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• W2992253124 abstract "How might we measure the tangible and intangible legacies of Romantic-period theatrical news? Dramatic advertisements and reviews published in daily newspapers and longer print-cycle publications are familiar sources to literary historians. But only rarely are they considered subjects in their own right. Jonathan Mulrooney’s Romanticism and Theatrical Experience: Kean, Hazlitt, and Keats in the Age of Theatrical News offers redress with a lively, and timely, assessment of the ways in which Romantic-period theatre overlapped with ‘the larger commercial and social movements of the city’ (p. 4); of ‘Romanticism’s vital response to the emergence of mass culture’ (p. 185). The book is divided into two parts. In Part I, ‘The Making of British Theater Audiences’, Mulrooney provides a brief history of theatrical news outlets, identifying how parliamentary reportage functioned as a forerunner to reviews that treated theatre as a professionally reported event. Popular theatre—especially as mediated by these periodicals—is seen to have had a formative influence on the aesthetics of second-generation Romanticism. Part II, ‘Theater and Late Romanticism’, provides three case studies as evidence. The first centres on Edmund Kean, the star actor who saw himself as ‘an interpreter rather than a straightforward orator of the dramatic text’ (p. 12), and whose January 1825 trial for ‘criminal conversation’ with Charlotte Cox placed more than just Kean’s celebrity at stake. Also under the spotlight, Mulrooney argues, were ‘the nature of public opinion and the press’s role in shaping it’ and ‘the relationship between private and public life’ (p. 112). Attention then shifts to William Hazlitt as the herald of a brand of criticism that delivered ‘a new social function altogether’ (p. 152), predicated as it was upon the critic’s recognized ‘potential to extend the performance’s occasion beyond the moment of first occurrence’ (p. 178). Mulrooney concludes by turning to John Keats, whose theory of ‘negative capability’, he suggests, should be seen not so much as ‘a private mode of cultural production’ but, rather, as ‘a public mode of cultural reception’ (p. 210). In this final chapter, Mulrooney advances insightful readings of the often overlooked ‘Fragment of Castle-builder’ (written in 1818), the major odes and Lamia, making the case for what he illuminatingly calls a ‘poetics of interruption’ modelled upon Kean’s acting." @default.
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• W2992253124 title "Jonathan Mulrooney. Romanticism and Theatrical Experience: Kean, Hazlitt, and Keats in the Age of Theatrical News" @default.
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