Description

Book Synopsis
Argues that Restoration playwrights recognized and exploited the tension between print and performance inherent to all drama. By repeatedly and systematically manipulating this tension, these authors’ works sought to court the reader while at the same time also challenging emergent concepts of ‘literature’.

Table of Contents
  • Introduction
  • 1. Of Heirs and "Bold Purloiner[s]": Shadwell's Alternative Models of Literary Inheritance in The Lancashire Withces and The Squire of Alsatia
  • 2. "Can my Imagination feel?": Reading, Theatricality, and the Mind-Body Problem in Aphra Behn's The Lucky Chance and The Emperor of the Moon
  • 3. Textual Timelessness, Performative Time: Posterity in Congreve's Love for Love and The Way of the World
  • 4. "Take this sad Ballad, which I bought at Fair": Pastoral Performance and Print Capitalism in John Gay's The What D'Ye Call It and The Beggar's Opera
  • Conclusion

Restoration Drama and the Idea of Literature

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    A Paperback / softback by Katherine Mannheimer

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      Publisher: University of Virginia Press
      Publication Date: 31/12/2023
      ISBN13: 9780813950433, 978-0813950433
      ISBN10: 0813950430
      Also in:
      ELT & Literary Studies Literary studies: c 1600 to c 1800 Not Just Books Stationery

      Description

      Book Synopsis
      Argues that Restoration playwrights recognized and exploited the tension between print and performance inherent to all drama. By repeatedly and systematically manipulating this tension, these authors’ works sought to court the reader while at the same time also challenging emergent concepts of ‘literature’.

      Table of Contents
      • Introduction
      • 1. Of Heirs and "Bold Purloiner[s]": Shadwell's Alternative Models of Literary Inheritance in The Lancashire Withces and The Squire of Alsatia
      • 2. "Can my Imagination feel?": Reading, Theatricality, and the Mind-Body Problem in Aphra Behn's The Lucky Chance and The Emperor of the Moon
      • 3. Textual Timelessness, Performative Time: Posterity in Congreve's Love for Love and The Way of the World
      • 4. "Take this sad Ballad, which I bought at Fair": Pastoral Performance and Print Capitalism in John Gay's The What D'Ye Call It and The Beggar's Opera
      • Conclusion

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