MARC Record from marc_columbia

LEADER: 05668fam a2200529 a 4500
001 1492806
005 20220602045242.0
008 931028t19941994deu b s001 0 eng
010 $a 93041730
020 $a0874134994 (alk. paper)
035 $a(OCoLC)29358725
035 $a(OCoLC)ocm29358725
035 $9AJC2731CU
035 $a(NNC)1492806
035 $a1492806
040 $aDLC$cDLC$dDLC
043 $ae-uk---
050 00 $aPR719.P65$bP87 1994
082 00 $a872/.709358$220
100 1 $aPurinton, Marjean D.,$d1953-$0http://id.loc.gov/authorities/names/n93106492
245 10 $aRomantic ideology unmasked :$bthe mentally constructed tyrannies in dramas of William Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie /$cMarjean D. Purinton.
260 $aNewark :$bUniversity of Delaware Press ;$aLondon :$bAssociated University Presses,$c[1994], ©1994.
300 $a212 pages ;$c25 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
504 $aIncludes bibliographical references (p. 190-205) and index.
500 $aBased on the author's thesis (Ph.D., Texas A & M University).
505 0 $aForeword / Terence Allan Hoagwood -- 1. Introduction -- 2. William Wordsworth's Borderers and the Ideology of Revolution -- 3. Lord Byron's Werner and Manfred: Dramatic Critique of the Ideology of Moderate Reform -- 4. Percy Shelley's Cenci and Prometheus Unbound and the Ideology of Moral Melioration -- 5. Joanna Baillie's Count Basil and De Monfort: The Unveiling of Gender Issues -- 6. Coda.
520 $aRomantic drama is politically charged and ideologically based. The plays mediate economic issues, gender relations, class struggles, family dissolutions, political revolutions, and religious skepticism. By unmasking the embedded layers of ideology and revealing the various fictions that ideology perpetrates as truths, Romantic Ideology Unmasked reveals the mental processes on which romantic drama's temporal and spatial issues - both historical and social - rest.
520 8 $aThe meaning of the drama thus lies in the variety of tyrannies they symbolize, or inscribe. Readers actively participate in the process engendered by the plays: they unmask the ideology operating at their foundations by revealing the obvious and submerged constraints on mental freedom.
520 8 $a. In William Wordsworth's The Borderers, political tyranny and the ideology of revolution, specifically spawned by the French in 1789, are privileged above the other embedded layers of tyrannies and historically based revolutions, including the Barons' Revolt of 1258 and the English Civil War. Both play and prose radically question the ideology that prompts the revolution-restoration cycle, a delusional and entrapping process.
520 8 $aLord Byron's Manfred and Werner explore tyrannies engendered by familial and social conflicts as they criticize reforms instigated in Regency England. While Manfred confirms that it is not difficult to extirpate the curses and inheritances of the past once humankind is freed from the mental tyrannies it inflicts upon itself, Werner reveals the horrors of enslavement to class, name, race, and title - all inheritances humanly contrived to enslave others.
520 8 $aReligious and political tyranny are blatant in Percy Shelley's The Cenci and Prometheus Unbound. These plays also expose an ideology based on bifurcated thinking, uncontested and unchanged, which undermines any efforts at social and moral reform. The Cenci dramatically portrays an aristocratic family and an Italian Renaissance society enslaved in the tragedies produced by an ideology of dichotomous thinking. Prometheus Unbound offers a presentation of liberation from such an enslaving ideology.
520 8 $aCharacter rivalries and political intrigue in Joanna Baillie's Count Basil and De Monfort dramatize a study in early-nineteenth-century gender relations and female emancipation. Baillie's dramas question a mental structuration that accepts as absolute and fixed truth a gender relationship that exists oppositionally. The plays demonstrate the mental forms of oppression to which women were subjected and from which material forms of economic and physical constraints emanated.
520 8 $aRomantic writers transpose ideological struggles into dramatic and political terms, rendering mediations of the same collective mentality, the same social structure in different interpretive frames. In considering romantic drama as a collective and mental process, we liberate the interpretive possibilities the plays offer.
650 0 $aEnglish drama$y19th century$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008103091
650 0 $aPolitics and literature$zGreat Britain$xHistory$y19th century.$0http://id.loc.gov/authorities/subjects/sh2008109616
650 0 $aPolitical plays, English$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008109667
650 0 $aVerse drama, English$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008113186
600 10 $aByron, George Gordon Byron,$cBaron,$d1788-1824$xDramatic works.
600 10 $aBaillie, Joanna,$d1762-1851$xCriticism and interpretation.
600 10 $aShelley, Percy Bysshe,$d1792-1822$xDramatic works.
600 10 $aWordsworth, William,$d1770-1850.$tBorderers.$0http://id.loc.gov/authorities/names/no2020132848
650 0 $aRomanticism$zGreat Britain.$0http://id.loc.gov/authorities/subjects/sh2008111021
650 0 $aDespotism in literature.$0http://id.loc.gov/authorities/subjects/sh94003847
852 00 $bglx$hPR719.P65$iP87 1994