. The story of cancer is a story of human ingenuity, resilience, and perseverance, but also of hubris, paternalism, and misperception. Mukherjee recounts centuries of discoveries, setbacks, victories, and deaths, told through the eyes of his predecessors and peers, training their wits against an infinitely resourceful adversary that, just three decades ago, was thought to be easily vanquished in an all-out “war against cancer.” The book reads like a literary thriller with cancer as the protagonist. Riveting, urgent, and surprising, The Emperor of All Maladies provides a fascinating glimpse into the future of cancer treatments. It is an illuminating book that provides hope and clarity to those seeking to demystify cancer.