| Description |
1 online resource (ix, 280 pages) |
|
text txt rdacontent |
|
computer c rdamedia |
|
online resource cr rdacarrier |
|
data file |
| Series |
BiblioLabs, LLC.
Books.
|
| Bibliography |
Includes bibliographical references (pages 245-261) and index. |
| Contents |
Introduction -- The celebrity emerges as the deformed king: Richard III, the king of the dunces, and the overexpression of Englishness -- The growth of celebrity culture: Colley Cibber, Charlotte Charke, and the overexpression of gender -- The canon of print: Laurence Sterne and the overexpression of character -- The fate of overexpression in the age of sentiment: David Garrick, George Anne Bellamy, and the paradox of the actor -- The memoirs of Perdita and the language of loss: Mary Robinson's alternative to overexpression -- Coda: overexpression and its legacy. |
| Note |
Print version record; resource not viewed. |
| Access |
Use copy Restrictions unspecified star MiAaHDL |
|
Open Access EbpS |
| Summary |
Fawcett theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated self-representations suggest a new way of understanding key aspects of celebrity culture, in the 18th century and today. This title was made Open Access by libraries from around the world through Knowledge Unlatched. |
|
How can the modern individual control his or her self-representation when the whole world seems to be watching? This question is a familiar one amid the the twenty-first century's architecture of 24-hour newsrooms, chat rooms and interrogation rooms, but this book traces this question back to the stages, the pages, and the streets of eighteenth-century London--and to the strange and spectacular self-representations performed there by England's first modern celebrities. These self-representations include the enormous wig that the actor, manager, and playwright Colley Cibber donned in his most famous comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of 'Tristram Shandy, ' a memorial to the parson Yorick (and his author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to hiehgten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, known throughout her life as Perdita. Linking all of these representations is a quality that Fawcett terms "over-expression." 'Spectacular Disappearances' theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge many of the disciplinary divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. Drawing on a wide variety of materials and methodologies, 'Spectacular Disappearances' provides an overlooked but indispensable history for scholars and students of celebrity studies, performance studies, and autobiography--as well as to anyone curious about the origins of the eighteenth-century self. |
| Reproduction |
Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2016. MiAaHDL |
| System Details |
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. http://purl.oclc.org/DLF/benchrepro0212 MiAaHDL |
| Language |
Text in English. |
| Processing Action |
digitized 2016 HathiTrust Digital Library committed to preserve pda MiAaHDL |
| Subject |
Celebrities -- Great Britain -- History -- 18th century.
|
|
Fame -- Social aspects -- Great Britain -- History -- 18th century.
|
|
English literature -- 18th century -- History and criticism.
|
|
Theater -- Great Britain -- History -- 18th century.
|
|
Privacy -- Great Britain -- History -- 18th century.
|
|
Great Britain -- Civilization -- 18th century.
|
|
Célébrités -- Grande-Bretagne -- Histoire -- 18e siècle.
|
|
Littérature anglaise -- 18e siècle -- Histoire et critique.
|
|
Théâtre -- Grande-Bretagne -- Histoire -- 18e siècle.
|
|
Vie privée -- Grande-Bretagne -- Histoire -- 18e siècle.
|
|
Grande-Bretagne -- Civilisation -- 18e siècle.
|
|
LITERARY CRITICISM -- European -- English, Irish, Scottish, Welsh.
|
|
Celebrities
|
|
Civilization
|
|
English literature
|
|
Fame -- Social aspects
|
|
Privacy
|
|
Theater
|
|
Great Britain
|
|
Historische Persönlichkeit
|
|
Selbstdarstellung
|
|
Privatsphäre
|
|
Großbritannien
|
| Chronological Term |
1700-1799
|
| Indexed Term |
History |
|
Autobiography |
|
Colley Cibber |
|
Garrick Club |
|
Laurence Sterne |
|
Pope |
|
The Life and Opinions of Tristram Shandy |
|
Gentleman |
|
Wig |
| Topical Term |
PERFORMING ARTS / General. |
| Genre/Form |
Criticism, interpretation, etc.
|
|
History
|
| Other Form: |
Print version: Spectacular Disappearances. Ann Arbor : University of Michigan Press, [2016] 9780472119806 (DLC) 2015044817 |
| ISBN |
9780472121809 (electronic bk.) |
|
0472121804 (electronic bk.) |
|
9780472900619 (electronic bk.) |
|
0472900617 (electronic bk.) |
|
047211980X |
|
9780472119806 |
|
9780472119806 (hardcover ; alk. paper) |
| Standard No. |
10.3998/mpub.8748948 |
|
AU@ 000057107173 |
|
AU@ 000059397355 |
|
GBVCP 1008667056 |
|
GBVCP 1030560870 |
|
