218 research outputs found
Letter From David Garrick to Peter Garrick
No full textabstract: Concerning a request for Peter to visit David and go fishing with him.Seller's Description: Attached Statement- Local Call Number MSS_363_GAD_undated_1_2. Statement contains a description of the manuscript, a transcription, and a handwritten note.
Curator's note: The recipient, Peter, is David's brother. Lichfield (not Litchfield as it is spelled on the manuscript) was the name of the garrison in Staffordshire where Garrick lived growing up. Taped on handwritten note reads: "part of a letter of David Garrick to his Brother.------
Postage Details: Lichfield is the name of the home where both Peter and David grew up. Remains of Sealing wax.
Paper Details: Originally folded. Paper description glued on to original.
Condition of Original: Fragile, foxing, cut off, tape added.
Creation Date Details: Undated range is the author's lifespan.
Provenance: Handwritten note on the Seller's Note reads: "From the Collection of Baroness Burdett Coutts
Responses to James Tully’s “Deparochializing Political Theory and Beyond”
No full textIn their responses to James Tully’s article “Deparochializing Political Theory and Beyond,” Garrick Cooper, Charles
W. Mills, Sudipta Kaviraj and Sor-hoon Tan engage with different aspects of Tully’s “genuine dialogue.” While they
seem to concur with Tully on the urgency of deparochializing political theory, their responses bring to light salient issues
which would have to be thought through in taking this project forward
Theater Ticket to Shakespears Jubiliee
No full textabstract: Concerning a theater ticket to David Garrick's Shakespears Jubiliee signed by Geo. Garrick.Seller's Description: Attached statement.Creation Date Details: "1769" is written on the ticket, but as there was only ever one Shakespears Jubilee, that date can be confirmed.Condition of Original: Ticket has foxing, is fragile, and has edge chips.Paper Details: originally folded.Curator's Note: Geo; could be David's brother George Garrick. David Garrick organized the Shakespears Jubilee and was the most popular Shakespeare actor in England.Provenance: Seller's Note reads "From the collection of Baroness Burdett Coutts.Transcription Detail: Handwritten notes on the verso of the Jubilee ticket read: "John Johnston", "Signature of David Garrick", and "This note is an Error"
A defence of Mr. Garrick, in answer to the letter-writer. With remarks upon plays and players, and the present state of the stage. By a dramatic author [electronic resource].
No full textThe letter-writer = H. W., i.e. Edward Purdon, author of 'A letter to David Garrick, Esq; on opening the Theatre' published 13 October, 1759.Price from imprint: price One-Shilling.Electronic reproduction.English Short Title Catalog,Reproduction of original from British Library
1978-1979: The Freeway
No full textFrom left: Valerie Mahaffey as Payne (standing), Ronald Frazier as Wally, Petie Seale as Evelyn, Roy Cooper as Les, Larry Shue as Cox (standing), and Beulah Garrick as MayThe Freeway;Grayscal
Life of David Garrick, esq. Vol. 1
No full textMurphy, Arthur (1727-1805) London: J. Wright, 1801 First edition David Garrick (1717-1779) studied for a short time under Samuel Johnson before they both went to London. Garrick began his passionate career with the stage as a drama critic and a playwright. He began acting in 1741 and became an instant sensation. In 1747, he went into partnership to buy the theater at Drury Lane, and went on to make the theater a popular success, introducing more authentic costumes and stage settings. Garrick continued his acting to rave reviews. Although he continued to manage the Drury Lane theater, Garrick stopped acting in 1766. Garrick\u27s biographer, Arthur Murphy, was an Irish attorney, journalist, actor playwright, and biographer. He began work at a merchant\u27s counting-house on the recommendation of his uncle in 1747. After refusing to go to Jamaica for the merchant, and thereby alienating his uncle, Murphy went to London. In 1754 he began acting, playing the title roles of Richard III and Othello. He wrote more than twenty plays. His first play, The Apprentice, was performed at Drury Lane in 1756. Murphy\u27s plays were almost all adaptations from the French, and very successful, earning him fame and fortune. His career illustrates the precarious financial and legal situation of dramatic authors in Georgian England. He worked and wrote at a time when the English theater was redefining the playwright\u27s position within the burgeoning culture of print. Murphy spent his entire life as a playwright and barrister addressing the professional status of the dramatic author. His greatest success in this endeavor came from his play, Hamlet, with Alterations, a parody of David Garrick\u27s radical adaptation of Shakespeare\u27s Hamlet. Although the play was not produced or published in Murphy\u27s lifetime, it changed the conversation about the bond between a dramatic author and the dramatic text as product
1978-1979: The Freeway
No full textGoing Clockwise: Henry Strozier as Barry (in foreground with back turned), Roy Cooper as Les, Valerie Mahaffey as Payne, Anderson Mathews as Grant, Rose Pickering as Tracy, Larry Shue as Cox, Earle Edgerton as James, Petie Seale as Evelyn, and Beulah Garrick as MayThe Freeway;Grayscal
Pushing the process: A whānau journey through the Treaty of Waitangi claims process
No full textThis thesis follows the journey of a Whānau (ngā uri a Arama Whakatau) in its Claim to the Waitangi Tribunal under the Treaty of Waitangi Act 1986. In particular, it looks at inter-Whānau dynamics before, during and after the Claims process. The connections to the claimant area through whakapapa and establishing ahi kaa rights are identified, as are problems faced by lodging a Claim at the Whānau level. Aspects of inter-Whānau, inter-Hapū and inter-iwi politics are considered along with Crown agencies' processes. The primary question posed in the thesis is whether a Whānau Claim is the more appropriate avenue compared to making a Claim through the Hapū or iwi. However, the inter-Whānau dynamics are the core focus of the thesis in this 'warts-and-all' discussion from the perspective of the participant-observer
Dialogue and Decolonization:Historical, Philosophical, and Political Perspectives
No full textBy bringing together philosophers whose work on political philosophy, intellectual history, and world philosophies pushes the boundaries of conventional scholarship, this collaborative collection opens up space in political philosophy for new approaches. Garrick Cooper, Sudipta Kaviraj, Charles W. Mills, and Sor-hoon Tan respond to the challenges James Tully raises for comparative political thought. Arranged around Tully’s opening chapter, they demonstrate the value of critical dialogue and point to the different attempts cultures make to understand their experiences. Through the use of methods from various disciplines and cultural contexts, each interlocutor exemplifies the transformative power of genuine democratic dialogue across philosophical traditions. Together they call for a radical reorientation of conceptual and intellectual readings from intellectual history including the Afro-modern political tradition, Indigenous philosophies, and the lived experiences of societies in Asia. This is an urgent methodological provocation for anyone interested in the ethical, conceptual, and political challenges of political thought today.</p
Hogarth and Garrick. Or, the British model for the nineteenth-century actor in Italy
No full textStarting from a discussion of Hogarth’s portrait of the great actor David Garrick playing Richard III, this essay explores the relationship that existed between Hogarth and Garrick and analyses the artistic and aesthetic affinities between the artist and the actor. The diffusion of this picture all around Europe, especially thanks to its engraved version, allows the author to show how it quickly became a ‘portrait manifesto’, championing a move to natural acting on stage and greatly influencing actors’ style of performance. In the particular case of Italy in the first part of the nineteenth century, the portrait became a paradigm for Italian theatre critics and reviewers and a model for dramatic actors
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