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001 9780429347344
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006 m o d
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008 191106s2019 nyu o 000 0 eng d
040 _aOCoLC-P
_beng
_erda
_epn
_cOCoLC-P
020 _a9780429347344
_q(electronic bk.)
020 _a0429347340
_q(electronic bk.)
020 _a9781000699418
_q(electronic bk. : PDF)
020 _a1000699412
_q(electronic bk. : PDF)
020 _a9781000699654
_q(electronic bk. : Mobipocket)
020 _a100069965X
_q(electronic bk. : Mobipocket)
020 _a9781000699890
_q(electronic bk. : EPUB)
020 _a1000699897
_q(electronic bk. : EPUB)
020 _z9780367366216
035 _a(OCoLC)1126570875
035 _a(OCoLC-P)1126570875
050 4 _aPR4714
072 7 _aLIT
_x000000
_2bisacsh
072 7 _aDS
_2bicssc
082 0 4 _a822.8
_223
100 1 _aMoore, Richard,
_d1945-
_eauthor.
245 1 0 _aGenres and Provenance in the Comedy of W.S. Gilbert :
_bPipes and Tabors /
_cRichard Moore.
250 _aFirst edition.
264 1 _aNew York :
_bRoutledge,
_c2019.
300 _a1 online resource (x, 336 pages).
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
490 1 _aRoutledge studies in nineteenth-century literature ;
_v2
505 0 _aIntroduction : Intention and Parameters. Part One : Background and Developments Part Two : Genres and Their Treatment : a) Masque, Dumb-Show and the Pastoral b) Irish Drama: Examples from Boucicault and Elsewhere c) Opera, Tragedy and Politics : The Burlesque Response d) Nautical Burlesque c) Burlesque Melodrama and Gothic Parody d) Burlesque Sensation e) Nonsense and Surrealism. f) Pantomime g) Genres of the Supernatural : Fairies, Diabolism and the Realm of Magic h) Farce as a genre and expression of the Comic Spirit. Part Three : Other genres and Concluding Observations.
520 _aIn The Progress of Fun W.S. Gilbert was considered, not as a 'classic Victorian', but as part of an on-going comedic continuum stretching from Aristophanes to Joe Orton and beyond. Pipes and Tabors continues the story, covering the comedic experience differently by reference to genres. Here - treated in relation to a line of significant others - we discover how Gilbert responded to areas such as the Pastoral, the Irish drama, nautical scenarios, melodrama, sensation-theatre, the nonsensemode, pantomime spectaculars, fairy plays, and classical farce. Also included is a wider look at his relation to various European musical forms and (for instance) to the English line of wit and the Elizabethan pamphleteers. To consider a writer not so much by a study of individual works as by threads of linking generic modes tells us a great deal about cultural interconnections and the richly textured nature of theatrical experience. Pipes and Tabors offers a tapestry of overlapping genres and treatments, showing not just the design of the finished products but the shreds and patches which form the underside of the weave. According to Dorothy L. Sayers, life itself offers us the apparent loose ends of a design which will only be revealed from the front after death. In terms of Gilbertian comedy, we are privileged to be able to track both the effort of the weave and the skill of the finished product. On the way we will also discover some new links and sub-text implications about other 19th century denigrated groups which were buried from sight for too long.
588 _aOCLC-licensed vendor bibliographic record.
650 7 _aLITERARY CRITICISM / General
_2bisacsh
600 1 0 _aGilbert, W. S.
_q(William Schwenck),
_d1836-1911
_xCriticism and interpretation.
650 0 _aEnglish drama (Comedy)
_xHistory and criticism.
856 4 0 _3Taylor & Francis
_uhttps://www.taylorfrancis.com/books/9780429347344
856 4 2 _3OCLC metadata license agreement
_uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
999 _c73573
_d73573