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"The people rejoiced": Vauxhall Gard...

Nosan, Gregory Gerald.

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"The people rejoiced": Vauxhall Gardens and the public world, 1732--1792.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	"The people rejoiced": Vauxhall Gardens and the public world, 1732--1792./
Author:	Nosan, Gregory Gerald.
Description:	291 p.
Notes:	Source: Dissertation Abstracts International, Volume: 62-10, Section: A, page: 3404.
Contained By:	Dissertation Abstracts International62-10A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3029523
ISBN:	9780493419305

"The people rejoiced": Vauxhall Gardens and the public world, 1732--1792.
Nosan, Gregory Gerald.

"The people rejoiced": Vauxhall Gardens and the public world, 1732--1792. - 291 p.

Source: Dissertation Abstracts International, Volume: 62-10, Section: A, page: 3404.

Thesis (Ph.D.)--The University of Chicago, 2001.

In eighteenth-century Britain, sites of public assembly---pleasure gardens, masquerades, spas---became stages for the display of wealth, status, and sexual charm. "The People Rejoiced" tells a new story about this public world of commercialized leisure by focusing on Vauxhall Gardens, one of the most successful and influential attractions in Georgian London. Through readings of Vauxhall's literary, artistic, and architectural artifacts, the project argues that what this greatest of pleasure gardens offered its diverse clienteles, and what insured its wide appeal throughout the eighteenth century, was not necessarily an appeal to social exclusivity and politeness, but instead an environment in which they might collaborate in creating a compelling, patriotic fiction of individual and national possibility. Indeed, visitors to Vauxhall shared in a spectacular fantasy that imagined Britain as a hybrid realm in which the standard distinctions of high and low, ruler and ruled, native and foreign blurred into a playful exploration of what a national public---and a national culture---might look like. In one sense, this portrait of Vauxhall is meant to correct the current critical understanding of the public assembly as a primary agent of a clean and decorous "bourgeois public sphere"; in another, it suggests that assemblies like Vauxhall did not just commercialize culture, but actually succeeded in transplanting courtly rituals of self-presentation and national celebration into the wider world, purveying patriotic spectacle and egalitarian fantasy to a mass audience of commoners eager to explore and represent their own power.

ISBN: 9780493419305Subjects--Topical Terms:

635474
Art History.

"The people rejoiced": Vauxhall Gardens and the public world, 1732--1792.
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100 1 $a Nosan, Gregory Gerald. $3 1676510
245 1 0 $a "The people rejoiced": Vauxhall Gardens and the public world, 1732--1792.
300 $a 291 p.
500 $a Source: Dissertation Abstracts International, Volume: 62-10, Section: A, page: 3404.
500 $a Adviser: Bruce Redford.
502 $a Thesis (Ph.D.)--The University of Chicago, 2001.
520 $a In eighteenth-century Britain, sites of public assembly---pleasure gardens, masquerades, spas---became stages for the display of wealth, status, and sexual charm. "The People Rejoiced" tells a new story about this public world of commercialized leisure by focusing on Vauxhall Gardens, one of the most successful and influential attractions in Georgian London. Through readings of Vauxhall's literary, artistic, and architectural artifacts, the project argues that what this greatest of pleasure gardens offered its diverse clienteles, and what insured its wide appeal throughout the eighteenth century, was not necessarily an appeal to social exclusivity and politeness, but instead an environment in which they might collaborate in creating a compelling, patriotic fiction of individual and national possibility. Indeed, visitors to Vauxhall shared in a spectacular fantasy that imagined Britain as a hybrid realm in which the standard distinctions of high and low, ruler and ruled, native and foreign blurred into a playful exploration of what a national public---and a national culture---might look like. In one sense, this portrait of Vauxhall is meant to correct the current critical understanding of the public assembly as a primary agent of a clean and decorous "bourgeois public sphere"; in another, it suggests that assemblies like Vauxhall did not just commercialize culture, but actually succeeded in transplanting courtly rituals of self-presentation and national celebration into the wider world, purveying patriotic spectacle and egalitarian fantasy to a mass audience of commoners eager to explore and represent their own power.
520 $a Considering in a wider sense the effects of this public world and its dramatic techniques of self-fashioning, "The People Rejoiced" also aims to revise the current critical understanding of the assembly's fate at late century, when it was supposedly driven under by the combined, antitheatrical forces of sensibility and the novel. Reading two late-eighteenth-century fictions, Tobias Smollett's Humphry Clinker and Frances Burney's Evelina, the project suggests that what transpired was not by any means a war of generic self-definition, but instead an attempt to teach readers to transform the assembly's public performances of splendor into equally dramatic, and in some ways strikingly similar, displays of sentiment.
590 $a School code: 0330.
650 4 $a Art History. $3 635474
650 4 $a Landscape Architecture. $3 890923
650 4 $a Literature, English. $3 1017709
690 $a 0377
690 $a 0390
690 $a 0593
710 2 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 62-10A.
790 1 0 $a Redford, Bruce, $e advisor
790 $a 0330
791 $a Ph.D.
792 $a 2001
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3029523