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The drama of the American short story, 1800-1865 / Michael J. Collins.

By: Collins, Michael J. (Michael James), 1984- [author.].
Material type: TextTextSeries: JSTOR eBooks.Publisher: Ann Arbor : University of Michigan Press, 2016. 2015)Description: 1 online resource.Content type: text Media type: computer Carrier type: online resourceISBN: 9780472122165; 0472122169.Subject(s): National characteristics, American, in literature | Ritual in literature | Theater in literature | Performing arts in literature | Performance in literature | Short stories, American -- History and criticismAdditional physical formats: Print version:: No titleDDC classification: 813/.010903 LOC classification: PS374.S5 | C55 2016Online resources: Click here to view this ebook.
Contents:
Introduction: The Irving brothers at the Park Theatre, 1802 -- "No garden of thought, nor elysium of fancy": Washington Irving's The sketch-book of Geoffrey Crayon, Gent -- The rites of pure brotherhood: fraternalism and performance in Poe and Lippard -- "The rule of men entirely great": Richelieu, ritual, and republicanism in Melville's diptychs -- The "child of nature," or the "wonder of the age": Melville's child prodigies -- "Contending for an empire": performing sincerity in Hawthorne's New England -- Epilogue: Louisa May Alcott's theatrical realism.
Summary: This book argues that to truly understand the short story form, one must look at how it was shaped by the lively, chaotic, and deeply politicized world of 19th-century transatlantic theater and performance culture. By resurrecting long-neglected theatrical influences on representative works of short fiction, Michael J. Collins demonstrates that it was the unruly culture of the stage that first energized this most significant of American art forms. Whether it was Washington Irving's first job as theater critic, Melville's politically controversial love of British drama, Alcott's thwarted dreams of stage stardom, Poe and Lippard's dramatizations of peculiarly bloodthirsty fraternity hazings, or Hawthorne's fascination with automata, theater was a key imaginative site for the major pioneers of the American short story. The book shows how perspectives from theater studies, anthropology, and performance studies can enrich readings of the short story form. Moving beyond arbitrary distinctions between performance and text, it suggests that this literature had a social life and was engaged with questions of circumatlantic and transnational culture. It suggests that the short story itself was never conceived as a nationalist literary form, but worked by mobilizing cosmopolitan connections and meanings. In so doing, the book resurrects a neglected history of American Federalism and its connections to British literary forms.
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Item type Current location Call number URL Status Date due Barcode
Electronic Book UT Tyler Online
Online
PS374.S5 C55 2016 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.3998/mpub.8783628 Available ocn961188175

Includes bibliographical references and index.

Introduction: The Irving brothers at the Park Theatre, 1802 -- "No garden of thought, nor elysium of fancy": Washington Irving's The sketch-book of Geoffrey Crayon, Gent -- The rites of pure brotherhood: fraternalism and performance in Poe and Lippard -- "The rule of men entirely great": Richelieu, ritual, and republicanism in Melville's diptychs -- The "child of nature," or the "wonder of the age": Melville's child prodigies -- "Contending for an empire": performing sincerity in Hawthorne's New England -- Epilogue: Louisa May Alcott's theatrical realism.

Print version record.

This book argues that to truly understand the short story form, one must look at how it was shaped by the lively, chaotic, and deeply politicized world of 19th-century transatlantic theater and performance culture. By resurrecting long-neglected theatrical influences on representative works of short fiction, Michael J. Collins demonstrates that it was the unruly culture of the stage that first energized this most significant of American art forms. Whether it was Washington Irving's first job as theater critic, Melville's politically controversial love of British drama, Alcott's thwarted dreams of stage stardom, Poe and Lippard's dramatizations of peculiarly bloodthirsty fraternity hazings, or Hawthorne's fascination with automata, theater was a key imaginative site for the major pioneers of the American short story. The book shows how perspectives from theater studies, anthropology, and performance studies can enrich readings of the short story form. Moving beyond arbitrary distinctions between performance and text, it suggests that this literature had a social life and was engaged with questions of circumatlantic and transnational culture. It suggests that the short story itself was never conceived as a nationalist literary form, but worked by mobilizing cosmopolitan connections and meanings. In so doing, the book resurrects a neglected history of American Federalism and its connections to British literary forms.

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