18 century أبي مساعدتكم

[سليمان 11]

السلام عليكم و رحمة الله و بركاته

اخواني خواتي ابي presentation أو بحث عن تاريخ الدراما في القرن 18 عن تاريخه أهم

أهم الكاتبين و اهم المسرحيات ضروري

لاني طالب جامعي لغة انجليزية و اخذت هالمقرر مرة و سقطت و ابي اعوض بالتقديم هالكورس و

احاول اخذ الA

بس و اللي يعافيكم مستعجل ابيه بسرعه

و اللي يساعدني جزاه الله خير الجزاء

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Richardson's 'Clarissa' and the Eighteenth-Century Reader

Written as a collection of letters in which very different accounts of the action are unsupervised by sustained authorial comment, Richardson’s novel Clarissa offers an extreme example of the capacity of narrative to give the reader final responsibility for resolving or construing meaning. It is paradoxical then that its author was a writer committed to avowedly didactic goals. Tom Keymer counters the tendency of recent critics to suggest that Clarissa’s ****ual indeterminacy defeats these goals by arguing that Richardson pursues subtler and more generous means of educating his readers by making them 'if not Authors, Carvers’ of the ****. Discussing Richardson’s use of the epistolary form throughout his career, Keymer goes on to focus in detail on the three instalments in which Clarissa was first published, drawing on the ********ed responses of its first readers to illuminate his technique as a writer and set the novel in its contemporary ethical, political and ideological con****.

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Samuel Johnson

For other persons named Samuel Johnson, see Samuel Johnson (disambiguation).
Samuel Johnson LL.D. (September 18 [O.S. September 7] 1709[1] – 13 December 1784), often referred to simply as Dr Johnson, is one of England's best known literary figures:[2] a poet, essayist, biographer, lexicographer and a critic of English Literature. He was also a great wit and prose stylist, well known for his aphorisms.[3] Dr Johnson is the most quoted of English writers after Shakespeare[3] and has been described as one of the outstanding figures of 18th-century England

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Eliza Haywood
From Wikipedia, the free encyclopedia

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Eliza Haywood
From Wikipedia, the free encyclopedia

Eliza Haywood (1693 - February 25, 1756) (born Elizabeth Fowler) was an English writer, actress and publisher. Since the 1980s, Eliza Haywood’s literary works have been gaining in recognition and interest. Described as “prolific even by the standards of a prolific age” (Blouch, intro 7), Haywood wrote and published over seventy works during her lifetime including fiction, drama, translations, poetry, conduct literature and periodicals. Haywood is a significant figure of the long 18th century as one of the important founders of the novel in English. Today she is studied primarily as a novelist

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Eliza Haywood

Acting and drama

Haywood began her acting career in 1715 in Smock Alley Theatre in Dublin. By 1717, she had moved to Lincoln's Inn Fields, where she worked for John Rich. Rich had her rewrite a play called The Fair Captive. The play only ran for three nights (to the author's benefit), but Rich added a fourth night as a benefit for the second author, Haywood. In 1724, after selling several novels (see below), Haywood authored her first play, A Wife to be Lett.

During the second half of the 1720s, Haywood continued acting, and she moved over to the Haymarket Theatre to join with Henry Fielding in the opposition plays of the 1730s. In 1729, she wrote Frederick, Duke of Brunswick-Lunenburgh to honor the future George II of the United Kingdom. George II, as Prince of Wales, was a locus for Tory opposition to the ministry of Robert Walpole. As he had made it clear that he did not favor his father's policies or ministry, praise for him was demurral from the present king. Others, such as James Thomson and Henry Brooke, were also writing such "patriotic" (which is to say in support of the Patriot Whigs) plays at the time, and Henry Carey was soon to satirize the failed promise of George II.

Haywood's greatest success at Haymarket came with The Opera of Operas, an operatic adaptation of Fielding's Tragedy of Tragedies (with music by J. F. Lampe and Thomas Arne) in 1733. However, it was an adaptation with a distinct difference. Caroline of Ansbach had affected a reconciliation between George I and George II, and this meant an endorsement by George II of the Whig ministry. Haywood's adaptation contains a reconciliation scene, replete with symbols from Caroline's own grotto. This was an enunciation of a change by Haywood herself away from any Tory, or anti-Walpolean, causes that she had supported previously, and it did not go unnoticed by her contemporaries.

In 1735, she wrote a one-volume Companion to the Theatre. This book contains plot summaries of contemporary plays, literary criticism, and dramaturgical observations. In 1747 she added a second volume.

After the Licensing Act of 1737, the playhouse was shut against adventurous new plays

[هلال الجمسي]

http://litera1no4.tripod.com/dramahistory.html

[سليمان 11]

يعطيكم العافية اخواني ما قصرتوا

[mermaid]

سلام انا في سنة ثاني جامعة (ادب انجليزي) درست كتاب عن تاريخ الادب الانجليزي صغير الكتاب لكن يتكلم عن تاريخ الادب الانجليزي في القرن الخامس عشر والثامن عشر وعن العصر الفكتوري وكل عصر يتكلم عن اشهر كتاب النثر والشعر والدراما واشهر مألفاتهم ونبدة عن كل كتاب لكل واحد راح تلقاة في مكتبة جرير وراح تستفيد منة حتى بعد التخرج