Mansfield Park makes great use of Kotzebue’s Das Kind der Liebe, refashioned by Inchbald into the... more Mansfield Park makes great use of Kotzebue’s Das Kind der Liebe, refashioned by Inchbald into the phenomenally popular Lovers’ Vows. The book’s especially intriguing second section helps to enrich what we know of Romantic theater’s relationship to the visual art, music, and dance of the time, thereby inviting us to see some ways in which Romantic drama—too often misperceived as insular and static—figured into the era’s vibrant cultural life. For example, co-editor Fabio Liberto studies images of Shakespearean performers—some earlier, like David Garrick and Mrs. Pritchard, others later, like Sarah Siddons—as rendered by artists such as J. J. Zoffany, James Heath, and Henry Fuseli. With particular attention to paintings of Siddons and John Philip Kemble, Claudia Corti’s “Poses and Pauses: The Theatrical Portrait in English Romanticism” looks at the playhouse and the art gallery together to explain why enthusiasts “attended as many art exhibition previews as possible and visited artist...
This thesis explores Romantic authors’ representations of books and bookishness. It argues that b... more This thesis explores Romantic authors’ representations of books and bookishness. It argues that bibliocentric writing from the early nineteenth century addressed anxieties associated with the profession of authorship in a rapidly changing landscape of publication, print culture, and technology. However, the contested and heterogeneous nature of Romantic cultural production meant that the book was inevitably an unstable object through which to construct authorial identity. Examining the work of Thomas Frognall Dibdin, Leigh Hunt, Samuel Taylor Coleridge, Charles Lamb, Thomas De Quincey, Walter Scott and James Hogg, I chart the representation of bibliophilia across a range of genres, literary coteries, and social backgrounds. These writers, though in some respects disparate, can all be termed ‘bookish authors’: scholarly (or antiquarian), male, and, above all, concerned with the cultural significance of the book-as-object. Their writing is preoccupied with the ways in which books are ...
Mansfield Park makes great use of Kotzebue’s Das Kind der Liebe, refashioned by Inchbald into the... more Mansfield Park makes great use of Kotzebue’s Das Kind der Liebe, refashioned by Inchbald into the phenomenally popular Lovers’ Vows. The book’s especially intriguing second section helps to enrich what we know of Romantic theater’s relationship to the visual art, music, and dance of the time, thereby inviting us to see some ways in which Romantic drama—too often misperceived as insular and static—figured into the era’s vibrant cultural life. For example, co-editor Fabio Liberto studies images of Shakespearean performers—some earlier, like David Garrick and Mrs. Pritchard, others later, like Sarah Siddons—as rendered by artists such as J. J. Zoffany, James Heath, and Henry Fuseli. With particular attention to paintings of Siddons and John Philip Kemble, Claudia Corti’s “Poses and Pauses: The Theatrical Portrait in English Romanticism” looks at the playhouse and the art gallery together to explain why enthusiasts “attended as many art exhibition previews as possible and visited artist...
This thesis explores Romantic authors’ representations of books and bookishness. It argues that b... more This thesis explores Romantic authors’ representations of books and bookishness. It argues that bibliocentric writing from the early nineteenth century addressed anxieties associated with the profession of authorship in a rapidly changing landscape of publication, print culture, and technology. However, the contested and heterogeneous nature of Romantic cultural production meant that the book was inevitably an unstable object through which to construct authorial identity. Examining the work of Thomas Frognall Dibdin, Leigh Hunt, Samuel Taylor Coleridge, Charles Lamb, Thomas De Quincey, Walter Scott and James Hogg, I chart the representation of bibliophilia across a range of genres, literary coteries, and social backgrounds. These writers, though in some respects disparate, can all be termed ‘bookish authors’: scholarly (or antiquarian), male, and, above all, concerned with the cultural significance of the book-as-object. Their writing is preoccupied with the ways in which books are ...
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