FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2063669777> ?p ?o ?g. }

• W2063669777 endingPage "338" @default.
• W2063669777 startingPage "317" @default.
• W2063669777 abstract "Those Simple Signs: The Performance of Emotion in Elizabeth Inchbald's A Simple StoryNora Nachumi In an oft-quoted letter to Elizabeth Inchbald, Maria Edgeworth analyses the emotional impact of A Simple Story. I am of the opinion, she writes, that it is by leaving more than most other writers to the imagination that you succeed so eminently in affecting it. By the force it is necessary to repress feeling we judge of the intensity of that feeling and you always contrive to give us by intelligible but simple signs the measure of this force.1 Edgeworth's opinion about the power of silence and simple signs draws our attention to the way in which Inchbald dramatizes her characters' emotions through their bodies, a technique that points to an important 1 James Boaden, Memoirs ofMrs. Inchbald: Including her Familiar Correspondence with the Most DistinguishedPersonsofher Time.... (London: Richard Bentley, 1833), 2:152-53. Unless otherwise noted, biographical material is based on information contained in Boaden's memoir. A friend of Inchbald's, Boaden had access to her papers, most of which were later lost or destroyed. For her PhD dissertation, A Feeling Mind: TheEarly Career ofElizabeth Inchbald, 1753-1821 (Graduate Center ofthe City University ofNew York, 1984), Cecilia Macheski located halfa dozen Inchbald pocket memorandum books at the Folger Library. Roger Manvell's biography, Elizabeth Inchbald: England's Principal Woman Dramatist and Independent (Lanham, NY, and London: University Presses of America, 1987), focuses on her literary career. Important shorter pieces include Gary Kelly's chapter on Inchbald in The English Jacobin Novel: 1780-1820 (Oxford: Clarendon Press, 1976) and Katherine Rogers, Britain's First Woman Drama Critic: Elizabeth Inchbald, Curtain Calls: British and American Women in the Theatre, 1660-1820 (Athens: Ohio University Press, 1991), pp. 277-90. EIGHTEENTH-CENTURY FICTION, Volume 11, Number 3, April 1999 318 EIGHTEENTH-CENTURY FICTION connection between many eighteenth-century novels and the eighteenthcentury stage. By the end of the century, the novel was a literary form defined by distinct characteristics, including its ability to allow readers direct access into the interior lives ofits characters. As Michael Fried and Alan McKenzie have noted, however, many eighteenth-century novelists were profoundly influenced by other modes of representation, including painting and theatrical performance.2 Like her peers, Inchbald came of age at a time when these sister arts had trained audiences to recognize that every emotion had its ... recognized manifestation in outward behavior.3 While all writers of the period were influenced by this cross-fertilization, the most obviously affected were those who, like Inchbald, began their careers upon the stage. In herplays, novels, and criticism, Inchbald repeatedly demonstrates that bodies express emotions more authentically and more persuasively than words alone. This essay looks at the way in which her knowledge of a widely recognized system oftheatrical gesture manifests itself in her criticism and fiction. An examination of gestures in her novels and plays shows that her theatrical imagination helped her to criticize contemporary notions of gender and power in ways that would have resonated with eighteenth-century readers. F 2 Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age ofDiderot (Berkeley : University of California Press, 1980); Alan T. McKenzie, Certain Lively Episodes: The Articulation of Passion in Eighteenth-Century Prose (Athens and London: University of Georgia Press, 1990). Also see Martin Meisel, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton: Princeton University Press, 1983); Janet Todd, Sensibility : An Introduction (London and New York: Methuen, 1986); and Edgar Wind, Hume and the Heroic Portrait: Studies in Eighteenth-Century Imagery (Oxford: Clarendon Press, 1986). 3 Joseph Donohue, Theatre in the Age of'Kean (Oxford: Basil Blackwell, 1975), p. 68. Historically, scholars have differentiated between acting styles popular during the century. See Lily Campbell, The Rise of a Theory of Stage Presentation in England during the Eighteenth Century, PMLA 32 (1917), 163-200; and Alan Downer, Nature to Advantage Dressed: Eighteenth-Century Acting, PMLA 58 (1943), 1002-37. Dene Barnett, The Art of Gesture: The Practices and Principles of Eighteenth-Century Acting (Heidelberg: Carl Winter, Universitätsverlag, 1987), and Joseph Donohue, Dramatic Character in the English Romantic Age (Princeton: Princeton University Press, 1970), argue..." @default.
• W2063669777 created "2016-06-24" @default.
• W2063669777 creator A5015732155 @default.
• W2063669777 date "1999-01-01" @default.
• W2063669777 modified "2023-10-17" @default.
• W2063669777 title "Those Simple Signs: The Performance of Emotion in Elizabeth Inchbald's <i>A Simple Story</i>" @default.
• W2063669777 cites W1203786319 @default.
• W2063669777 cites W1492657215 @default.
• W2063669777 cites W1518596871 @default.
• W2063669777 cites W1521619634 @default.
• W2063669777 cites W1536457449 @default.
• W2063669777 cites W1583448402 @default.
• W2063669777 cites W1977664341 @default.
• W2063669777 cites W1983920335 @default.
• W2063669777 cites W1996564891 @default.
• W2063669777 cites W2004988839 @default.
• W2063669777 cites W2023235279 @default.
• W2063669777 cites W2023513360 @default.
• W2063669777 cites W2034932974 @default.
• W2063669777 cites W2064043551 @default.
• W2063669777 cites W2069060297 @default.
• W2063669777 cites W2314014009 @default.
• W2063669777 cites W2318343866 @default.
• W2063669777 cites W2324620929 @default.
• W2063669777 cites W2327754880 @default.
• W2063669777 cites W2330803222 @default.
• W2063669777 cites W2335054142 @default.
• W2063669777 cites W2797178883 @default.
• W2063669777 cites W2798137752 @default.
• W2063669777 cites W565734217 @default.
• W2063669777 cites W591582046 @default.
• W2063669777 cites W598576002 @default.
• W2063669777 cites W611882575 @default.
• W2063669777 cites W641971209 @default.
• W2063669777 cites W658856116 @default.
• W2063669777 doi "https://doi.org/10.1353/ecf.1999.0037" @default.
• W2063669777 hasPublicationYear "1999" @default.
• W2063669777 type Work @default.
• W2063669777 sameAs 2063669777 @default.
• W2063669777 citedByCount "8" @default.
• W2063669777 countsByYear W20636697772012 @default.
• W2063669777 countsByYear W20636697772015 @default.
• W2063669777 crossrefType "journal-article" @default.
• W2063669777 hasAuthorship W2063669777A5015732155 @default.
• W2063669777 hasConcept C107038049 @default.
• W2063669777 hasConcept C111472728 @default.
• W2063669777 hasConcept C121332964 @default.
• W2063669777 hasConcept C122980154 @default.
• W2063669777 hasConcept C138885662 @default.
• W2063669777 hasConcept C142362112 @default.
• W2063669777 hasConcept C144024400 @default.
• W2063669777 hasConcept C15744967 @default.
• W2063669777 hasConcept C163258240 @default.
• W2063669777 hasConcept C177897776 @default.
• W2063669777 hasConcept C2780586882 @default.
• W2063669777 hasConcept C2781115785 @default.
• W2063669777 hasConcept C520712124 @default.
• W2063669777 hasConcept C52119013 @default.
• W2063669777 hasConcept C62520636 @default.
• W2063669777 hasConcept C77805123 @default.
• W2063669777 hasConcept C95457728 @default.
• W2063669777 hasConceptScore W2063669777C107038049 @default.
• W2063669777 hasConceptScore W2063669777C111472728 @default.
• W2063669777 hasConceptScore W2063669777C121332964 @default.
• W2063669777 hasConceptScore W2063669777C122980154 @default.
• W2063669777 hasConceptScore W2063669777C138885662 @default.
• W2063669777 hasConceptScore W2063669777C142362112 @default.
• W2063669777 hasConceptScore W2063669777C144024400 @default.
• W2063669777 hasConceptScore W2063669777C15744967 @default.
• W2063669777 hasConceptScore W2063669777C163258240 @default.
• W2063669777 hasConceptScore W2063669777C177897776 @default.
• W2063669777 hasConceptScore W2063669777C2780586882 @default.
• W2063669777 hasConceptScore W2063669777C2781115785 @default.
• W2063669777 hasConceptScore W2063669777C520712124 @default.
• W2063669777 hasConceptScore W2063669777C52119013 @default.
• W2063669777 hasConceptScore W2063669777C62520636 @default.
• W2063669777 hasConceptScore W2063669777C77805123 @default.
• W2063669777 hasConceptScore W2063669777C95457728 @default.
• W2063669777 hasIssue "3" @default.
• W2063669777 hasLocation W20636697771 @default.
• W2063669777 hasOpenAccess W2063669777 @default.
• W2063669777 hasPrimaryLocation W20636697771 @default.
• W2063669777 hasRelatedWork W168596256 @default.
• W2063669777 hasRelatedWork W2025224878 @default.
• W2063669777 hasRelatedWork W2117724753 @default.
• W2063669777 hasRelatedWork W2296727952 @default.
• W2063669777 hasRelatedWork W2528967648 @default.
• W2063669777 hasRelatedWork W2748952813 @default.
• W2063669777 hasRelatedWork W2899084033 @default.
• W2063669777 hasRelatedWork W2948437155 @default.
• W2063669777 hasRelatedWork W579115727 @default.
• W2063669777 hasRelatedWork W643865753 @default.
• W2063669777 hasVolume "11" @default.
• W2063669777 isParatext "false" @default.
• W2063669777 isRetracted "false" @default.
• W2063669777 magId "2063669777" @default.
• W2063669777 workType "article" @default.