MARC Record from harvard_bibliographic_metadata

LEADER: 02819cam a2200337 a 4500
001 011830724-X
005 20090223162606.0
008 080423s2008 enka b 001 0 eng
015 $aGBA870875$2bnb
016 7 $a014626943$2Uk
020 $a9780521897099 (hbk.)
020 $a0521897092 (hbk.)
035 0 $aocn212858847
040 $aUKM$cUKM$dBTCTA$dBAKER$dYDXCP$dBWKUK$dBWK$dBWX
042 $aukblcatcopy
050 4 $aPR778.R65$bE78 2008
082 04 $a823.709$222
100 1 $aEsterhammer, Angela.
245 10 $aRomanticism and improvisation, 1750-1850 /$cAngela Esterhammer.
260 $aCambridge :$bCambridge University Press,$c2008.
300 $axiii, 269 p. :$bill. ;$c24 cm.
440 0 $aCambridge studies in Romanticism ;$v77
504 $aIncludes bibliographical references (p. 248-262) and index.
505 0 $a"This lightning of the mind": improvisation and performance in the Romantic era -- Defining improvisation and improvising national identity: from grand tourists to Della Cruscans -- Importing improvisation: oral performance and print culture in the age of Goethe -- Was Homer an improvvisatore?: histories of improvisation in antiquarian scholarship and popular culture -- The spectacle of the Romantic improviser: Corilla, Corinne, and the British women poets of the 1820s -- Stars of the post-Napoleonic stage: Rosa Taddei, Tommaso Sgricci, and their audiences -- Byron, Hoffman, and the improvisational worlds of Carnival and commedia -- Sociability, social practice, and the Bildungsroman of the 1830s -- The improviser's disorder: adventurers and misfits in nineteenth-century fiction -- Virtuosi, vaudevillians, mystics, madmen, and rhetoricians: improvisational contexts of the nineteenth century -- Afterword: writing the improviser.
520 1 $a"During the Romantic era, especially in Italy, performers known as improvvisatori and improvvisatrici extemporised poetry in public in response to subjects requested by their audiences. This type of performance fascinated grand tourists from northern Europe, who reported on poetic improvisers in hundreds of travel accounts, journals, letters, and periodical articles. By uncovering historical data and interpreting literary texts, Professor Esterhammer identifies patterns in the responses of English, German, French, and Russian writers to the experience of improvisation. She explores how improvisation interacts with Romantic ideas about genius, spontaneity, orality, and emotional expressiveness, and relates to evolving concepts of gender and nation."--Jacket.
650 0 $aEnglish fiction$y19th century$xHistory and criticism.
650 0 $aEuropean fiction$y19th century$xHistory and criticism.
650 0 $aRomanticism.
655 7 $aCriticism, interpretation, etc.$2fast
988 $a20090213
906 $0OCLC