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Relevant bibliographies by topics / George Farquhar

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Academic literature on the topic 'George Farquhar'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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Journal articles on the topic "George Farquhar"

1

Dixon, Peter, and Eugene Nelson James. "George Farquhar: A Reference Guide." Yearbook of English Studies 18 (1988): 308. http://dx.doi.org/10.2307/3508248.

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2

Traill, Catherine. "The Beaux’ Stratagem by George Farquhar." Restoration: Studies in English Literary Culture, 1660-1700 38, no. 2 (2014): 95–97. http://dx.doi.org/10.1353/rst.2014.0009.

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Jamil, Adil M. "The Binary Road of George Farquhar in The Beaux’ Stratagem." Theory and Practice in Language Studies 11, no. 7 (2021): 864–70. http://dx.doi.org/10.17507/tpls.1107.14.

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The Beaux’ Stratagem is a phenomenal play in all measures. Since its first performance on stage in 1707, it has proved that its magnetic appeal to audiences of different periods has never lost its charm. It ever continues providing gusts of laughter and a profound debate of everlasting sensitive issues on stage. This study endeavors to unravel the factors behind its magnetic appeal, at the same to shed light upon the comic devices standing behind its unprecedented success. The Beaux’ Stratagem was written at a time when the early attraction of wit, risqué language, rakish behavior of gallants, and exposure of female frailties have been worn out and lost their magnitude. At the dawn of the 18th Century, the theater-goers were fed up with the Comedy of Manners, Farce, and Intrigues. and looking for something different. More possibly, Farquhar made out that the audience wanted to feel rather than to think; thus he curbed a natural bent toward wit and tried to engage a more sentimental side in his plays. However, the Beaux’ Stratagem did not completely split with the traditions common during the declining period; it blended them with the new overriding vogues of sentimental and exemplary comedy. As a result, Farquhar’s play came out as an amazing hybrid, coupling the two norms into one design, and producing a dramatic admixture that sounds more typical and better than the ones encountered in the plays of his predecessors and contemporaries.

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4

Kaplan, Deborah. "Representing the Nation: Restoration Comedies on the Early Twentieth-Century London Stage." Theatre Survey 36, no. 2 (1995): 37–61. http://dx.doi.org/10.1017/s0040557400001198.

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The first third of the twentieth century was the most important period in the performance history of Restoration comedies—with the exception of the years 1660–1710, when they were originally written and performed. Sixteen of the plays were presented in early twentieth-century London, six in at least two different productions. Post-Carolean works by William Congreve, George Farquhar, and John Vanbrugh held the stage through the war years, but, beginning in 1920, earlier comedies by John Dryden, William Wycherley, and George Villiers entered the repertoire of performed plays. This represents a limited selection of Restoration playwrights and plays, to be sure, but this relatively small cluster of productions takes on large significance when we situate it in the context of the comedies' entire performance careers.

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5

Feldman, Alex. "“Law Enough to Set You Free”: Contract, Community, and Consent in the Comedies of George Farquhar." Eighteenth-Century Life 46, no. 2 (2022): 30–60. http://dx.doi.org/10.1215/00982601-9664397.

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From his first play, Love and a Bottle (1698), to the masterpiece that crowned his career, The Beaux’ Stratagem (1707), George Farquhar's oeuvre is traversed by legal motifs and legal scenarios, from satirical attacks upon the judiciary, to serious engagements with the law of contract, in contexts as varied as military impressment and spousal neglect. The period that followed the accession of William and Mary, in 1688, and the Bill of Rights to which they assented in 1689, is commonly regarded as being governed by contractual relationships between rational individuals, entering into reciprocal obligations, pursuing their interests, while recognizing their natural rights. But Farquhar's comedies exhibit a conspicuous distrust of the legal profession, and of contract as a means of ensuring ethical solutions either to domestic or political conflicts. Farquhar's engagements with the law, in general, and the law of contracts, in particular, reorient drama away from the rights of the liberal subject, autonomously imagined, toward renewed conceptions of the social good, and the ethics of the community, replacing regulatory frameworks with emancipatory dispensations, in the benevolent comic spirit that characterizes his works.

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6

Evans, James. "She Stoops to Conquer: An Irish Expatriate Comedy." Restoration and Eighteenth-Century Theatre Research 32, no. 1 (2017): 7–19. http://dx.doi.org/10.5325/rectr.32.1.0007.

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Abstract Oliver Goldsmith’s representation of two English gentlemen visiting a country house allegorizes Irish expatriate experience in She Stoops to Conquer. The play mocks a distinctive urban masculinity, the macaroni, by showing how ridiculous such fashionable characters become when removed from London. Resembling expatriates in this new, uncomfortable setting, the self-exiled gentlemen prompt Tony Lumpkin’s waggery, which is enhanced by Kate Hardcastle’s mockery of Marlow, her prospective husband. Goldsmith adapted elements of his plot from The Beaux Stratagem, a comedy by his Irish expatriate precursor George Farquhar, and he also incorporates autobiographical aspects of his Irish youth and recent English past. The laughter evoked by his fine gentlemen includes self-mockery, the result of Goldsmith’s double perspective on balancing the roles of outsider and insider, comic Irishman and fashionable Londoner.

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7

Fawcett, Julia. "The Beaux’ Stratagemby George FarquharThe Beaux’ Stratagemby George Farquhar. Directed by Antoni Cimolino. Stratford Festival, Stratford, ON, 31 July–11 October 2014." Eighteenth-Century Fiction 27, no. 3–4 (2015): 758–60. http://dx.doi.org/10.3138/ecf.2015.27.3.758.

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8

Gardner, Kevin J. "Experimentation on the English Stage, 1695–1708: The Career of George Farquhar by Elisabeth J. Heard." Scriblerian and the Kit-Cats 43, no. 2 (2011): 235–37. http://dx.doi.org/10.1353/scb.2011.0128.

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9

Deepres, Ravi. "The Path to Woolf Works and the Language of Design." New Theatre Quarterly 35, no. 03 (2019): 251–60. http://dx.doi.org/10.1017/s0266464x19000253.

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Film technology has become an increasingly prominent component of theatre design. In the practice of Robert Wilson and Robert Lepage it may support what has been described as a ‘pizza style’ of presentation, in which disparate techniques and modes of presentation are used to disturb conventional ideas of narrative, context, and textual authority, while in the work of Motionhouse it creates a language of dance as circus. The longstanding collaboration between film designer Ravi Deepres and choreographer Wayne McGregor presents an alternative model, at once highly composed as narrative and based on meticulous research into textual evidence. In this interview with David Roberts, Deepres charts the evolution of his work with McGregor up to their award-winning Woolf Works, showing how a genuinely collaborative artistic process and attention to the graphic possibilities of different film technologies have transformed our understanding of the role of design in devised performance. Ravi Deepres is Professor of Moving Image and Photography at Birmingham City University. For the past nineteen years he has designed shows in collaboration with choreographer Wayne McGregor. Their most recent success, Woolf Works, won the Olivier Award for Best New Dance Production and re-opened at La Scala Milan in April 2019. David Roberts is Professor of English at Birmingham City University. His recent publications include George Farquhar: A Migrant Life Reversed (Bloomsbury, 2018), and he is currently working on a new edition of Congreve's The Way of the World.

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10

Jamil, Adil M. "The other Foot in George Farquhar’s: The Beaux Stratagem." International Journal of English Literature and Social Sciences 5, no. 2 (2020): 451–58. http://dx.doi.org/10.22161/ijels.52.20.

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Dissertations / Theses on the topic "George Farquhar"

1

Sarmento, Camila Noggi Luly. "George Farquhar revisitado por dramaturgos contemporâneos." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08032016-145956/.

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O presente estudo tem como objetivo apresentar e discutir as comédias escritas por George Farquhar, Love and a Bottle (1698) e The Beaux Stratagem (1707), que, respectivamente, foram revisitadas pelo dramaturgo irlandês Declan Hughes e pelos dramaturgos norte-americanos Thornton Wilder e Ken Ludwig. Este trabalho visa verificar quais razões motivaram os dramaturgos a (re)escreverem tais obras e investigar seu método de (re)criação, analisando as mudanças significativas que ocorreram em seus processos criativos. Ademais, entender quais estratégias provocadoras de riso são utilizadas por George Farquhar, por Hughes e Wilder- Ludwig é fundamental para esta pesquisa. O referencial teórico deste estudo baseia-se em obras sobre adaptação e apropriação como A Theory of Adaptation (2006), de Linda Hutcheon e Adaptation and Appropriation (2006), de Julie Sanders, assim como obras sobre o riso e a comédia de Restauração, História do riso e do escárnio (2003), de George Minois e A Companion to Restoration Drama (2001), organizado por Susan J. Owen.<br>This study aims to present and discuss the comedies Love and a Bottle (1698) and The Beaux \'Stratagem (1707) written by George Farquhar and, respectively, revisited by the Irish playwright Declan Hughes and by the American playwrights Thornton Wilder and Ken Ludwig. The objective of this dissertation is to identify the reasons that motivated the playwrights to (re)write such works and investigate the method of (re)creation, analyzing the important changes that occurred in their creative processes. Moreover, understanding which strategies to provoke laughter are used by George Farquhar, by Hughes and Wilder-Ludwig is essential to this research. The theoretical framework of this study builds on works about adaptation and appropriation as A Theory of Adaptation (2006) by Linda Hutcheon and Adaptation and Appropriation (2006) by Julie Sanders, as well as works on laughter and Restoration comedy, Histoire du rire et de la dérision (2003) by George Minois and A Companion to Restoration Drama (2001) organized by Susan J. Owen.

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2

Wu, Li-Lan. "Spatial relations : the structure and presentation of space in Restoration dramatic works with special reference to the plays of George Farquhar." Thesis, Queen Mary, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396292.

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3

FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.

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Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.

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Books on the topic "George Farquhar"

1

Carlin, Kathleen. George Farquhar: Restoration dramatist. Guildhall Press, 1989.

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2

Strum, Kenny Shirley, ed. The works of George Farquhar. Clarendon Press, 1988.

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3

Farquhar, George. The works of George Farquhar. Clarendon Press, 1988.

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4

George Farquhar: A reference guide. G.K. Hall, 1986.

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5

Vanbrugh and Farquhar. St. Martin's Press, 1998.

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6

Gerardine, Rita Farquhar. George Farquhar, MD, of Scotland, G.B., Jamaica, W.I., and Philadelphia, Pennsylvania. R.F. Gerardine, 2000.

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7

Experimentation on the English stage, 1695-1708: The career of George Farquhar. Pickering & Chatto, 2008.

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8

Wilder, Thornton. Thornton Wilder and Ken Ludwig's adaptation of The beaux' stratagem by George Farquhar. Samuel French, 2007.

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9

Minami, Ryuta. A partially annotated bibliography of the plays of George Farquhar and Sir John Vanbrugh, 1960-1990. typescript, 1990.

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10

1941-, Blake Ann, ed. The beaux' stratagem. 2nd ed. A&C Black, 2006.

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Book chapters on the topic "George Farquhar"

1

Greiner, Norbert. "Farquhar, George." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8487-1.

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Muir, Kenneth. "George Farquhar." In The Comedy of Manners. Routledge, 2022. http://dx.doi.org/10.4324/9781003268970-9.

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Greiner, Norbert. "Farquhar, George: The Recruiting Officer." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8488-1.

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Alber, Jan. "Farquhar, George: The Beaux' Stratagem." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8489-1.

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5

Burke, Helen M. "Crossing Acts: Irish Drama from George Farquhar to Thomas Sheridan." In A Companion to Irish Literature. Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444328066.ch8.

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6

Bull, John. "Sir John Vanbrugh and George Farquhar in the Post-Restoration Age." In A Companion to Restoration Drama. Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch25.

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7

Golding, Rosemary. "George Farquhar Graham, ‘Essay’ in An Account of the First Edinburgh Musical Festival." In Music in Nineteenth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-43.

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Golding, Rosemary. "George Farquhar Graham, ‘Introduction’ In An Account of the First Edinburgh Musical Festival." In Music in Nineteenth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003003885-30.

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Roberts, David. "Notes." In George Farquhar. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350057098.0005.

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Roberts, David. "Bibliography." In George Farquhar. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350057098.0006.

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