Magazine Miniatures: Portraits of Actresses, Princesses, and Queens in Late Eighteenth-Century Periodicals

2018 ◽  
Author(s):  
Laura Engel
Keyword(s):  
Eighteenth Century ◽  
Visual Display ◽  
Elizabeth Inchbald ◽  
Mary Robinson ◽  
Sarah Siddons ◽  
Late Eighteenth Century ◽  
Individual Character ◽  
Late Eighteenth ◽  
The Creation ◽  
Royal Women

This essay explores images of actresses, queens and princesses in late-century periodicals. Comparing portraits of Sarah Siddons, Mary Robinson, and Elizabeth Inchbald to images of Queen Charlotte and Princess Charlotte Augusta, Laura Engel argues that periodical portraits function as celebrity pin-ups (versions of the same image) as well as markers of individual character (celebrating specificity and originality), thus participating in the creation of ideas about women’s claim to fame, legitimacy, and visibility. Readers could ‘own’ an image of their favourite player by purchasing a periodical, and could also feel connected to royal women, who resembled their most cherished theatrical stars. At the same time, the legitimacy bestowed on queens and princesses transferred visually to famous actresses who appeared in very similar costumes and poses. Looking closely at the ways in which artists employed similar iconography in these portraits, suggests ways of seeing that, Engel contends, connect to contemporary modes of visual display, particularly to the repetition and serial nature of pictures on Facebook, which promote a sense of intimacy and familiarity with the portrait’s subject that is ultimately a construction. Periodical portraits thus foreground the inherent tension between formality and intimacy highlighted in images of celebrated women.

The Center Holds

2020 ◽  
pp. 90-123
Author(s):  
Aaron Sheehan-Dean
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Central Authority ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Creation ◽  
The U.S

Over the course of the mid-nineteenth-century wars, the dominant powers (Britain, the U.S., Russia, and Qing China) came to espouse a surprisingly similar orientation toward legitimate statehood. While the liberation wars of the late-eighteenth century witnessed the creation of many new republics, by midcentury those republics and the empires that had survived pursued greater central authority. Although sometimes at odds with liberal rhetoric of the age (especially among reforming Republicans in the U.S.), these actors recognized the importance of coercion of violence to maintaining their states. The victory of centralized authority, whether it took the form of empires or republics, reinforced the power of established states and of organized, aggressive defense of that order.

scholarly journals La creación de los Vales Reales = The creation of the Vales Reales

2016 ◽  
pp. 17
Author(s):  
Pedro Damián Cano Borrego
Keyword(s):  
Eighteenth Century ◽  
Public Debt ◽  
Precious Metals ◽  
Economic Problems ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Status ◽  
The Creation ◽  
Carlos Iii

<p>A<strong> </strong>finales del siglo XVIII la Monarquía adolecía de graves problemas económicos, derivados del estado permanente de guerra en el que se hallaba sumido el Reino, que impedía la arribada de remesas de metales preciosos y suponía unos ingentes gastos, lo que llevó a que a finales del reinado de Carlos III se creasen los Vales Reales, a modo de deuda pública. Por sus características, fueron desde el principio títulos de renta, amortizables en plazos más o menos grandes, dependiendo de las cláusulas que regían sus emisiones en un principio y más tarde de la situación del Tesoro Público.</p><p>In the late eighteenth century the Spanish monarchy had serious economic problems arising from the permanent state of war in which they had sunk the Kingdom, which prevented the arrival of remittances of precious metals and assumed a heavy expenses, which led to the end the reign of Carlos III the creation of the <em>Vales Reales</em>, a kind of public debt. By their nature, they were from the beginning income securities, redeemable in larger or smaller periods, depending on the terms governing their emissions at first and later on the status of Treasury</p>

Anne Young’s Musical Games (1801): Music Theory, Gender, and Game Design

2018 ◽  
Vol 4 (2) ◽  
Author(s):  
Carmel Raz
Keyword(s):  
Eighteenth Century ◽  
Music Theory ◽  
Game Design ◽  
History Of Education ◽  
Board Game ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
History Of ◽  
The Creation ◽  
Music Theorist

In 1801, the Scottish music theorist Anne Young (1756-1827) created an elaborate board game set designed to teach musical fundamentals. This video offers some thoughts on the creation and reception of her works, contextualizing their creation and reception within the history of education in late eighteenth century Britain.

Sarah Siddons and Her Place in Rhetorical History

2007 ◽  
Vol 25 (4) ◽  
pp. 413-434 ◽  
Author(s):  
Lindal Buchanan
Keyword(s):  
Eighteenth Century ◽  
Public Spaces ◽  
Public Acceptance ◽  
Rhetorical History ◽  
Sarah Siddons ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Maternal Performance ◽  
Delivery Style

Abstract Actors, who deliver the words of playwrights rather than their own, have largely been disregarded by rhetorical scholars despite the fact that the theatrical stage was one of the first arenas in which women struggled to gain public acceptance. A noteworthy public woman in this regard was Sarah Siddons, the late-eighteenth-century actor whose talent and influence led to her recognition as an exemplar of delivery in such rhetorical manuals as Gilbert Austin's Chironomia (1806) and Henry Siddons's Practical Illustrations of Rhetorical Gesture and Action (1807). This article recovers Siddon's rhetorical legacy by examining her distinctive delivery style, emotional powers, and maternal performance in public spaces.

scholarly journals Tradition, Innovation, and Experimentation: The Dramatic Stage and New Modes of Performance in Late Eighteenth-Century Naples

2016 ◽  
Vol 36 (1) ◽  
pp. 139-172
Author(s):  
Anthony R. DelDonna
Keyword(s):  
Eighteenth Century ◽  
Northern Europe ◽  
Late Eighteenth Century ◽  
Modes Of Representation ◽  
Late Eighteenth ◽  
The Creation ◽  
Reform Culture ◽  
The City ◽  
Royal Theater

Naples in the last thirty years of the eighteenth-century was characterized by a fervent climate of theatrical experimentation. Although too often viewed as the last stronghold of Metastasian dramatic principles and traditions, the city was deeply influenced by the “reform culture” of Northern Europe. These exterior influences were bolstered by the contributions of local practitioners, whether composers, performers, and theorists. This essay is a brief consideration of how the ideas of “reform culture” affected contemporary Neapolitan theatrical practices and the emergence of new works in the city. A critical source for “reformed” theatrical philosophy was the work of Antonio Planelli (1747–1803), whose treatise Dell’opera in musica (1772) is a significant exploration and commentary on the dramatic stage of the Bourbon capital. Progressing from theatrical philosophy to existing practice, I will consider how the prevailing conditions animated the creation of the largely unknown cantata/pastorale/opera, La pietà d’amore (1782) by the singer, composer, and Calzabigi protégé Vito Giuseppe Millico (1737–1802), created expressly for Naples under the sway of reform principles and his direct collaborations with the poet of Orfeo, Alceste, and Paride ed Elena. My study concludes with an examination of the emergence of the so-called “Lenten tragedy” or azione sacra per musica, a theatrical form created in the exclusive environs of the Teatro di San Carlo, the royal theater of the Bourbon capital, yet imparting a new theatrical aesthetic and modes of representation for contemporary sacred genres consistent to select ideals of reform culture.

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