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Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the popular British stage from 1750 to 1840. It argues that this illegitimate stage was the site for a plebeian Enlightenment.
Under the 1737 Licensing Act, Covent Garden, Dury Lane and regional Theatres Royal held a monopoly on the dramatic canon. This work explores the presentation of foreign cultures and ethnicities on the popular British stage from 1750 to 1840. It argues that this illegitimate stage was the site for a plebeian Enlightenment.
"A romp-filled and refreshingly diverse historical romance."—Buzzfeed Paris, 1889 The Exposition Universelle is underway, drawing merchants from every corner of the globe…including Luz Alana Heith-Benzan, heiress to the Caña Brava rum empire. Luz Alana set sail from Santo Domingo armed with three hundred casks of rum, her two best friends and one simple rule: under no circumstances is she to fall in love. In the City of Lights, she intends to expand the rum business her family built over three generations, but buyers and shippers alike can’t imagine doing business with a woman…never mind a woman of color. This, paired with being denied access to her inheritance unless she marries, leaves the heiress in a very precarious position. Enter James Evanston Sinclair, Earl of Darnick, who has spent a decade looking for purpose outside of his father’s dirty money and dirtier dealings. Ignoring his title, he’s built a whisky brand that’s his biggest—and only—passion. That is, until he’s confronted with a Spanish-speaking force of nature who turns his life upside down. From their first tempestuous meeting, Luz Alana is conflicted. Why is this titled—and infuriatingly charming—Scottish man so determined to help her? For Evan, every day with Luz Alana makes him yearn for more than her ardent kisses or the marriage of convenience that might save them both. But Luz Alana sailed for Paris prepared to build her business and her future; what she wasn’t prepared for was love finding her. "Herrera excels at propelling the romance genre and its form forward, and this book is no exception... Herrera is crafting swoony historical romances that aren't afraid to engage with the realities of the 19th-century while still making a bid for hard-earned happily-ever-afters."—Entertainment Weekly Can't get enough of the Las Leonas? Book 1: A Caribbean Heiress in Paris Book 2: An Island Princess Starts a Scandal Book 3: A Tropical Rebel Gets the Duke
Compiles 70 of the key terms most frequently used or discussed by authors of the Romantic period – and most often deliberated by critics and literary historians of the era. Offers an indispensable resource for understanding the ideas and differing interpretations that shaped the Romantic period Includes keywords spanning Abolition and Allegory, through Madness and Monsters, to Vision and Vampires Features in-depth descriptions of each entry's direct meaning and connotations in relation to its usage and thought in literary culture Provides deep insights into the political, social, and cultural climate of one of the most expressive periods of Western literary history Draws on the author’s extensive experience of teaching, lecturing, and writing on Romantic literature
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.
The Oxford Handbook of the Georgian Theatre 1737-1832 provides a comprehensive guide to theatre of the Georgian era across the range of dramatic forms.