...Donald F. Bond Copyright © 1944 by Duke University Press 1944 POPE’S CONTRIBUTIONS TO THE SPECTATOR By DONALDF. BOND The extent of Pope’s contributions to the Spectator has remained something of a mystery. In the last number of the original...

...Albert Furtwangler Copyright © 1977 by Duke University Press 1977 THE MAKING OF MR. SPECTATOR By ALBERTFURTWANGLER Addison and Steele had a very practical reason for creating the ficti- tious editors of their periodical works: canny self...

...Michael G. Ketcham Copyright © 1981 by Duke University Press 1981 THE ARTS OF GESTURE THE SPECTATOR AND ITS RELATIONSHIP TO PHYSIOGNOMY, PAINTING, AND THE THEATER By MICHAELG. KETCHAM In Spectator No. 4, Richard Steele...

...Richmond P. Bond Copyright © 1957 by Duke University Press 1957 A LETTER TO STEELE ON THE SPECTATOR By RICHMONDP. BOND Joseph Collet, after suffering bankruptcy, gained appointment as deputy governor of York Fort...

.... There is no doubt what- ever that the letters were popular. Some 800 were published in the 900 issues of the Tatter and Spectator, and a great many more were received by the editors nhich, for one reason or another, never got into print. In 1725 Charles Lillie brought out a two-volume collection...

... culture's end-driven tendencies by taking the viewing process out of the viewer's hands. While readers can read novels as they please, visual technologies function independently of the spectator. From them, James thought, twentieth-century novelists might derive formal strategies to solve the problem...

... synthesis.) It is to the second of these-irony as dramatic device-that this study addresses itself, in particular to irony as a device for reveal- ing character and for controlling the spectator’s reactions. Hans Karl Buhl, the charming but problematical aristocrat who forms the center...

... spectator response. Like the fable, the drama presents a specific action in order to instruct: to give striking formulation to a known truth or to broaden the spectator’s knowledge beyond the limits of his previous experience.2 In essence, it is a model case, a demonstration-“this is what...

... In these and similar discussions of the relationship of Bodmer and Breitinger to other literatures it has been sufficiently demonstrated that the Swiss borrowed freely and sometimes indiscriminately not only from the Spectator, but from French, Italian, and classical sources as well. Even those who...

... dramatic form” (p. vii) is realized, first in the dramatist’s imagi- nation and then in the theater. His concern is with the consumer of the arti- fact rather than with the artifact itself or its making. For Van Laan, a play is a succession of events in the mind of an ideal spectator responding...

... and the undoing of women, Catherine ClC- ment highlights the seminal contradiction that in opera women are more than indispensable ornament and centrally occupy the staged scene, yet never are the spectators more moved than when these women sing their eternal undoing, their song of death. As Madame...

... les règles est de plaire” (rule of all rules is to please) (Dotoli, 103). This particular kind of pleasure was the product of an increasing distance between the stage and the spectator, who “cannot himself be a part of the [theatrical] illusion.”2 What these discussions ignore...

... the spectator, upon the improvement of society. Entertainment, Brecht says here, is often considered to be diametrically opposed to the didactic-the didactic thought of as useful, entertainment as pleasant. But this antinomy of “Lernen” and “sich Amusieren” need not be real. Indeed...

... Strachey, brother and literary executor of the biographer. Mr. Strachey has very gen- erously allowed me to record on microfilm many of the unpublished manuscripts and to use them, together with a number of uncollected reviews by Lytton Strachey published in the Spectator, in this study...

... him- self frankly and freely to the spell, as the common man, reader or spectator, either, should do. “Laissons-nous aller de bonne foi,” i\loli&re begs us, “aux choses qui nous prennent par les entrailles.” If the critic had responded generously and adequately to the situa- tion...

...Claude E. Jones John Loftis. Stanford: Stanford Studies in Language and Literature, XIX, 1959. Pp. xiii + 154. $4.00. Copyright © 1960 by Duke University Press 1960 270 Rc&zvs relate each letter to the issue of the Tatlcr or Spectator which called...

... a shadow game with the submerged sentiments of its more sophisticated spectators, sometimes penetrating the fantasy and visionary world we ‘Early English Stages, 1300 to 1660, Vol. I: 1300 to 1576 (London and New York, 1959). J. L. STYAN 327...

... insisted that acting a play was a very real activity of consent and imagination between player and spectator. The attempt to break away from proscenium illusion succeeded as much through the staging as the setting.12 Performance seemed to be thrust forward in movement over three fluid...

... as synergy, about the lovedeath? Kramer is very good at dealing with this typical nineteenth-cen- tury fiction: Only the spectator can both experience and survive the lovedeath. Only the spectator can both “have”jouissance like a woman (the imaginary experience) and “know” it like...

... from the audience into the world of the play and that they “do not even try to leave the spectators behind” when they do so has been blamed for the play’s failure to create “a real- istic, three-dimensional image of life” and for its “imperfect sense of dramatic objectivity.”2 Those who...