... The Digressions in “Beowulf.” By ADRIENBON JOUR. Oxford : Basil Blackwell, Medium Evum Monographs V, 1950. Pp. mi + 80. 7s. 6d. The Audience of “Beowulf.” By DOROTHYWHITELOCK. Oxford : Clarendon Press, 1951. Pp. vi + 1.11. 10s. 6d.; $2.50. Dr. Bonjour’s detailed study...

.... Particularly at Tamburlaine’s death, which concludes the play, the audience is left with the re-affirmation of his philosophy of conquest and the prophecy of his reception into heaven. If this is Marlowe’s way of passing moral judgment on Tamburlaine, it is indeed a strange one. Finally, Mr...

...OTTO REINERT HAUGEN EINAR. Minneapolis: University of Minnesota Press, 1979. ix + 185 pp. $15.00, cloth; $6.95, paper. Copyright © 1980 by Duke University Press 1980 OTTO REINERT 199 Ibsen’s Drama: Author to Audience. By EINARHAUGEN...

.... DISGUISE AND THE AUDIENCE IN CONGREVE* By HAROLDWEBER The recent appearance on different sides of the Atlantic of Jocelyn Powell’s Restoration Theatre Production and Judith Milhous and Robert D. Hume’s Producible Interpretation...

...Peggy Samuels Copyright © 1988 by Duke University Press 1988 THE AUDIENCE WRITTEN INTO THE SCRIPT OF WEDREAM OF WEROOD By PEGGYSAMUELS For many contemporary...

...J. L. Styan William Willeford. Evanston: Northwestern University Press, 1969. xxii + 266 pp. $8.50. Copyright © 1970 by Duke University Press 1970 REVIEWS The Fool and His Scepter: A Study in Clowns and Jesters and Their Audience...

...Richard I. Cook Copyright © 1963 by Duke University Press 1963 THE AUDIENCE OF SWIFT’S TORY TRACTS, 1710-14 By RICHARDI. COOK If, as Aristotle puts it, the art of rhetoric lies in “discovering in the particular case what are the available means...

..., Drama ud Audience in Goethe’s Gernrany. By W. H. BUUFORD. London: Routledge & Kegan Paul Ltd., 1950. Pp. xi + 388. 21s. The preface states that this work is not historical and that emphasis will be given to subjects which have not hitherto been treated in English. This .does not seem...

...Carl R. Woodring Copyright © 1956 by Duke University Press 1956 THE AIMS, AUDIENCE, AND STRUCTURE OF THE DRAPIER’S FOURTH LETTER By CARLR. WOODRING Many an undergraduate has noticed for himself that the famous satires of Dean Swift lack...

... as it looked at the beginning of the discontinuous 1980s. NELSONHILTON University of Georgia Robert Browning: His Poetry and His Audiences. By LEEERICKSON. Ithaca and London: Cornell University Press, 1984. 287 pp. $25.00...

... on orally from performer to performer and from performer to audience, blackface minstrels sought to reassure the middle classes that they were emulating more sophisticated European musical traditions. What both the covers and the contents of post-1843 blackface sheet music reveal is that these minstrels...

...,” collections of songs from various locales in his native northeastern England. Lacking the explanatory prefaces and footnotes that might make meaning available to broader or later audiences, Ritson's garlands targeted a decidedly ephemeral local community in the present. In the face of dominant antiquarian...

... to literary texts illuminates how minor language modernist writing contains a self-awareness that not only addresses a cosmopolitan audience but also preserves the contingent and shifting parameters of local linguistic communities. Allison Schachter is assistant professor in the Program in Jewish...

...David Randall In Habermasian theory, the bourgeois public sphere was preceded by a literary public sphere whose favored genres revealed the interiority of the self and emphasized an audience-oriented subjectivity. This essay argues that the association of this early modern literary discourse...

... corollaries to Wilde's, illustrating that contemporary audiences understood Wilde's and Strauss's projects as compatible and complementary rather than divergent, as later scholars have argued. At a time when the relationship between the symbolist-decadent and modernist aesthetics was very much in flux...

...: the literary antiauthoritarianism in his drama (the irony granting audiences the freedom of interpretation) perfectly matched the political antiauthoritarianism (liberalism) advocated by the likes of Adam Smith and John Stuart Mill. Thus it is possible to speak of bardolatry as an allegorical intertext...

... of the nineteenth century shows that the novels and stories alone did not bring about a widespread shift in English prose style. Before such a transformation could happen, his theoretical statements about style in the correspondence needed to be shared with and interpreted for a new audience. Flaubert’s fiction did...

... of the methodological impasses of contemporary literary studies. Epideixis, a basic mode of pointing or linguistic ostension, confers value, often by way of praise or blame, without trying to persuade its audience with the practical immediacy of political or forensic rhetoric. Drawing on the ordinary language...

... to a mainstream Anglophone audience: Joris-Karl Huysmans’s En Route (1895, trans. 1896) and La cathédrale (1898, trans. 1898) and Pierre Louÿs’s Aphrodite: Mœurs antiques (1896, trans. 1900 and 1906) and La femme et le pantin (1898, trans. 1908). By reading letters, memoirs, and prefaces alongside periodical...

... agreement between Kracauer’s account, in essays written during the mid- to late 1920s, of how a modern urban public “consumed” movies and Auerbach’s description of the audiences of early modern French tragedy in the to all appearances highly academic book The French Public of the Seventeenth Century...