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William Godwin is one of the most important figures of the Romantic period. He wrote four plays at the end of the 18th/beginning of the 19th centuries. This book has two main objectives: to provide the first comprehensive discussion of these four plays, and to consider the notion of theatricality in relation to Godwin’s political project.
Best known for "Enquiry Concerning Political Justice" (1793) and "Caleb Williams" (1794), William Godwin (1756-1836) is one of the most important figures of the Romantic period. This book offers academics the chance to build a complete picture of Godwin as a writer and political figure.
The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 -- a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms -- not just tragedy and comedy, but the likes of melodrama and pantomime -- as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, the Handbook shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.
"The Novel Stage: Narrative Form from the Restoration to Jane Austen traces the novel's relation to the theater over the course of the long eighteenth century, arguing that the familiar account of the novel as 'new' and distinct from other literary genres risks distorting a true reckoning of the form by failing to engage with the borrowings and departures from other more familiar genres, particularly drama. The Novel Stage traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel. These genres were shared across print and performance, media that were not construed as opposites in a world in which individual silent reading took place beside playgoing, play-reading, amateur theatricals, and sociable reading aloud. The book thus expands an overly narrow conception of the novel as the genre of realism or domesticity whose highest achievement is its representation of characters' mental lives by describing the influence of the stage and its genres. Beginning in the later 1600s with Aphra Behn, The Novel Stage concludes with a chapter on some novelists of the Romantic period and a coda about Victorian novels. The Novel Stage's account of the novel provides an enriched, because more specific, sense of its formal accomplishments that drew on this ensemble of cultural forms and turns that lens back onto drama"--Provided by publisher.
Vols. for 1921-1969 include annual bibliography, called 1921-1955, American bibliography; 1956-1963, Annual bibliography; 1964-1968, MLA international bibliography.
William Godwin’s Mandeville was described as his best novel by Percy Shelley, who sent a copy to Lord Byron, and it was immediately recognized by its other admirers as a work of unique power. Written one year after the battle of Waterloo and set in an earlier revolutionary period between the execution of Charles I and the Restoration, Mandeville is a novel of psychological warfare. The narrative begins with Mandeville’s rescue from the traumatic aftermath of the Ulster Rebellion of 1641 and proceeds through his early education by a fanatical Presbyterian minister to his persecution at Winchester school, his constant (and not unjustified) paranoia, and his confinement in an asylum. Mandeville’s final, desperate attempt to prevent his sister’s marriage to his enemy ends with his disfiguration, which also defaces endings based on settlement or reconciliation. The novel’s events have many resonances with Godwin’s own period. The historical appendices offer contemporary reviews, including Shelley’s letter to Godwin praising Mandeville, material explaining the novel’s complex historical background, and contemporary writings on war, madness, and trauma.
A far-reaching analysis of censorship's profound impact on Georgian theatrical culture and its development across the long eighteenth century, showcasing how the analysis of plays can be helpful for historical research.