The first study of the depictions of the Ancient World on the Victorian and Edwardian stage, this book analyzes plays set in and dramatising the histories of Greece, Rome, Egypt, Babylon and the Holy Land. In doing so, it seeks to locate theatre within the wider culture, tracing its links and interaction with other cultural forms.
This edited collection considers representations of ancient Egypt in the literature of the nineteenth-century. It addresses themes such as reanimated mummies, ancient Egyptian mythology and contemporary consumer culture across literary modes ranging from burlesque satire to historical novels, stage performances to Gothic fiction and popular culture to the highbrow. The book illuminates unknown sources of historical significance – including the first illustration of an ambulatory mummy – revising current understandings of the works of canonical writers and grounding its analysis firmly in a contemporary context. The contributors demonstrate the extensive range of cultural interest in ancient Egypt that flourished during Victoria’s reign. At the same time, they use ancient Egypt to interrogate ‘selfhood’ and ‘otherness’, notions of race, imperialism, religion, gender and sexuality.
Featuring contributions by new and established nineteenth-century theatre scholars, this collection of critical essays is the first of its kind devoted solely to Victorian pantomime. It takes us through the various manifestations of British pantomime in the Victorian period and its ambivalent relationship with Victorian values.
British theatre has a greater tradition than any other, having started all the way back in 1311 and still going strong today. But that is too much for one book to cover, so this volume deals with early theatre and has a cut-off date in 1899. Still, this is almost six centuries, centuries during which British theatre not only developed but produced some of the greatest playwrights of all time and anywhere, including obviously Shakespeare but also Marlowe and Shaw. And they wrote some of the finest plays ever, which are known around the world. So there is plenty for this book to cover, just with the playwrights, plays and actors, but it also has information on stagecraft and theatres, as well as the historical and political background. This book has over 1,183 entries in the dictionary section, these being mainly on playwrights and plays, but others as well including managers and critics, and also on specific theatres, legislative acts and some technical jargon. Then there are entries on the different genres, from comedy to tragedy and everything in between. Inevitably, the chronology is quite long as it has a long period to cover and the introduction provides the necessary overview. The Historical Dictionary of Early British Theatre concludes with a pretty massive bibliography. That will be of use to particularly assiduous researchers, but this book itself is a good place to start any research since it covers periods that are far less well-known and documented, and ordinary theatre-goers will also find useful information.
The first systematic attempt to focus on the instrumental role of silent cinema in early twentieth-century conceptualizations of the ancient Mediterranean and Middle East. It is located at the intersection of film studies, classics, Bible studies and cultural studies.
This book recounts the fascinating lives of thirty real women of the ancient Mediterranean from the Palaeolithic to the Byzantines. Accessible, engagingly written and up-to-date in its scholarship, it will be key reading for students and researchers in Ancient History, Archaeology and Mediterranean Studies, as well as in Women's History.
Playful, popular visions of ruined cities demonstrate antiquity's starring role in nineteenth-century culture, developing new models for understanding classical reception.
British theatre from 1900 to 1950 has been subject to radical re-evaluation with plays from the period setting theatres alight and gaining critical acclaim once again; this book explains why, presenting a comprehensive survey of the theatre and how it shaped the work that followed. Rebecca D'Monte examines how the emphasis upon the working class, 'angry' drama from the 1950s has led to the neglect of much of the century's earlier drama, positioning the book as part of the current debate about the relationship between war and culture, the middlebrow, and historiography. In a comprehensive survey of the period, the book considers: - the Edwardian theatre; - the theatre of the First World War, including propaganda and musicals; -the interwar years, the rise of commercial theatre and influence of Modernism; - the theatre of the Second World War and post-war period. Essays from leading scholars Penny Farfan, Steve Nicholson and Claire Cochrane give further critical perspectives on the period's theatre and demonstrate its relevance to the drama of today. For anyone studying 20th-century British Drama this will prove one of the foundational texts.
Understanding the Victorians paints a vivid portrait of an era of dramatic change, combining broad survey with close analysis and introducing students to the critical debates on the nineteenth century taking place among historians today. The volume encompasses all of Great Britain and Ireland over the whole of the Victorian period and gives prominence to social and cultural topics alongside politics and economics and emphasizes class, gender, and racial and imperial positioning as constitutive of human relations. This third edition is fully updated with new chapters on emotion and on Britain’s relationship with Europe as well as added discussions of architecture, technology, and the visual arts. Attention to the current concerns and priorities of professional historians also enables readers to engage with today’s historical debates. Starting with the Queen Caroline Affair in 1820 and coming up to the start of World War I in 1914, thematic chapters explore the topics of space, politics, Europe, the empire, the economy, consumption, class, leisure, gender, the monarchy, the law, arts and entertainment, sexuality, religion, and science. With a clear introduction outlining the key themes of the period, a detailed timeline, and suggestions for further reading and relevant internet resources, this is the ideal companion for all students of the nineteenth century. Discover more from Susie by exploring our forthcoming Routledge Historical resource on British Society, edited by Susie L. Steinbach and Martin Hewitt. Find out more about our Routledge Historical resources by visiting https://www.routledgehistoricalresources.com.
Focusing on British women writers' knowledge of ancient Egypt, Youngkin shows the oftentimes limited but pervasive representations of ancient Egyptian women in their written and visual works. Images of Hathor, Isis, and Cleopatra influenced how British writers such as George Eliot and Edith Cooper came to represent female emancipation.
