國立高雄大學圖資館 |

Language: English

Back

Maudlin Whigs :Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Maudlin Whigs :
Reminder of title:	Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson).
Author:	Wilson, Brett Daniel.
Description:	285 p.
Notes:	Adviser: Toni Bowers.
Notes:	Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 2099.
Contained By:	Dissertation Abstracts International64-06A.
Subject:	Literature, English.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3095961
ISBN:	0496435868

Maudlin Whigs :Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson).
Wilson, Brett Daniel.

Maudlin Whigs :Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson). [electronic resource] - 285 p.

Adviser: Toni Bowers.

Thesis (Ph.D.)--University of Pennsylvania, 2003.

In the years following the Glorious Revolution of 1688, the stage became instrumental in the propagation of Whig and Tory viewpoints. Playwrights and playgoers alike found in the theater an arena for political expression and partisan argumentation. While critics have explored the connections between Toryism and the era's ribald comedies, they have largely ignored the other dramatic forms that thrived during these years of "party-rage." "Maudlin Whigs" thus takes up the enormously popular dramas of Nicholas Rowe, Joseph Addison, Richard Steele, and James Thomson as a way of addressing such omissions: these plays make clear the interdependence of Whig party politics and literary sentimentalism in early eighteenth-century Britain. Repeatedly staging acts of victimization and sympathy, the Whig stage articulated a new patriotism, a new civic virtue, and a new Britishness. It is on this new British stage, I argue, that we find "Revolution Principles" like rightful resistance, consent, toleration, and liberty acquiring their familiar sentimental aspects. Perceiving in their opponents a "wicked knot" of lascivious manners, crypto-Catholicism, and a penchant for arbitrary rule, Whig writers popularized a competing vision of political power and civil society. Aiming, in Colley Cibber's words, to "animate the Publick," Whig sentimental comedies and pathetic tragedies militated against libertine hedonism and emphasized sociable understanding as the structuring bond of a sentimental polity. These dramas, and in particular the representations of gender and sociability that anchor them, supply an unacknowledged prehistory for the moral philosophy and cultural fashion of sentimentalism, usually said to emerge later in the century.

ISBN: 0496435868Subjects--Topical Terms:

212435
Literature, English.

Maudlin Whigs :Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson).
LDR:02763nmm _2200253 _450 001 162053
005 20051017073405.5
008 230606s2003 eng d
020 $a 0496435868
035 $a 00148554
035 $a 162053
040 $a UnM $c UnM
100 0 $a Wilson, Brett Daniel. $3 227159
245 1 0 $a Maudlin Whigs : $b Gender, feeling, and party on the British stage, 1688--1746 (Nicholas Rowe, Joseph Addison, Richard Steele, James Thomson). $h [electronic resource]
300 $a 285 p.
500 $a Adviser: Toni Bowers.
500 $a Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 2099.
502 $a Thesis (Ph.D.)--University of Pennsylvania, 2003.
520 # $a In the years following the Glorious Revolution of 1688, the stage became instrumental in the propagation of Whig and Tory viewpoints. Playwrights and playgoers alike found in the theater an arena for political expression and partisan argumentation. While critics have explored the connections between Toryism and the era's ribald comedies, they have largely ignored the other dramatic forms that thrived during these years of "party-rage." "Maudlin Whigs" thus takes up the enormously popular dramas of Nicholas Rowe, Joseph Addison, Richard Steele, and James Thomson as a way of addressing such omissions: these plays make clear the interdependence of Whig party politics and literary sentimentalism in early eighteenth-century Britain. Repeatedly staging acts of victimization and sympathy, the Whig stage articulated a new patriotism, a new civic virtue, and a new Britishness. It is on this new British stage, I argue, that we find "Revolution Principles" like rightful resistance, consent, toleration, and liberty acquiring their familiar sentimental aspects. Perceiving in their opponents a "wicked knot" of lascivious manners, crypto-Catholicism, and a penchant for arbitrary rule, Whig writers popularized a competing vision of political power and civil society. Aiming, in Colley Cibber's words, to "animate the Publick," Whig sentimental comedies and pathetic tragedies militated against libertine hedonism and emphasized sociable understanding as the structuring bond of a sentimental polity. These dramas, and in particular the representations of gender and sociability that anchor them, supply an unacknowledged prehistory for the moral philosophy and cultural fashion of sentimentalism, usually said to emerge later in the century.
590 $a School code: 0175.
650 # 0 $a Literature, English. $3 212435
650 # 0 $a Theater. $3 212696
710 0 # $a University of Pennsylvania. $3 212781
773 0 # $g 64-06A. $t Dissertation Abstracts International
790 $a 0175
790 1 0 $a Bowers, Toni, $e advisor
791 $a Ph.D.
792 $a 2003
856 4 0 $u http://libsw.nuk.edu.tw/login?url=http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3095961 $z http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3095961