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British drama museums: History, heri...

Pruitt, John.

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British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt).

Record Type:	Electronic resources : Monograph/item
Title/Author:	British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt)./
Author:	Pruitt, John.
Description:	275 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0195.
Contained By:	Dissertation Abstracts International67-01A.
Subject:	Literature, English. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3203336
ISBN:	9780542518157

British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt).
Pruitt, John.

British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt). - 275 p.

Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0195.

Thesis (Ph.D.)--Ohio University, 2005.

During the long eighteenth century, the literary press eructed forth voluminous collections of plays in torrents---multi- and single-authored, complete and fragmented, cheap and costly, shoddy and extravagant, carefully crafted and haphazardly sewn together, in many ways creating the current canon of British drama through the end of the eighteenth century. Beginning with this observation, this project sets out to define a framework for interpreting the discourses of appropriation and resistance inherent to the genre---vital components of compilation, organization, and display in the literary marketplace---by investigating the social, historical, and political purposes to which these collections might be put. Many of their compilers struggle over the political implications of literary compilation: the gathering together of significant forms of symbolic and cultural capital, often printed relics deemed representative of literary history, in order to validate or question existing power structures and the nature of manifestations of state and cultural politics. In process, they collect dramatic artifacts in order to endorse a particular interpretation of heritage, whether conservative or reactionary---among them Royalist sympathizer Humphrey Moseley seeking to reinstate stage performances during the Interregnum, political reactionary Robert Dodsley seeking an end to the Licensing Act, and rejected dramatist John Galt seeking recognition. Approaching readers and theater-goers as agents equipped to challenge both rigorous social categories and political intervention in the public arena of popular entertainment, play collectors recognize that their collections cannot be interpreted simply as hegemonic representations imposed upon a lethargic population by an ideology in which meaning has been appropriated by groups such as booksellers seeking social transformation. By prefacing their collections with dedications, arguments, and especially revisionist histories of the English theater, collectors seek to persuade readers to confront conventional hierarchies in order to control or dominate cultures of entertainment.

ISBN: 9780542518157Subjects--Topical Terms:

1017709
Literature, English.

British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt).
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245 1 0 $a British drama museums: History, heritage, and nation in collections of dramatic literature, 1647--1814 (Humphrey Moseley, Robert Dodsley, John Galt).
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500 $a Adviser: Linda Zionkowski.
502 $a Thesis (Ph.D.)--Ohio University, 2005.
520 $a During the long eighteenth century, the literary press eructed forth voluminous collections of plays in torrents---multi- and single-authored, complete and fragmented, cheap and costly, shoddy and extravagant, carefully crafted and haphazardly sewn together, in many ways creating the current canon of British drama through the end of the eighteenth century. Beginning with this observation, this project sets out to define a framework for interpreting the discourses of appropriation and resistance inherent to the genre---vital components of compilation, organization, and display in the literary marketplace---by investigating the social, historical, and political purposes to which these collections might be put. Many of their compilers struggle over the political implications of literary compilation: the gathering together of significant forms of symbolic and cultural capital, often printed relics deemed representative of literary history, in order to validate or question existing power structures and the nature of manifestations of state and cultural politics. In process, they collect dramatic artifacts in order to endorse a particular interpretation of heritage, whether conservative or reactionary---among them Royalist sympathizer Humphrey Moseley seeking to reinstate stage performances during the Interregnum, political reactionary Robert Dodsley seeking an end to the Licensing Act, and rejected dramatist John Galt seeking recognition. Approaching readers and theater-goers as agents equipped to challenge both rigorous social categories and political intervention in the public arena of popular entertainment, play collectors recognize that their collections cannot be interpreted simply as hegemonic representations imposed upon a lethargic population by an ideology in which meaning has been appropriated by groups such as booksellers seeking social transformation. By prefacing their collections with dedications, arguments, and especially revisionist histories of the English theater, collectors seek to persuade readers to confront conventional hierarchies in order to control or dominate cultures of entertainment.
590 $a School code: 0167.
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