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Dissertations / Theses on the topic 'Restoration comedy of manners'
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Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.
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Gibbons, Zoe Hope. "A dedicated follower of fashion : the ahistoric rake in Restoration literature /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/373.pdf.
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Baker, J. "Thomas D'Urfey : the life and work of a restoration playwright." Thesis, University of Birmingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368786.
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This thesis is a study of the life and works of Thomas D'Urfey (1653- 1721), a prolific writer of -plays, poetry and operas during the Restoration period. It places him in the context of the theatre of his time and the difficult conditions in which he worked, showing how obscurity of birth and lack of education affected him in his burning desire for success and financial reward. His relationships with great men illustrate the role of the patron in Augustan society, and his long career in the theatre illuminates the principal developments in English drama between 1676 and 1710. The Introduction provides a brief critical survey of the current state of Restoration comedy criticism and of D'Urfey's place in that criticism. Chapters One and Three are primarily biographical; Chapters Two, Four and Five study his plays; Chapter Six takes a broader view of his non-dramatic writing, and Chapter Seven examines his last three comedies and discusses them as precursors of the novel. The final section of Chapter Seven makes some comparisons between Thomas D'Urfey and other dramatists of the period, especially John Dryden, and argues that there is a special interest in the struggle for recognition of an author generally regarded as a failure. The Conclusion summarises the arguments in the thesis for this re-assessment of D'Urfey's interest and importance. Throughout the thesis D'Urfey's work is shown to have many rewards for the modern reader.
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McKimpson, Karl. "Going Commercial: Agency in 17th Century Drama." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20412.
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This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. My chapters chart the defining points in the development of commercial agency, each with a representative text or texts. In chapter II, I analyze how the Jacobean gallant, a variation on the trickster, sells himself as a desirable commodity to gain wealth and influence, the conditions he needs to liberate himself and control his own destiny (Eastward Ho). Chapter III examines characterizations of businesswomen in seventeenth century drama, one of the primary shifts in tone that accompanied the development of commercial agency as playwrights became more skilled in its portrayal (Antony and Cleopatra). Frequently regarded as prostitutes in Elizabethan plays, entrepreneurial women are often seen in later periods as dramatic, even tragic, heroes. When the stage closed during the years of 1642-1659, the print market was playwrights’ main source of income, and it was soon adapted to promote drama and ensure its future production. Chapter IV suggests that the success of William Davenant’s The Siege of Rhodes was due to how its preface implicated customers of the print edition in its stage production. Chapter V marks the emergence of the entrepreneurial rake as a romantic and comic hero. The chapter argues that the egalitarian haggling that ends The Man of Mode and The Rover, which is conspicuously absent from The Country Wife, is presented as the ideal basis for any loving, successful, and profitable marriage.
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Klocke, Sarah M. "Playing House with Coward’s “Hay Fever”." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1383.
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A retired actress and her quirky family trap four guests in elaborately woven games in Noel Coward’s Hay Fever. Within the concept of “playing house,” the glamour of Coward’s work lives on through scenery, costumes, and lighting, while his quirkier side is highlighted in hopes of making his Comedy of Manners accessible to a new audience.
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Lebedinski, Ester. "Music for the Mad : A study of the madness in Purcell's mad songs." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154052.
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ABSTRACT "Music for the Mad: A study of the madness in Purcell's mad songs" Ester Lebedinski, Uppsala University, Sweden, Department of Musicology, 2009. Madness was a stock topic in seventeenth-century drama, and music a compulsory feature on the Restoration stage. Henry Purcell's contributions to the latter are abundant, and include the popular combination of madness and music in his mad songs for Thomas Durfey's comedies. This essay aims at exploring the depiction of madness through music, verbal text and dramatic context in Purcell's mad songs for Durfey's plays A Fool's Preferment (1688), The Richmond Heiress (1693) and part I and III of The Comical History of Don Quixote (1694 and 1696 respectively). Particular emphasis is laid on text illustration and the songs' placement in the dramatic context. Madness is discussed as a deviation from the accepted norm, as the anormal demarcated from the normal. Conclusively, Purcell's mad songs are characterized by their variousness e.g. rapid changes between keys, styles, moods and subject matters, as opposed to the relative continuousness of songs not depicting madness, and their sometimes exaggerated word paintings. Purcell's music does not independently express madness, but the illustration of madness is linked to the verbal text and the dramatic context, highlighted and completed through Purcell's music.
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Chapman, Patricia Ann. "Two Laureates and a Whore Debate Decorum and Delight: Dryden, Shadwell, and Behn in a Decade of Comedy A-la-Mode." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11202006-050335/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Malinda Snow, committee chair; Tanya Caldwell, Paul Schmidt, committee members. Electronic text (81 p.) : digital, PDF file. Description based on contents viewed May 8, 2007. Includes bibliographical references (p. 79-81).
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Hashem, Hanan. "Satire des règles du savoir-vivre sous le Second Empire : approche sociopoétique de la comédie chez Emile Augier, Alexandre Dumas fils et Victorien Sardou." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC002.
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Émile Augier, Alexandre Dumas fils et Victorien Sardou figurent parmi les dramaturges les plus importants du Second Empire (1852-1870). À travers cette étude, nous nous proposons d’examiner les comédies de mœurs de ces auteurs sous l’angle de la sociopoétique pour ce qui concerne les règles du savoir-vivre et les bonnes manières, examinées dans leur fonction dramatique et théâtrale. Nous nous sommes attachée à l’étude de l’esthétique théâtrale du savoir-vivre qui englobe le lieu (Paris), les personnages (les mondaines et demi-mondaines, les mondains et les domestiques) et les moyens de communication à distance (la lettre et les cartes). Nous nous sommes ensuite penchée sur le caractère spectaculaire du savoir-vivre, à savoir la «distinction» ou la mise en scène de soi, la gestuelle des salutations, les «toilettes tapageuses» et les arts de la table. Les composantes des codes de politesse permettent de parler d’une dramaturgie du savoir-vivre qui caractérise les comédies de mœurs. Cette dramaturgie, que d’aucuns estiment surannée, reflète toutefois les usages représentatifs d’une époqueÉmile Augier, Alexandre Dumas fils and Victorien Sardou appear among the most important dramatists of the Second Empire era (1852-1870). In this thesis, comedies of manners of these authors are considered from a “socio-poetical” point of view. Rules of etiquette and good manners are analyzed in their dramatic and theatrical function. Theatrical aesthetic of manners which includes locality (Paris), characters (mondaines and demi-mondaines, mondains and servants), and media of communication (letters and cards), is examined first. Afterwards, spectacular aspects of good manners are studied : “distinction”, greeting’s gesture, outfits and “arts de la table”. Components of rules of etiquette lead to think of a certain dramaturgy of good manners which are characteristic of comedy of manners. This dramaturgy, which is considered as ‘old fashioned’ by some people, reflects however typical manners of an epoch
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Karlsson, Rickard. "Svensk-franska förhandlingar : Bland sprätthökar och franska flugor i svenskt 1700-tal." Doctoral thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9888.
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Den här avhandlingen tar till syfte att närmare förklara hur det i svensk 1700-talslitteratur vanligt förekommande satiriska porträtterandet av en landsman som har låtit sig påverkas av fransk kultur, i seder, språk och mode, på sådant sätt att han har blivit en ”sprätthök”, utgör en kritik av det franska kulturinflytandet. Avhandlingen visar också hur det kritiska förhållningssättet till det franska kulturinflytandet, som kanaliseras i beskrivningarna av sprätthöksfigurens förfranskade later, är inbegripet i diskurser om nationell tillhörighet, kultur, moral och språk. Det åberopade källmaterialet, till större delen från perioden 1720-1772, består av varjehanda moralsatirisk litteratur, varav sedekomedier och moraliska veckoskrifter utgör kärnan i analysen. Den analytiska delen av avhandlingen är indelad i tre större kapitel. Det första analsykapitlet tar itu med hur sprätthöksfiguren definieras i källmaterialet. Dessutom visar kapitlet hur resandet till Frankrike och i synnerhet till staden Paris, samtidigt som det ingår i tidens allmänt hållna kritik mot unga adelsmäns bildningsresande, utpekas som förklaringen till att svenskar omskapas till förfranskade sprätthökar. Det andra analyskapitlet visar hur sprätthökarna kan sägas förkroppsliga de stereotypiska föreställningarna om en moraliskt fördärvlig fransk nationalkaraktär och därigenom bidra till konstruktionen av motbilden till en svensk, dygdig och positiv nationalkaraktär. Det tredje analyskapitlet behandlar de språkideologiska motiv och den kritik mot en förfranskad umgängeskultur som kan utläsas i åsikterna om och beskrivningarna av sprätthökarnas språkbruk.The subject of this dissertation concerns 18th century literary depictions of a certain satirical character, the fop, or in Swedish the “sprätthök”. The overall aim of this study is to investigate how the portrayals of the “sprätthök” are involved in the creation of a critical discourse on French cultural influence and how this, in turn, has a bearing on 18th century conceptions of national identity, morals, culture and language. The material referred to in this dissertation consists of Swedish 18th century literature during the period 1720-1772, mainly comedies of manners and moral weeklies. The analytical part of the dissertation is divided into three major chapters, each dealing with a certain theme. The first of these chapters addresses the question of how the “sprätthök” is defined in the source material and moreover how the criticism of educational travel abroad, to France and Paris, is part of the discussion of how young male Swedes are transformed into Frenchified fops. The second of these chapters deals with the concept of national character and how Swedish fops can be said to embody the negative image of the French national character. The third major analytical chapter concentrates on the language used by fops, and the underlying criticism based on language ideology which is thereby evoked.
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Manco, Clara. "« In Earnest or Jest » : rire, pouvoir et politique dans les Comédies de la Restauration (1660-1688)." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL048.pdf.
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Quel rôle joue le rire dans l'économie symbolique du pouvoir ? Comment reflète-t-il, et dans quelle mesure contribue-t-il en retour à structurer les imaginaires politiques contemporains ? Le moment historique situé entre la Restauration et le changement dynastique de la Glorieuse Révolution constitue un épisode privilégié de l'histoire du théâtre anglais pour aborder ces questions. Après les tourments de la guerre civile et le hiatus des années Cromwell, la scène entretient des liens institutionnels plus étroits que jamais avec le pouvoir de la Couronne. Parallèlement, une opposition émerge et se structure sous la forme du parti Whig. Celle-ci investit aussi très tôt l'institution théâtrale en tirant profit, entre autres, de la dépendance économique de nombreux dramaturges et du personnel théâtral. La comédie s'adapte ainsi à cette triple contrainte (économique, sociale, institutionnelle) en politisant pour l'occasion les stéréotypes qu'elle hérite de traditions antérieures, comme celui du cocu, du dévot ou du débauché. Ces types établis, qui sont le matériau propre de la comédie, deviennent à la fois des images des différents acteurs de l'échiquier politique et des armes au service de ces luttes d'influence. De ces exigences contradictoires émerge alors un mode de production et de réception comique unique, influencé par les pratiques satiriques, et fondé sur l'ambiguïté. Cette étude comparative s'appuie sur un corpus de quarante pièces de vingt et un auteurs différents, allant de figures canoniques comme Dryden, Shadwell et Behn à d'autres moins connues comme D'Urfey, Crowne et RavenscroftWhat is the role of laughter in the symbolic economy of power? How does it reflect and shape the minds and political imagination of contemporary society? The historical period between the Restoration and the dynastic shift of the Glorious Revolution constitutes a pivotal point in the history of English theatre in which to explore these questions. Following the violence of the Civil War and the hiatus of the Cromwellian years, the institutional links between the theatres and the Crown become tighter than ever. Meanwhile, the political opposition consolidates itself, becoming the Whig party, and invests in theatrical institutions by taking advantage inter alia of the financial dependence of playwrights and stage personnel. Comedy adapts to these economic, social and institutional constraints by politicising the stereotypes inherited from previous traditions, such as the « cuckold », the « zealot » or the « rake ». These comedic vehicles are used both as mirror images of the actors of political life and as tools serving specific agendas in contemporary power struggles. From these contradictory demands emerges a distinctive mode of comic production and reception, heavily influenced by satiric practices and structured with deliberate ambiguity. This comparative study is based on forty plays by twenty-one different authors, from canonical figures such as Dryden, Shadwell and Behn, to lesser-known authors like D'Urfey, Crowne and Ravenscroft
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Hierlwimmer, Heike Anna [Verfasser]. "Geschlechterkampf mit Happy-End : die angelsächsische Sittenkomödie von der Restoration-Comedy bis zur Screwball-Comedy of manners / Heike Anna Hierlwimmer." 2005. http://d-nb.info/976885735/34.
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YU, YAN-NI, and 俞燕妮. "Transformation of a genre: From comedy of manners to sentimental comedy." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/11971596498363034731.
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碩士國立臺灣大學
外國語文研究所
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Introduction Chapter One: The Restoration and 18th Century England Chapter Two: Marriage of Convenience: The Way of the Marital World in the Restoration Era Chapter Three: Schooling 18th Century Public in a Companionate Marriage Conclusion Selected Bibliography
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Yu, Yan-Ni, and 俞燕妮. "Transformation of a genre: From comedy of manners to sentimental comedy." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/88593597010338869494.
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Amis, Margaret. "Three couples talking doing it with words in Restoration comedy /." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/38045259.html.
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Beggs, Courtney Beth. "Risky Business: The Discourse of Credit and Early Modern Female Playwrights Before Defoe." Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-08-8287.
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This dissertation shows that early modern female playwrights were shaped by and helped to shape commercial literary marketplaces that were increasingly affected by the rise of credit, shifting exchange values, and unstable notions of trust, interest, and economic motivation. By looking at how their plays appropriated and responded to financial language present in popular forms of publications such as pamphlets, ballads, and accounting guidebooks, we find that female playwrights understood the discourse of credit in ways that were particularly important for female readers and theatergoers and employed it in their writing for the stage. My study illustrates how their plays represent credit as always inherently tied to the potential risk involved in the “business” of being a woman on the marriage market, a mother with a fortune to pass on, or a widow with a business to maintain. In this project, I analyze the city comedies of Aphra Behn, the pseudonymous Ariadne, Mary Pix, and Susanna Centlivre and conclude that their works constitute a narrative bridge between the financial discourse that appears before them in conduct books and advice manuals of the Restoration and after them in the eighteenth-century novel.
Making these women and their London comedies a focal point, we can see how they employed the period’s financial discourse to highlight the problems associated with broken promises, counterfeit wills, and the supposed power of contract. My research demonstrates how these playwrights and their works play a critical role in accounting for the trajectory of financial discourse in eighteenth-century culture and literature prior to the “birth” of the English novel. “Risky Business” moves beyond a discussion of female investors or money in literature and, instead, offers a more nuanced understanding of the ways women writers were impacted by the rise of paper credit outside of and prior to fiction. The research presented in this project offers a new account of the way early modern female readers, writers, and theatergoers, were influenced by an increasingly complex financial discourse, a more detailed understanding of the relationship between economic and literary history, and a new way of conceptualizing the commercial female playwright.
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"The rakes of George Etherege's and William Wycherley's comedies of manners: A social and dramaturgical analysis based on the experiences of elite Restoration Royalist men." UNION INSTITUTE AND UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3302258.
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Hoblová, Kristýna. "Reflexe vylučovací krize (1678-1683) v soudobé literatuře." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-351925.
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The Reflection of the Exclusion Crisis (1678-1683) in Contemporary Literature Kristýna Hoblová abstract This work of literary history analyses the reflection of the Exclusion Crisis (1678-1683) in contemporary literature across genres. It is based on the theory of the rise of the public sphere by Jürgen Habermas and on the theory of Michael McKeon, understanding the ideology of the late Stuarts as a last remnant of aristocratic ideology. The Exclusion Crisis is presented here as a period of unsettling negotiations between the declining Stuart ethos and the Whig ideology of the rising mercantile classes. The interpretation of chosen texts serves to discover creative transformations of the political discourse of the newly emerging political parties of Whigs and Tories, stressing the negotiations between genres, individual authors and political ideologies. The first chapter offers a brief overview of the socio-historical context, Habermas's theory of the rise of the public sphere and Michael McKeon's conception of aristocratic ideology. It also introduces the Tory political theory defending the Stuart divine right of kings on the basis of Robert Filmer's patriarchal household-state analogy and the Whig defence against absolutist tendencies of the Stuarts through asserting the priority of Law over the Royal...