'All the World's a Stage': Dramatic Sensibility in Mary Shelley's NovelsThis book examines the often tragic and nearly always disabling metaphor of thetheatrum mundi, world-as-stage, as it plays itself out in the characters of Mary Shelley's novels. |
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Page 10
... appearing on the stage in these plays are there not simply because they were caught by the playwright in dramatic postures as a camera might catch them , but because they themselves knew they were dramatic before the playwright took ...
... appearing on the stage in these plays are there not simply because they were caught by the playwright in dramatic postures as a camera might catch them , but because they themselves knew they were dramatic before the playwright took ...
Page 20
... appeared to have no reservations about attending the theater and viewing various productions . Emily Sunstein describes such an outing that Shelley made in August 1824 to see Carl Maria von Weber's Der Freischutz , whose " Gothic stage ...
... appeared to have no reservations about attending the theater and viewing various productions . Emily Sunstein describes such an outing that Shelley made in August 1824 to see Carl Maria von Weber's Der Freischutz , whose " Gothic stage ...
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Page 36
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Page 38
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Contents
Frankenstein Storytelling as Dramatic Performance | 35 |
Mathilda Life as Theatrical Production | 61 |
The Last Man Autobiography as Drama | 85 |
Valperga Theatrical Plots and Dramatic Intrigue | 109 |
Perkin Warbeck Problematic Roles and Identities | 131 |
Lodore Public Spectacle and Private Lives | 151 |
Falkner The Illusion of Romance | 167 |
Conclusion | 181 |
Index | 205 |
Other editions - View all
'All the World's a Stage': Dramatic Sensibility in Mary Shelley's Novels Charlene Bunnell Limited preview - 2013 |
'All the World's a Stage': Dramatic Sensibility in Mary Shelley's Novels Charlene Bunnell No preview available - 2014 |
Common terms and phrases
action actor appeared assumes attempt audience Beatrice become believed Castruccio characters cited in text conventions Cornelia create creature critics daughter death demonstrates depict describes desire Despite direct domestic drama dream effect Elizabeth England English Ethel Euthanasia existence experience Falkner fate father feel fiction figure finds Frankenstein Gothic heart hereafter cited hero heroine hope human illusion imagination Italy Journals Katherine Lady language Last later letter Lionel literary lives Lodore London Mary Shelley Mathilda metaphor mother narrative narrator nature never notes novel observer once passion perceive performance perhaps Perkin Warbeck play political present Raymond reality reason recognizes record refers reflects result reveals Richard role Romantic scene sensibility setting Shelley's social stage story subjectivity suggests tale tells theater theatrical thought tragedy tragic University Press Valperga Victor Walton writes York young