Royall Tyler

Royall Tyler (b. 1757–d. 1826) was born to a prominent merchant family in Boston and came of age in the decades leading up to the American Revolution. He entered Harvard College in 1771 and earned his bachelor of arts degree three months after the Declaration of Independence was signed in 1776. Tyler then enlisted in the Revolutionary Army, although he remained in Boston and Cambridge studying law. His active military service seems to have been limited to serving as a brigade major during the unsuccessful 1778 attempt to capture Newport, Rhode Island. As the war continued, Tyler earned his master of arts degree from Harvard in 1779 and engaged in a failed courtship of Abigail Adams, the daughter of future president John Adams. After the war, Tyler became involved in the suppression of Shays’ Rebellion in 1786. When Daniel Shays fled to Vermont, Tyler was assigned to negotiate with authorities in New York, which still laid claim to the territory, to ensure that the rebel did not find safe harbor. In New York City Tyler launched his literary career; in April 1787, The Contrast began its run in New York as the first professionally produced American comic drama and one of the first successful American plays. Months later Tyler produced a second play, May Day in Town, that is no longer extant. In 1790, Tyler returned to Boston and married Mary Palmer, who would later publish the first American manual for infant care. They relocated to Vermont, where the couple remained for the rest of their lives. In the years to follow, Tyler published numerous poems and essays, including a popular series of essays in collaboration with Joseph Dennie under the title of “Colon & Spondee.” In 1797, Tyler published the novel The Algerine Captive, which achieved moderate success and was one of the first American books to be republished in Great Britain. In the 1800s and 1810s Tyler served for six years as the chief justice of the Vermont Supreme Court and launched a failed bid for the U.S. Senate. He completed several new plays, including his biblical dramas and the epistolary satire The Yankey in London (1809). At the time of his death in 1826 he was rewriting the first half of The Algerine Captive as a New England picaresque titled The Bay Boy, which would remain unpublished until 1968.

Mademoiselle from Malibu: Eighteenth-Century Pastoral Romance, H-Bombs, and the Collaborative, Intertextual Gidget

Mostly dismissed as a trivial entertainment, Frederick Kohner’s Gidget: The Little Girl with Big Ideas (1957) is in fact a telling aesthetic and cultural document. University of Vienna PhD, Jewish exile from Nazi Germany, and successful Hollywood screenwriter Kohner empathetically fictionalized his teenage daughter’s adventures with the original Malibu surf crew and in the process vividly signaled the emergence of a rebellious postwar youth culture. Just as interesting is the way Kohner’s entertaining comic drama of feminist awakening plays out through an intriguingly complex narrative voice, one blurring distinctions between its California teen daughter-protagonist-narrator and the father-author, both learned European exile and savvy Tinseltown operator. In subtly decisive ways, Kohner intervenes allusively and intertextually in the central narrative to anchor buoyant personal history in larger philosophical and political questions, in a cosmopolitan resistance to American puritanical norms, and in knowing reflection on contemporary discussions of representation and image. Gidget is a surprisingly postmodern textual space of disruption and juxtaposition that compellingly addresses its stealth core subject, a postwar America with its Western philosophical baggage and political and historical burden fumbling awkwardly forward toward new social and gender models.

How can teachers effectively use student dialogue to drive engagement with ancient drama? An analysis of a Year 12 Classical Civilisation class studying Aristophanes’ Frogs

Within this article I aim to explore how greater student dialogue in the classroom can drive engagement with ancient drama. As part of the Classical Civilisation A Level specification, students need to demonstrate knowledge and awareness in the examination of how Aristophanes’ Frogs might have been performed on stage and its possible reception by a classical audience. This research investigates how teachers can effectively encourage student discourse in the classroom for students to engage with and analyse Frogs as a piece of comic drama, rather than simply as an A Level set text.

Thwarting Repair: Gutter, Stutter, Are You My Mother?

Alison Bechdel’s graphic memoir Are You My Mother? A Comic Drama (2012) presents an interesting challenge to literary critics: as an object that extensively theorizes itself, it leaves little room for interpretation beyond its surface-level claims. This article reads against the grain of Are You My Mother? ’s own analysis in order to make room for readings that resist taking the text at its word. Although Are You My Mother? proclaims loyalty to the psychoanalytic theories of Donald Winnicott, Bechdel employs the metaphor of the mirror and the formal qualities of comics to complicate the reductive assertions of her avatar’s own narration. Ultimately, despite all its surface-level attachments to Winnicott’s version of mental and emotional health, Are You My Mother? ’s formal strategies end up revealing Bechdel’s deep ambivalence toward concepts like reparation, authenticity, and psychic wholeness.

ANALISIS IMPLIKATUR PERCAKAPAN DALAM DORAMA DORAEMON THE MOVIE “STANDBY ME” (KAJIAN PRAGMATIK)

Abstrak: Dalam penelitian ini akan ditelaah tentang implikatur percakapan berdasarkan pada drama komik. Hal ini dikarenakan bahasa yang digunakan dalam komik adalah bahasa yang dipakai sehari-hari. Oleh karena itu, penulis ingin menelaah implikatur percakapan berdasarkan pada dorSama Doraemon The Movie “Standby me”. Dalam penelitian ini penulis memfokuskan pada dua rumusan masalah. Pertama, apa saja jenis-jenis implikatur percakapan yang terdapat dalam dorama Doraemon The Movie ”Standby me”? kedua, bagaimanakah pelanggaran maksim yang terdapat di dalam implikatur percakapan dorama Doraemon The Movie ”Standby me”? Penelitian ini menggunakan metode deskriptif kualitatif. Hasil dari penelitian ini penulis menemukan 3 jenis implikatur percakapan diantaranya adalah implikatur percakapan umum, berskala dan khusus. Dan ada 4 pelanggaran maksim yaitu maksim cara, maksim kualitas, maksim relevansi dan maksim kuantitas.Kata kunci: Implikatur, Percakapan, Doraemon, Pragmatik Abstract: In this research, we will examine the conversational implicature based on comic drama. This is because the language used in comics is the language used daily. Therefore, the author would like to examine the implications of conversations based on dorSama Doraemon The Movie "Standby me". In this study the authors focus on two problem formulations. First, what are the types of conversational implicature in Doraemon The Movie's drama "Standby me"? second, how is the maxim violation contained in Doraemon The Movie's speech implications "Standby me"? This study used descriptive qualitative method. The results of this study the authors found 3 types of conversational implicature include general, scale and special conversational implicature. And there are 4 violations of the maxim that is the maxim of the way, the quality of the maxim, the maxim of relevance and the maxim of the quantity.Keywords: Implicature, Conversation, Doraemon, Pragmatics

Formal Experimentation and Theories of Fiction

This chapter situates the theory and practice of the early novel in the context of developing ideas about literary art in general. It argues that issues such as the relationship between fiction and probability, or between historical fact and allegorical truth, belonged to a wider and evolving discussion of literary art. The neoclassical rules that predominated in the Restoration came under challenge in the early eighteenth century, a reassessment that facilitated the ‘rise of the novel’ after 1740. On the other hand, the evident exclusion of the novel from an authoritative classical tradition made this ambiguous form artistically undisciplined and morally suspect. Particularly as the outlaw ‘novel’ began to gain a real foothold in the print marketplace during the 1720s, proving its ability to captivate readers in ways not authorized in neoclassical theory, it needed to be harmonized with the tradition of the epic, comic drama, and other ancient genres.