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Artículos de revistas sobre el tema "Critic (Sheridan, Richard Brinsley)"

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Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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1

GLEN, ROBERT. "A NEW LETTER BY RICHARD BRINSLEY SHERIDAN." Notes and Queries 37, no. 1 (1990): 11—b—14. http://dx.doi.org/10.1093/nq/37-1-11b.

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2

Price, Cecil, and James Morwood. "The Life and Work of Richard Brinsley Sheridan." Modern Language Review 83, no. 3 (1988): 684. http://dx.doi.org/10.2307/3731317.

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3

Ruddick, William, and James Morwood. "The Life and Works of Richard Brinsley Sheridan." Eighteenth-Century Studies 20, no. 4 (1987): 530. http://dx.doi.org/10.2307/2738791.

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4

Kord, Catherine, and Fintan O'Toole. "A Traitor's Kiss: The Life of Richard Brinsley Sheridan, 1751-1816." Antioch Review 58, no. 1 (2000): 122. http://dx.doi.org/10.2307/4613967.

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5

Wiesenthal, Christine S. "Representation and Experimentation in the Major Comedies of Richard Brinsley Sheridan." Eighteenth-Century Studies 25, no. 3 (1992): 309. http://dx.doi.org/10.2307/2739338.

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6

Roberts, David. "David Francis Taylor,Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan." Notes and Queries 63, no. 2 (2016): 307–8. http://dx.doi.org/10.1093/notesj/gjw016.

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7

Evans, James. "The Rivals: An Irish Expatriate Comedy." Restoration and Eighteenth-Century Theatre Research 31, no. 2 (2016): 5–18. http://dx.doi.org/10.5325/rectr.31.2.0005.

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Abstract In The Rivals Richard Brinsley Sheridan uses the allegorical possibilities of setting, character, and plot to represent the Irish expatriate’s crossing act. Bath is home to none of the characters, who, like immigrants on the move, occupy temporary residences and perform in a social milieu where they may refashion themselves and compel others to respond to their new scripts. Unlike the stage Irishman Sir Lucius O’Trigger, Jack Absolute and Bob Acres represent this crossing by assuming a different status or style. Acting as Beverley, a nobody rather than a gentleman, Jack performs the e
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8

JONES, ROBERT W. "A Matter of Honour: The Duel in Thomas Moore'sLife of Richard Brinsley Sheridan." Journal for Eighteenth-Century Studies 36, no. 1 (2011): 1–16. http://dx.doi.org/10.1111/j.1754-0208.2011.00456.x.

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9

Ribes Traver, Purificación. "Sheridan “arreglado” para la escena española: La escuela de la murmuración, de Rafael Galves Amandi (1861)." Quaderns de Filologia - Estudis Literaris 22 (January 7, 2018): 189. http://dx.doi.org/10.7203/qdfed.22.11259.

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La comedia más notable de Richard Brinsley Sheridan, The School for Scandal, se estrenó en Londres en 1777 y, debido a su enorme popularidad, se editó, representó y tradujo a diferentes lenguas a lo largo del siglo XIX. Rafael Galves, consciente de las notables diferencias de carácter ideológico, cultural y estilístico entre el teatro inglés y el español, realizó una profunda adaptación de la obra al verterla al castellano en 1861. Este artículo tiene como objetivo analizar de qué forma los rasgos estructurales, temáticos y estilísticos de su versión libre de la comedia se adecuaron a la sensi
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10

REDFORD. ""A Peep behind the Curtain at Drury Lane": The Richard Brinsley Sheridan Archive at Princeton." Princeton University Library Chronicle 46, no. 3 (1985): 249. http://dx.doi.org/10.2307/26403755.

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11

Urban, Eva. "Embodied Gestures of Human Rights: Remorse, Sentiment, and Sympathy in Romantic Regency Drama." New Theatre Quarterly 40, no. 3 (2024): 256–65. http://dx.doi.org/10.1017/s0266464x24000198.

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This article demonstrates how the Enlightenment model of sentiment and sympathy is performed in embodied gestures of affective empathy-building, cross-cultural fraternity, and concern for human rights in three Romantic Regency tragedies: Pizarro (1799) by the Romantic dramatist August von Kotzebue, adapted from the German by the Irish dramatist Richard Brinsley Sheridan; Remorse (1813) by the English poet Samuel Taylor Coleridge; and The Apostate (1817) by the Irish dramatist Richard Lalor Sheil. In these plays, protagonists are moved towards sympathy and solidarity with others across cultural
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12

Mayer, David, and Michael Gamer. "(Un)making a Monster: Melodrama, The Satirist, and the Cartoons of Samuel De Wilde." Nineteenth Century Theatre and Film 48, no. 2 (2021): 122–42. http://dx.doi.org/10.1177/17483727211039815.

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Our essay takes up the well-known satirical print, ‘The Monster Melo-Drame’, and re-attaches it to several contexts to bring forward its richness and ambiguity as an image. We begin by considering its artist (Samuel De Wilde), printer (Samuel Tipper), and publisher ( The Satirist), interpreting the print in its original publication and in dialogue with the essay that accompanied it in the January 1808 issue of the Satirist. The image, we argue, should not be read on its own but rather as the first of a trio of prints De Wilde made for that magazine. Taken together, the images show the Satirist
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13

Crochunis, Tom. "Linda Kelly, Richard Brinsley Sheridan. London: Sinclair-Stevenson, 1997. ISBN: 1-85619-207-5 (hardback). Price: £25." Romanticism on the Net, no. 9 (1998): 0. http://dx.doi.org/10.7202/005786ar.

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14

Jones, Robert W. "HumanitiesDavid Francis Taylor.Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan. Oxford University Press 2012. xiv, 282. $99.00." University of Toronto Quarterly 84, no. 3 (2015): 188–89. http://dx.doi.org/10.3138/utq.84.3.188.

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15

Taylor, David Francis. "Discoveries and Recoveries in the Laboratory of Georgian Theatre." New Theatre Quarterly 27, no. 3 (2011): 229–43. http://dx.doi.org/10.1017/s0266464x11000443.

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For a four-month period in 2010 David Francis Taylor worked as a research consultant with the Theatre Royal at Bury St Edmunds, the only working Regency playhouse in Britain. In this article Taylor reflects upon the experiences and insights he acquired over the course of this collaboration. In particular, he indicates how the theatre's restaging of the neglected repertory of the long eighteenth century within the Georgian space of performance can aid theatre historians in understanding the intricate dynamics of the period's theatre architecture and, crucially, the position and agency of its sp
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16

Im, Bo-ra. "Strategy for Reconciliation in English Drama of the Romantic Period: Richard Brinsley Sheridan, Illegitimate Theatre, Samuel Taylor Coleridge and Robert Southey." Journal of Modern English Drama 32, no. 2 (2019): 247–67. http://dx.doi.org/10.29163/jmed.2019.8.32.2.247.

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17

Clare, David. "The Criticby Richard Brinsley SheridanThe Criticby Richard Brinsley Sheridan. Directed by Lynne Parker. Rough Magic Theatre Company, Dublin, 2–13 October 2013 (staged at the Culture Box and the Ark as part of the Dublin Theatre Festival)." Eighteenth-Century Fiction 27, no. 3–4 (2015): 761–64. http://dx.doi.org/10.3138/ecf.2015.27.3.761.

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18

Van Kooy, Dana. "Richard Brinsley Sheridan: The Impresario in Political and Cultural Context, ed. Jack E. DeRochi and Daniel J. EnnisRichard Brinsley Sheridan: The Impresario in Political and Cultural Context, ed. Jack E. DeRochi and Daniel J. Ennis Lewisburg: Bucknell University Press, 2013. 320pp. US$90. ISBN 978-1611484809." Eighteenth-Century Fiction 27, no. 3–4 (2015): 750–53. http://dx.doi.org/10.3138/ecf.2015.27.3.750.

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19

CLARE, DAVID. "The “Hibernicising” of George Farquhar’s Plays after Irish Independence." Estudios Irlandeses, no. 18.2 (December 18, 2023): 1–10. http://dx.doi.org/10.24162/ei2023-11982.

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Since the establishment of the Irish Free State in 1922, theatres and theatre companies in the twenty-six counties have had an uneasy relationship with the work of Derry-born playwright George Farquhar. This is presumably because Farquhar’s fervent loyalty to the English crown and his “unenlightened” views on religious tolerance – including the frankly sectarian treatment of Catholicism in his later plays – do not sit well with theatremakers who want to rebrand him as a narrowly and uncomplicatedly Irish playwright. While some post-independence productions of Farquhar have subtly and cleverly
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20

"Morwood, J., The Life and Works of Richard Brinsley Sheridan; Davison, P. ed., Sheridan: Comedies: The Rivals; A Trip to Scarborough; The School for Scandal; The Critic." Notes and Queries, December 1987. http://dx.doi.org/10.1093/nq/ns-34.4.551.

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21

"A traitor's kiss: the life of Richard Brinsley Sheridan, 1751-1816." Choice Reviews Online 37, no. 02 (1999): 37–0789. http://dx.doi.org/10.5860/choice.37-0789.

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22

Peate, James. "Canvassing, Constituents And Cobblers: Richard Brinsley Sheridan As MP For Stafford 1780-1806 And Late Eighteenth-Century Electioneering." Midland History, February 2, 2023, 1–19. http://dx.doi.org/10.1080/0047729x.2023.2170198.

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23

Marshall, Jonathan. "Inciting Reflection." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2428.

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 Literary history can be viewed alternately in a perspective of continuities or discontinuities. In the former perspective, what I perversely call postmodernism is simply an extension of modernism [which is], as everyone knows, a development of symbolism, which … is itself a specialisation of romanticismand who is there to say that the romantic concept of man does not find its origin in the great European Enlightenment? Etc. In the latter perspective, however, continuities [which are] maintained on a certain level of narrative abstraction (i.e., history [or aesthetic descri
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24

Hill, Wes. "Revealing Revelation: Hans Haacke’s “All Connected”." M/C Journal 23, no. 4 (2020). http://dx.doi.org/10.5204/mcj.1669.

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In the 1960s, especially in the West, art that was revelatory and art that was revealing operated at opposite ends of the aesthetic spectrum. On the side of the revelatory we can think of encounters synonymous with modernism, in which an expressionist painting was revelatory of the Freudian unconscious, or a Barnett Newman the revelatory intensity of the sublime. By contrast, the impulse to reveal in 1960s art was rooted in post-Duchampian practice, implicating artists as different as Lynda Benglis and Richard Hamilton, who mined the potential of an art that was without essence. If revelatory
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