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Eighteenth-Century Europe: Tradition and Progress, 1715-1789.

These newer arias, as stated, had become much longer, but had retained their simple melodic lines, as well as "a certain blandness of rhythm and harmony." On the whole, in the period after 1770, the increasing diffusion and freedom in opera seria can be seen, and this phenomenon eventually led to its abandonment as a pure and strict dramatic form.

The other prominent form of opera in Italy in the eighteenth century was the Italian comic opera, or opera buffa.

It is an archive of texts by or relating to the eighteenth-century British Bluestocking Circle and the second generation Blues, including predecessor texts, and literature of sensibility as it is derived from the Bluestockings' concerns with aesthetics, and with women's aesthetic achievements."

Salons in the 18th century were held for discussions relating to art, fashion, politics, etc.

Theme: Relations between women in the 18th and 19th centuries.

The usage of juvenalian satire to criticize was openly and frequently done in the 18th century.

In some literatures (notably classical Chinese, Old Norse, Old Irish), the language employed is quite different from that spoken or used in ordinary writing. This marks off the reading of literature as a special experience. In the Western tradition, it is only in comparatively modern times that literature has been written in the common speech of cultivated men. The Elizabethans did not talk like Shakespeare nor eighteenth-century people in the stately prose of Samuel Johnson or Edward Gibbon (the so-called Augustan plain style in literature became popular in the late seventeenth century and flourished throughout the eighteenth, but it was really a special form of rhetoric with antecedent models in Greek and Latin). The first person to write major works of literature in the ordinary English language of the educated man was Daniel Defoe (1660?-1731), and it is remarkable how little the language has changed since. (1719) is much more contemporary in tone than the elaborate prose of nineteenth-century writers like Thomas De Quincey or Walter Pater. (Defoe’s language is not, in fact, so very simple; simplicity is itself one form of artifice.)

In contrast with the countries of western Europe, the US has, [critics] argue, been unable to impose effective gun control or establish comprehensive health-care provision because decision making requires such a widely shared consensus." This gridlock is one of the reasons that some have come to call the US Constitution an "18th Century Strait-Jacket"....

Eighteenth century literature essays

Both books struggle with the apparent contradiction between patriarchal legal and economic structures which attempted to control women's labour, property, and reputation to a much greater extent than they attempted to control men's labour, reputation and property, and evidence of women not merely entering the labour market and the public sphere, but not infrequently doing so successfully and on a long-term basis. The editors of The Invisible Woman offer as evidence of the invisibility of the professional woman that women were not represented as writers or painters or actors (p. 5). But the recent exhibition at the National Portrait Gallery, 'Brilliant Women: 18th-century Bluestockings', brought together a large number of rarely seen but significant pictures. Portraits of the artists Mary Moser and Angelica Kauffmann, the 'milkwoman' poet Ann Yearsley, the scholar Elizabeth Carter, historian Catherine Macaulay, and writers Hannah More and Mary Wollstonecraft, among others, all represented the tools of their professions. The mythologised but nonetheless real group portrait of the 'nine living muses' (painted in 1777, and subsequently etched and engraved for reproduction, so relatively widely seen) also represented these women as the possessors of artistic skills.() As Locklin might have pointed out, some women carved out a space to create and were both lauded and attacked for it. These were of course only the most prominent women, and only those in the bluestocking circle. But thousands of women took more mundane public roles. The matron of St Bartholomew's Hospital in London, who in 1771 supervised more than 100 sisters, nurses, servants, and porters (Invisible Woman, p. 94), like her predecessors and successors in the job, was seen daily by hundreds of people in her official capacity, albeit she was not (as far as I know) represented for posterity in a portrait.

Women Women in the 18th century are similar yet different from the women of today.

Taking its time to establish a radically theological point of view, this essay aims to apply it to the body of novel literature in 18th century England, probing and inquiring it whether it is in support of Christianity as laid down in the New Testament or not....

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Historical Essays: The Eighteenth-Century Child

Eighteenth Century Essays - Forgotten Books

Work in the 18th century has long been neglected by historians, who have focused instead on other aspects of economic life: notably consumption, but also on the legal structures of inheritance and marriage which shaped working lives over the life cycle. So we can identify the legal differences and similarities between 18th-century Brittany and Britain. Inheritance was partible in Brittany, in theory equally divided among all children, although the eldest male generally got the dwelling house. Britain employed a mixture of primogeniture for land and partibility for movable goods, although there was always much greater freedom for the testator than in France. From the age of 21 in Britain and 25 in Brittany a woman, like a man, was a free agent for all legal purposes (buying and selling, contracting, suing). But upon marriage the rights of the Breton woman and the British (especially the English or Welsh) woman diverged: in Brittany a married woman retained her dowry and her inheritance from her parents, and all property acquired after marriage (or after one year of marriage, to test its viability) was held in community, administered by her husband; whereas Britain had complete coverture, whereby the husband took absolute possession of all or almost all of his wife's property, with no grace period. Upon widowhood, the Breton woman enjoyed the community property after her husband's debts were paid, in addition to the property she had retained throughout marriage, whereas the British woman was not legally entitled to anything (although in practice she usually got most of her husband's estate). In the event of marital breakdown, separation was possible in Brittany, but extremely difficult in Britain.()

Eighteenth Century Essays - StudentShare

The essays take on aspects of eighteenth-century texts such as plot, genre, character, perspective, temporality, and more, coming at them from both a narratological and a historical perspective.

eighteenth century essays | Download eBook PDF/EPUB

The essays take on aspects of eighteenth-century texts such as plot, genre, character, perspective, temporality, and more, coming at them from both a narratological and a historical perspective.


Eighteenth Century Essays on Shakespeare - Forgotten …

Brace and Armesto – directing as well as writing – have taken Hogarth’s four engravings and evolved a narrative from them. The original prints show a destitute child, Tom Nero, go from killing a dog and mistreating a horse to being arrested for murdering a housemaid and ending up executed and dissected in front of a ghoulish crowd. Here, Tom is an orphan whose descent into a life of cruelty and crime is precipitated by brutalising poverty and his dealings with a pair of Irish racketeers who use him before betraying him. The maid is his pregnant lover, Ann, who he kills in desperation when a scheme in which he has involved her goes terribly awry.

Eighteenth century periodical essays

The production has a lot to recommend it. The script is suitably grubby, skilfully interweaving eighteenth-century cant with modern cadences to create an atmosphere of unaffected authenticity. The play also succeeds in framing its story in a historical context that never feels intrusive or superfluous. Plot elements such as the tension between the Irish immigrants and the indigenous London working-class are fascinating additions, producing complex characters full of shade. A steely-eyed Dudley Hinton is impressive as the head of the Irish criminals, bristling with menace while harbouring a cancerous bitterness towards the English.

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