跳到内容
Bertram, or, The castle of St. Aldobrand 预览资料
关闭预览资料
正在查...

Bertram, or, The castle of St. Aldobrand

著者: Charles Robert Maturin
出版商: Oxford [England] ; New York : Woodstock Books ; Rutherford, N.J. : Distributed in USA by Publishers Distribution Center, 1992.
丛书: Revolution and romanticism, 1789-1834.
版本/格式:   Print book : 英语查看所有的版本和格式
数据库:WorldCat
提要:
"The author of Melmoth the wanderer (1820) was an Anglican curate in Dublin struggling to maintain his family when Bertram, with the support of Scott and Byron, was produced at Drury Lane. It is a play of violent and excessive emotions. Kean played the title role, one of those villain-heroes descended from Schiller's Moor, and made the part his own. There were opportunities for elaborate stage effects, notably the  再读一些...
评估:

(尚未评估) 0 附有评论 - 争取成为第一个。

主题
更多类似这样的

 

在图书馆查找

&AllPage.SpinnerRetrieving; 正在查找有这资料的图书馆...

详细书目

附加的形体格式: Online version:
Maturin, Charles Robert, 1780-1824.
Bertram, or, The castle of St. Aldobrand.
Oxford [England] ; New York : Woodstock Books ; Rutherford, N.J. : Distributed in USA by Publishers Distribution Center, 1992
(OCoLC)645853770
文件类型:
所有的著者/提供者: Charles Robert Maturin
ISBN: 1854771205 9781854771209
OCLC号码: 26855232
注意: Originally published 1816.
描述: 94 pages ; 21 cm.
丛书名: Revolution and romanticism, 1789-1834.
其他题名: Bertram
Castle of St. Aldobrand
责任: Charles Maturin.

摘要:

"The author of Melmoth the wanderer (1820) was an Anglican curate in Dublin struggling to maintain his family when Bertram, with the support of Scott and Byron, was produced at Drury Lane. It is a play of violent and excessive emotions. Kean played the title role, one of those villain-heroes descended from Schiller's Moor, and made the part his own. There were opportunities for elaborate stage effects, notably the storm in the first act. The audience was in the mood for Gothic melodrama, and the production was a resounding success, making for its author about 1,000. Coleridge (whose Remorse three years earlier earned 400) wrote a destructive critique of the play: though audiences of today's Theatre of Cruelty, used to drama dealing in emotional states rather than character and narrative, are unlikely to find his criticisms as devastating as Maturin did at the time. And the language, mocked by Coleridge, in its quieter passages has a steady power."--Jacket.

评论

用户提供的评论
正在获取GoodReads评论...
正在检索DOGObooks的评论

标签

争取是第一个!

相似资料

相关主题:(1)

确认申请

你可能已经申请过这份资料。如果还是想申请,请选确认。

链接数据


<http://www.worldcat.org/oclc/26855232>
library:oclcnum"26855232"
library:placeOfPublication
library:placeOfPublication
library:placeOfPublication
library:placeOfPublication
rdf:typeschema:Book
schema:about
schema:about
schema:alternateName"Bertram"@en
schema:alternateName"Castle of St. Aldobrand"@en
schema:creator
schema:datePublished"1992"
schema:exampleOfWork<http://worldcat.org/entity/work/id/5150554>
schema:inLanguage"en"
schema:isPartOf
schema:name"Bertram, or, The castle of St. Aldobrand"@en
schema:publication
<http://www.worldcat.org/title/-/oclc/26855232#PublicationEvent/oxford_england_new_york_woodstock_books_rutherford_n_j_distributed_in_usa_by_publishers_distribution_center_1992>
rdf:typeschema:PublicationEvent
schema:location
schema:location
schema:location
schema:organizer
schema:organizer
schema:startDate"1992"
schema:publisher
schema:publisher
schema:reviews
rdf:typeschema:Review
schema:itemReviewed<http://www.worldcat.org/oclc/26855232>
schema:reviewBody""The author of Melmoth the wanderer (1820) was an Anglican curate in Dublin struggling to maintain his family when Bertram, with the support of Scott and Byron, was produced at Drury Lane. It is a play of violent and excessive emotions. Kean played the title role, one of those villain-heroes descended from Schiller's Moor, and made the part his own. There were opportunities for elaborate stage effects, notably the storm in the first act. The audience was in the mood for Gothic melodrama, and the production was a resounding success, making for its author about 1,000. Coleridge (whose Remorse three years earlier earned 400) wrote a destructive critique of the play: though audiences of today's Theatre of Cruelty, used to drama dealing in emotional states rather than character and narrative, are unlikely to find his criticisms as devastating as Maturin did at the time. And the language, mocked by Coleridge, in its quieter passages has a steady power."--Jacket."
schema:workExample
umbel:isLike<http://bnb.data.bl.uk/id/resource/GB9311442>
wdrs:describedby

Content-negotiable representations

关闭窗口

请登入WorldCat 

没有张号吗?很容易就可以 建立免费的账号.