Gothic Drama in the Romantic Age, 1760-1830

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• Bugajski, Ken A. "Joanna Baillie: An Annotated Bibliography." Romanticism On the Net 12 (November 1998) 
• Burroughs, Catherine. "Teaching the Theory and Practice of Women's Dramaturgy." Romanticism On the Net 12 (November 1998) 
• Burroughs, Catherine. "British Women Playwrights and the Staging of Female Sexual Initiation: Sophia Lee's The Chapter of Accidents (1780)." Romanticism On the Net 23 (August 2001) 
• Chandler, David. "'The Conflict': Hannah Brand and Theatre Politics in the 1790s." Romanticism On the Net 12 (November 1998) 
• Crochunis, Thomas C. "The Function of the Dramatic Closet at the Present Time." Romanticism On the Net 12 (November 1998) 
• Davis, Tracy C. "The Sociable Playwright and Representative Citizen." Romanticism On the Net 12 (November 1998) 
• Ezell, Margaret J. M. "Revisioning Responding: A second look at Women Playwrights Around 1800." Romanticism On the Net 12 (November 1998)
• Hancock, Stephen. "Shelley Himself in Petticoats: Joanna Baillie's Orra and Non-violent Masculinity as Remorse in The Cenci"
• Nachumi, Nora. "Acting Like a 'lady': British Women Novelists and the Eighteenth-Century Stage." Romanticism On the Net 12 (November 1998) 
• Purinton, Marjean D. "Revising Romanticism by Inscripting Women Playwrights." Romanticism On the Net 12 (November 1998) 
• Purinton, Marjean D. "Science Fiction and Techno-Gothic Drama: Romantic Playwrights Joanna Baillie and Jane Scott." Romanticism On the Net 21 (February 001) 

alcuni articoli diponibili gratuitamente in internet su altri siti:
 

Abstract: The specific gender assignments in Laura Mulvey's cinematic theory suggest a presupposed power position of the male viewer over the female object. However, if the gender assignment of the spectator is ambiguous, as Tania Modleski argues, then the power position of the spectator is also questionable. This ambiguous assignment of gender and power for the spectator that Modleski explores is similar to what Anderson terms the refractive quality of the female gaze in Delariviere Manley's The Royal Mischief (1696) and Joanna Baillie's Orra (1812). Although Mulvey's theory suggests that the gendering of the gaze threatens the audience's pleasure, the changing gender identity of the spectator and the empowering of the spectacle in Manley's and Baillie's plays increases the audience's pleasure as spectators. 

Il saggio è pubblicato all'interno di 
Rites of Passage: Rational/Irrational Natural/Supernatural Local/Global, Atti del XX Convegno Nazionale dell'Ass.Italiana di Anglistica (Catania-Ragusa 4/6 ottobre 2001), a cura di Carmela Nocera, Gemma Persico e Rosario Portale, Soveria Mannelli. Rubbettino, 2003, pp. 193-203.

altri articoli sul teatro romantico inglese sono disponibili sul sito del portale: 

BWP:British Women Playwrights around 1800

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sul nostro server sono disponibili mediante password le seguenti recensioni, per ottenere la password scrivi al gestore del sito:

· Seven Gothic Dramas: 1789-1825. Theatre Journal Dec 1, 1993
· Michael Gamer. Romanticism and the Gothic: Genre, Reception, and Canon-Formation. Studies in Romanticism Dec 22, 2003
· Romanticism and the Gothic: Genre, Reception, and Canon Formation. Wordsworth Circle Sep 22, 2001
· Gothic Documents. A Sourcebook 1700-1820.  Journal of European Studies Sep 1, 2000
· Illegitimate Theatre in London, 1770-1840. Albion Jun 22, 2002
· Gothic Pathologies: The Text, the Body and the Law. Yearbook of English Studies Jan 1, 2001
· Gothic Pathologies: The Text, The Body and The Law. Studies in Romanticism Dec 22, 2000
· Spectral Readings: Towards a Gothic Geography. Studies in the Novel Jun 22, 2001
· D. L. Macdonald. Monk Lewis: A Critical Biography. Studies in Romanticism Jun 22, 2003
· Monk Lewis: A Critical Biography. Albion Mar 22, 2002

Gli articoli archiviati sul nostro server e indicati qui sotto possono essere richiesti per motivi di ricerca da studenti e docenti afferenti ad Università ed Enti e spediti da noi gratuitamente come attachment di posta elettronica in formato pdf inviando una e-mail di richiesta al gestore del sito con i dettagli bibliografici. 
 

Thorp, William. “The Stage Adventures of Some Gothic Novels”, PMLA, 43 (1928), 476-86

Erdman, David V., "Byron's Stage Fright: The History of his Ambition and Fear of Writing for the Stage", English Literary History, 1939, 6 (3), 219-43.

Stratman, Carl J., "English Tragedy 1819-23", Philological Quarterly, 1962 (41), p.465-74.

Nardin, James T., "Modern Criticism and the Closet Drama Approach", College English, 1965, 26, 591-597.

Loomis, Emerson,. “Gothic Drama as a source of Gothic Fiction in the magazines”, Notes and Queries, 1968, 15, 28-29.

Watkins, Daniel P., "Violence, Class Consciousness, and Ideology in Byron's History Plays", English Literary History,1981, 48 (4), 799-816.

Haefner, Joel, "'The soul speaking in the face': Hazlitt's Concept of Character", Studies in English literature 1500 - 1900, 1984, 24 (4), 655-670.

Reno, Robert P. “James Boaden’s Fontainville Forest and M. G. Lewis ‘The Castle Spectre’ : Challenges of the Supernatural Ghost on the late 17th century Stage” in Eighteenth Century Life, 9:1 (1986), 95-106.

Forry, Steven Earl, “The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823 to 1826”, Theatre Research International, 1986 Spring 11(1), 13-31.

Wilson, Michael S., "Ut pictura Tragoedia", Theatre research international,  1987, 12 (3), 201-220.

Kerrigan, John, "Revolution, Revenge, and Romantic Tragedy", Romanticism, 1995, 1 (1), 121-140.

Burroughs, Catherine B., "The English Romantic Closet", Nineteenth century contexts, 1995, 19 (2), 125-49.

LaChance, Charles. "Naive and knowledgeable nihilism in Byron's gothic verse", Papers on Language & Literature, Sep 22, 1996.

Gamer, Michael, "National supernaturalism: Joanna Baillie, Germany, and the gothic drama", Theatre Survey v. 38 (November 1997) p. 49-88.

Abstract: The writer discusses the use by the romantic dramatist Joanna Baillie of the supernatural and spectacular conventions of Gothic drama.  He notes that Baillie wrote at a time when both the costs and the benefits of representing the supernatural on stage were very high and in a cultural moment when Gothic drama had become strongly stigmatized as "German" and therefore as Jacobin and aesthetic.  He argues that Baillie's treatment of the supernatural shows her attempting to reform an English theater audience addicted to supernatural spectacle by refocusing these very tastes on character psychology and subjectivity.  He finds that in so doing, Baillie's plays bring into view larger conflicts in the period over what constitutes a legitimate and properly British theater.

Hoeveler, Diane Long, “Gothic Drama as Nationalistic Catharsis”, Wordsworth Circle, 2000, Summer, 31(3), 169-72.

Worrall, David, "Artisan melodrama and the plebeian public sphere: the political culture of Drury Lane and its environs, 1797-1830", Studies in Romanticism, v. 39 no. 2 (Summer 2000) p. 213-27.

Abstract: The writer contends that the unlicensed theaters in the Drury Lane vicinity in the late 1810s and 1820s demonstrate the point at which artisan expression and articulateness move across to occupy public space.  He argues that contemporary melodramas, especially those written by William Thomas Moncrieff, have a cognate relationship with London revolutionary politics.  The area itself was renowned for drinking and sexual license but was also associated with the radical press and physical force revolutionaries.  The plays themselves demonstrated extreme sexual mobility and a more intense class mobility as well as glimpses at London's black subculture.  Knowledge of the promiscuities of time, place, and personnel in this vicinity contributes to an understanding of the political culture of artisan drama.

Abstract: A discussion of the Christian ideals behind the work of the British playwright Joanna Baillie.  Most contemporary scholars have focused on the unconventional aspects of Ballie's plays, ignoring the conservative Christian framework that structures her work.  Baillie's challenge to her society's conventions are integrally connected to her conservative Christian project, however, which itself stems from a personal theology that she crafted from her childhood education in the Scottish Presbyterian Church, her adult fascination with Unitarianism, and her intense study of the Bible.  By examining what may be Baillie's most conventional Christian play, The Bride, which was written to convert the natives of Ceylon, it is possible to see how her conservative theories of moral reform are what ultimately compel her to transform an admittedly imperialist endeavor into a potentially revolutionary discourse of equality.

Haggerty, George E., "Psychodrama: Hypertheatricality and Sexual Excess on the Gothic Stage", Theatre research international,  2003, 28 (1), 20-33.

Anthony, M. Susan, "'Closely Draw the Cord of Virtue': Instructive Plays and American Society, 1795 to 1825", Journal of American & Comparative Cultures, Vol. 27 Issue 1 Page 43  - March 2004.