Perhaps the most significant development of the Georgian theater was its multiplication of ethnic, colonial, and provincial character types parading across the stage. In Theatrical Nation, Michael Ragussis opens up an archive of neglected plays and performances to examine how this flood of domestic and colonial others showcased England in general and London in particular as the center of an increasingly complex and culturally mixed nation and empire, and in this way illuminated the shifting identity of a newly configured Great Britain. In asking what kinds of ideological work these ethnic figures performed and what forms were invented to accomplish this work, Ragussis concentrates on the most popular of the "outlandish Englishmen," the stage Jew, Scot, and Irishman. Theatrical Nation understands these stage figures in the context of the government's controversial attempts to merge different ethnic and national groups through the 1707 Act of Union with Scotland, the Jewish Naturalization Bill of 1753, and the Act of Union with Ireland of 1800. Exploring the significant theatrical innovations that illuminate the central anxieties shared by playhouse and nation, Ragussis considers how ethnic identity was theatricalized, even as it moved from stage to print. By the early nineteenth century, Anglo-Irish and Scottish novelists attempted to deconstruct the theater's ethnic stereotypes while reimagining the theatricality of interactions between English and ethnic characters. An important shift took place as the novel's cross-ethnic love plot replaced the stage's caricatured male stereotypes with the beautiful ethnic heroine pursued by an English hero.
A scholarly and imaginative reconstruction of the voyage Daniel Defoe took from the pillory to literary immortality, The Shortest Way with Defoe contends that Robinson Crusoe contains a secret satire, written against one person, that has gone undetected for 300 years. By locating Defoe's nemesis and discovering what he represented and how Defoe fought him, Michael Prince's book opens the way to a new account of Defoe's emergence as a novelist. The book begins with Defoe’s conviction for seditious libel for penning a pamphlet called The Shortest Way with the Dissenters (1702). A question of biography segues into questions of theology and intellectual history and of formal analysis; these questions in turn require close attention to the early reception of Defoe's works, especially by those who hated or suspected him. Prince aims to recover the way of reading Defoe that his enemies considered accurate. Thus, the book rethinks the positions represented in Defoe's ambiguous alternation and mimicking of narrative and editorial voices in his tracts, proto-novels, and novels. By examining Defoe's early publications alongside Robinson Crusoe, Prince shows that Defoe traveled through nonrealist, nonhistorical genres on the way to discovering the form of prose fiction we now call the novel. Moreover, a climate (or figure) of extreme religious intolerance and political persecution required Defoe always to seek refuge in literary disguise. And, religious convictions aside, Defoe's practice as a writer found him inhabiting forms known for their covert deism.
Major Motion Picture Adaptation Coming Soon The internationally acclaimed actress Patricia Neal (1926–2010) was a star on stage, film, and television for more than sixty years. On Broadway she appeared in such lauded productions as Lillian Hellman's Another Part of the Forest, winning the first Tony award. In Hollywood she starred opposite the likes of John Wayne, Paul Newman, John Garfield, and Gary Cooper in some thirty films. She is perhaps best known for her portrayal of Alma Brown in Hud, which earned her the 1963 Academy Award for Best Actress. But there was much more to Neal's life. She was born in Packard, Kentucky, though she spent most of her childhood in Knoxville, Tennessee. For a time, Neal became romantically involved with Gary Cooper, her married costar in The Fountainhead. In 1953, Neal wed famed children's author Roald Dahl, a match that would bring her five children and thirty years of dramatic ups and downs. At the pinnacle of her screen career, Neal suffered a series of strokes which left her in a coma for twenty-one days, and Variety even ran a headline erroneously stating that she had died. After a difficult recovery, Neal returned to film acting, earning a second Academy Award nomination for The Subject Was Roses (1968). She appeared in several television movie roles in the 1970s and 1980s and won a Golden Globe for Best Actress in a Dramatic TV Movie in 1971 for The Homecoming. Adapted as a major motion picture (filmed as An Unquiet Life) starring Hugh Bonneville, Keeley Hawes, and Sam Heughan, Patricia Neal: An Unquiet Life is the first critical biography detailing the actress's impressive film career and remarkable personal life. Author Stephen Michael Shearer conducted numerous interviews with Neal, her professional colleagues, and her intimate friends and was given access to the actress's personal papers. The result is an honest and comprehensive portrait of an accomplished woman who lived her life with determination and bravado.
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