30 research outputs found
XIII - Literature 1780-1830: The Romantic Period
No full textThis chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Maxine Branagh-Miscampbell; section 2 by Barbara Leonardi; section 3 by Matthew Ward and Paul Whickman; section 4 is by Omar F. Mirand
XIII Literature 1780-1830: The Romantic Period
No full textThis chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Maxine Branagh-Miscampbell; section 2 is by Barbara Leonardi; section 3 is by Matthew Ward and Paul Whickman; section 4 is by Katie Halsey
XII Literature 1780–1830: The Romantic Period
No full textAbstractThis chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Maxine Branagh-Miscampbell; section 2 is by Barbara Leonardi; section 3 is by Michael Falk and Elias Greig; section 4 is by Miranda Kiek.</jats:p
Childhood Reading and Education: The Royal High School of Edinburgh, 1750-1850
No full textThe Royal High School of Edinburgh was the first public institution for the education of boys in the city of Edinburgh. The history of the school as a grammar school goes back as far as 1503, and records and histories surrounding the school are unusually complete for the period. Crucially for the history of reading these also contain several borrowing records, catalogues and other documents relating to the use of the school library. This thesis focuses on the school library as a locus that demonstrates the school’s changing priorities in the late eighteenth and early nineteenth centuries. I seek to demonstrate the ways in which the library both reflects and pre-empts shifts in the school’s educational priorities, and how it acted to supplement the children’s reading, both by providing texts which constituted a kind of informal curriculum, and, later, their recreational reading. Focusing on the period 1750 to 1850, this thesis provides a contextual background for the case study of the Royal High School in its first two chapters; the first exploring education and reading practices in Scotland in the period and the second looking at representations of ideal reading and education in conduct books and educational writing in the period. Chapter three offers a revised overview of the history of the school in the eighteenth and early nineteenth centuries, focusing specifically on the school curriculum. It then goes on to provide an overview of the changing makeup of the library collections using catalogues and acquisition records. Chapter four examines the borrowers’ records between the 1770s and 1820s, highlighting the top ten most borrowed works in each decade and drawing out specific examples of individual borrowers to give a sense of the reading lives of the Royal High School children. Finally, chapter five examines the most popular books in the school library in greater detail, placing these in a wider literary and historical context, highlighting where the reading habits of the Royal High School children align with, or diverge from, what is known about other libraries and with the recommendations of conduct and educational literature. This thesis challenges and confirms some of the received narratives related both to childhood reading practices and reading practices in libraries more broadly and contributes to building a greater understanding of child readers in this period
‘Eating, sleeping, breathing, reading’: the zoella book club and the young woman reader in the 21st Century
No full textThis article considers the development and promotion of WH Smith’s Zoella Book Club and its success in developing an online community who share a reading experience through their engagement with the club. The Zoella Book Club is considered in relation to contemporary celebrity book club culture, as well as within an historical context that appraises the Zoella Book Club in terms of the construction and promotion of ideal(ised) notions of the young woman reader. Through its aesthetic, choice of books and rhetoric, the Zoella Book Club propagated, commodified, and ultimately perpetuated, highly feminised and domestic imagery to construct an image of the ideal woman reader in the twenty-first century
‘Eating, sleeping, breathing, reading’: The Zoella Book Club and the Young Woman Reader in the 21st Century
No full textThis article considers the development and promotion of WH Smith’s Zoella Book Club and
its success in developing an online community who share a reading experience through their
engagement with the club. The Zoella Book Club is considered in relation to contemporary
celebrity book club culture, as well as within an historical context that appraises the Zoella
Book Club in terms of the construction and promotion of ideal(ised) notions of the young
woman reader. Through its aesthetic, choice of books and rhetoric, the Zoella Book Club
propagated, commodified, and ultimately perpetuated, highly feminised and domestic
imagery to construct an image of the ideal woman reader in the twenty-first century
Vágyunk varázslatos tárgya : Kenneth Branagh: Lóvátett lovagok – komédia a musicalszínpadon
No full textDolgozatomban Kenneth Branagh 2000-es Shakespeare-adaptációján keresztül vizsgálom
meg azokat a diskurzusokat, amelyek Shakespeare kulturális értékét és a Shakespeareadaptációkon számon kérhető funkciókat boncolgatják. Az elemzett film negatív kritikai
fogadtatásán keresztül felvázolom azokat a kritériumokat, amelyek mentén Branagh művét
sikerületlennek találhatjuk. A kudarc okát legtöbb kritikus abban vélte megtalálni, hogy az
adaptált Shakespeare-drámát és a musical műfaját alapvetően összeegyeztethetetlennek
látták, illetve abban, hogy az elkészült mű sem a Shakespeare-rel, sem a musical műfajával
kapcsolatos kívánalmaknak nem tesz eleget, legfeljebb úgy, hogy egyfajta populáris
igényt céloz meg. Rámutatok ugyanakkor arra is, hogy az eredeti Shakespeare-darab
sem feltétlenül követi a saját műfajának követelményeit, és számos olyan dilemmát eleve
felvet, amelyek Branagh adaptációjában is megjelennek – ez egyrészt a komikus műfaj
iránti rajongás, másrészt pedig a műfaj létjogosultságának, értékének megkérdőjelezése,
illetve a műfajhoz kapcsolódó „csoda” élményre való reflexió, valamint a közönség szerepe
a csoda létrejöttében. | Through the analysis of Kenneth Branagh’s adaptation of Love’s Labour’s Lost, the paper
looks at discourses dealing with Shakespeare’s cultural value, and the possible functions
of a Shakespeare-adaptation. The analysis of the negative opinion most critics had about
the film reveals criteria based on which Branagh’s adaptation may be considered to be a
failure. Frequent opinions include the idea that this Shakespearean play is incompatible with
the genre of the musical, and that the adaptation in the end does not meet the standards
either of a Shakespeare-adaptation, or as a musical, perhaps only through serving the
taste of a popular audience. The author also points out that the original Shakespeare play
does not necessarily follow the requirements of its genre, and thus it raises a number of
dilemmas that are also present in Branagh’s adaptation: on the one hand, the fascination
with the comic genre, on the other, the questioning of the genre’s raison d’être and value,
and the reflection on the experience of “wonder” or “miracle” associated with the genre,
as well as the role of the audience in the creation of the miracle
La scène des portraits au théâtre, à la radio et à l’écran : Kenneth Branagh et cinq Hamlets sous influence
No full textFocalisé sur la séquence des portraits (scène du boudoir, acte III scène iv, où Hamlet montre à Gertrude le portrait de son ancien mari et celui du nouveau), cet article analyse le parcours de l’acteur-auteur Kenneth Branagh à travers cinq productions d’Hamlet où il a joué le personnage éponyme (RADA 1980 ; Renaissance 1988 ; BBC Radio 1992 ; RSC 1993 ; Castle Rock Films 1996). Les séquences seront étudiées comme des carrefours d’influences contradictoires, entre interprétation violente et sexualisée (Olivier, Zeffirelli) et jeu retenu et menaçant (Kozintsev), entre prise en compte de l’expérience d’un mentor (Derek Jacobi) et fascination pour un acteur hollywoodien (James Cagney). Nous montrerons que l’interprétation de Branagh, à la fois personnelle et collective, évolue de 1980 à 1996, dans une prise en compte à la fois du médium et des multiples sources d’influence de l’acteur-auteur.Focusing on the portrait scene (within the closet scene, act 3 scene 4, where Hamlet shows Gertrude the portrait of her former husband and that of the new one), this essay analyses the journey of actor-author Kenneth Branagh through five productions of Hamlet in which he played the eponymous character (RADA 1980 ; Renaissance 1988 ; BBC Radio 1992 ; RSC 1993 ; Castle Rock Films 1996). The sequences will be studied as crossroads of contradictory influences, between violent and sexualised interpretations (Olivier, Zeffirelli) and restrained and threatening acting (Kozintsev), between the consideration of a mentor’s experience (Derek Jacobi) and the fascination with a Hollywood actor (James Cagney). We will show that Branagh’s interpretation, which is both personal and collective, evolves from 1980 to 1996, taking into account both the different media and the multiple sources of influence of the actor-author
Books and Borrowing, 1750-1830: An Analysis of Scottish Borrowers' Registers
No full textNo abstract available
