Bohemians And Critics: American Theatre Criticism in the Nineteenth Century. By Tice L. Miller. Metuchen, New Jersey, and London: The Scarecrow Press, 1981. Pp. x and 190. $12.00.

1983 ◽  
Vol 8 (1) ◽  
pp. 68-69
Author(s):  
Russell Jackson
Author(s):  
Blair Best ◽  
Madeleine G. Cella ◽  
Rati Choudhary ◽  
Kayla C. Coleman ◽  
Robert Davis ◽  
...  

This essay co-authored by Robert Davis and his students in a theater class at New York University describes the interdependence of close and distant reading practices in their creation and analysis of a representative corpus of nineteenth-century drama. With irregular scholarly and theatrical attention given to nineteenth-century American theatre, the archive of plays and productions is frustratingly fragmented with few playbooks and only limited accounts of their staging. This chapter demonstrates how students used corpus linguistic and spatial analysis tools like Voyant, Antconc, and Tagxedo to recover a neglected century of American theater. Students found that the use of digital tools to perform text analysis, mapping, and network visualization sparked new scholarly ideas about nineteenth-century theatre.


1970 ◽  
Vol 11 (2) ◽  
pp. 187-200 ◽  
Author(s):  
A. Richard Sogliuzzo

Edward H. Sothern and Julia Marlowe, two of the most popular Shakespearean actors in the history of the American theatre, are usually regarded as practitioners of a fading nine-nineteenth-century tradition in American acting. The judgment is essentially correct. They acted Shakespeare in the spirit of the “gentlemanly” melodrama: excluding the ugly and exalting the beautiful. Julia expressed the philosophy that guided the Sothern-Marlowe productions: “For the Land of Romance for that I was bound, and I desired those who were tired or troubled to follow.” However, the repeated reference to “natural” acting both in Sothern and Marlowe's discussions of acting as well as the judgments of certain of their contemporaries indicate that they were at least responsive to the trend toward naturalistic Shakespearean acting of the twentieth century.


Author(s):  
Hendrik Hartog

In this intriguing book, Hendrik Hartog uses a forgotten 1840 case to explore the regime of gradual emancipation that took place in New Jersey over the first half of the nineteenth century. In Minna’s case, white people fought over who would pay for the costs of caring for a dependent, apparently enslaved, woman. Hartog marks how the peculiar language mobilized by the debate—about care as a “mere voluntary courtesy”—became routine in a wide range of subsequent cases about “good Samaritans.” Using Minna’s case as a springboard, Hartog explores the statutes, situations, and conflicts that helped produce a regime where slavery was usually but not always legal and where a supposedly enslaved person may or may not have been legally free. In exploring this liminal and unsettled legal space, Hartog sheds light on the relationships between moral and legal reasoning and a legal landscape that challenges simplistic notions of what it meant to live in freedom. What emerges is a provocative portrait of a distant legal order that, in its contradictions and moral dilemmas, bears an ironic resemblance to our own legal world.


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