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'A sparkling collection — at once authoritative and intrepid. Louise Lee has assembled a remarkable set of essays, shedding fresh light on the many lives of comedy at work and play in nineteenth-century culture (from poetry to fiction, circus to music hall, and beyond). This volume is a welcome contribution to Victorian studies; but, more importantly, it’s a reminder—in Lee’s words—that “laughter is good to think with.”' - Matthew Bevis, University of Oxford & author of Wordsworth's Fun (2019) This innovative collection of essays is the first to situate comedy and laughter as central rather than peripheral to nineteenth century life. Victorian Comedy and Laughter: Conviviality, Jokes and Dissent offers new readings of the works of Charles Dickens, Edward Lear, George Eliot, George Gissing, Barry Pain and Oscar Wilde, alongside discussions of much-loved Victorian comics like Little Tich, Jenny Hill, Bessie Bellwood and Thomas Lawrence. Tracing three consecutive and interlocking moods in the period, all of the contributors engage with the crucial critical question of how laughter and comedy shaped Victorian subjectivity and aesthetic form. Malcolm Andrews, Jonathan Buckmaster and Peter Swaab explore the dream of print culture togetherness that is conviviality, while Bob Nicholson, Louise Lee, Ann Featherstone, Louise Wingrove and Oliver Double discuss the rise-on-rise of the Victorian joke — both on the page and the stage — while Peter Jones, Jonathan Wild and Matthew Kaiser consider the impassioned debates concerning old and new forms of laughter that took place at the end of the century.

English literature --- History and criticism. --- British literature. --- Literature, Modern—19th century. --- Civilization—History. --- Theater—History. --- British and Irish Literature. --- Nineteenth-Century Literature. --- Cultural History. --- Theatre History. --- Theatre: history.

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This encyclopaedia will serve as an indispensible resource for students and scholars of 'Global Shakespeare', an area of study which explores the global afterlife of Shakespearean drama, poetry and motifs in their literary, performative and digital forms of expression in the twentieth and twenty-first centuries. .

Literature, Modern. --- Shakespeare, William, 1564-1616. --- Theater—History. --- Shakespeare. --- Theatre History.

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Die Oper gehört seit vierhundert Jahren zu den stabilsten Kulturinstitutionen Europas. Weder Revolutionen noch Wirtschaftskrisen haben daran etwas geändert. Im 19. Jahrhundert wird die Oper schließlich zu einem internationalen Phänomen. Zur Institution Oper gehören nicht nur die Bühnenvorstellung und alles, was zu ihrer Organisation notwendig ist, sondern auch die Sänger und nicht zuletzt das Publikum. So kommen in diesem Buch das italienische Impresario-System, die fahrenden Schauspieltruppen, die Stadttheater, die Hof- und Staatstheater ebenso in den Blick wie etwa die Reisebedingungen und die Gagen der Sänger, die Eintrittspreise und die Logenhierarchie in der Oper sowie die rechtlichen Aspekte des Opernbetriebs. Der Bogen spannt sich vom 17. Jahrhundert bis hin zu den Entwicklungen der Gegenwart.

Theater—History. --- Music. --- Theater. --- Civilization—History. --- Economic history. --- Theatre History. --- Music. --- Theatre and Performance Studies. --- Cultural History. --- Economic History.

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‘Terence Rattigan was among the most successful British playwrights of the modern era – a master of comedy as well as tragedy. He is so incredibly good it should come as no surprise that a significant revival has been underway for some time. In fact, Rattigan has been slowly achieving a permanent place of esteem in the essential repertoire of twentieth century dramatists. And that place will be bolstered by this brilliant comprehensive study of the playwright’s art by John A. Bertolini. His book is a pleasure to read: elegantly written, persistently intelligent, and lucid, and it does exactly what it promises: makes a case for Rattigan.’ - Jay Parini, D.E.Axinn Professor of English, Middlebury College, USA This book asserts the extraordinary quality of mid-twentieth century playwright Terence Rattigan’s dramatic art and its basis in his use of subtext, implication, and understatement. By discussing every play in chronological order, the book also articulates the trajectory of Rattigan’s darkening vision of the human potential for happiness from his earlier comedies through his final plays in which death appears as a longed for peace. New here is the exploration through close analysis of Rattigan’s style of writing dialogue and speeches, and how that style expresses Rattigan’s sense of life. Likewise, the book newly examines how Rattigan draws on sources in Greek and Roman history, literature, and myth, as well as how he invites comparison with the work of other playwrights, especially Bernard Shaw and Shakespeare. It will appeal broadly to college and university students studying dramatic literature, but also and especially to actors and directors, and the play-going, play-reading public.

Culture --- Ethnology --- Theater --- Cultural and Media Studies. --- Theatre History. --- British Culture. --- Study and teaching. --- Europe. --- History. --- Rattigan, Terence. --- Cultural studies --- Theater-History. --- Ethnology-Europe. --- Theater—History. --- Ethnology—Europe.

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The theo-political idea of covenant—a sacred binding agreement—formalizes relationships and inaugurates politics in the Hebrew Bible, and it was the most significant revolutionary idea to come out of the Protestant Reformation. Central to sixteenth-century theology, covenant became the cornerstone of the seventeenth-century English Commonweath, evidenced by Parliament’s passage of the Protestation Oath in 1641 which was the “first national covenant against popery and arbitrary government,” followed by the Solemn League and Covenant in 1643. Although there are plenty of books on Shakespeare and religion and Shakespeare and the Bible, no recent critics have recognized how Shakespeare’s plays popularized and spread the covenant idea, making it available for the modern project. By seeding the plays with allusions to biblical covenant stories, Shakespeare not only lends ethical weight to secular lives but develops covenant as the core idea in a civil religion or a founding myth of the early-modern political community, writ small (family and friendship) and large (business and state). Playhouse relationships, especially those between actors and audiences, were also understood through the covenant model, which lent ethical shading to the convention of direct address. Revealing covenant as the biblical beating heart of Shakespeare’s drama, this book helps to explain how the plays provide a smooth transition into secular society based on the idea of social contract. .

Shakespeare, William, --- Šekspir, Vil'jam --- Criticism and interpretation. --- Bible --- In literature. --- Literature, Modern. --- Shakespeare, William, 1564-1616. --- Theater-History. --- Shakespeare. --- Theatre History. --- Modern literature --- Arts, Modern --- Theater—History.