The Scottish Play: Nationalism, Masculinity, and the Georgian Afterlife of The Wonder: A Woman Keeps a Secret.
This essay argues that Susanna Centlivre's play The Wonder: A Woman Keeps a Secret (1714) uses parody to help audiences imagine British identity in broad imperial terms, beginning with the identity of George i and Prince George on the eve of the Hanoverian succession. Religious identity was fundamen...
| Publicado en: | Eighteenth Century Fiction Vol. 27; no. 3/4; pp. 451 - 479 |
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| Formato: | Artículo |
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University of Toronto Press
Spring/Summer2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=109930103&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 109930103 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08406286 7SD jtl: Eighteenth Century Fiction issn: 08406286 maglogo: N pubinfo: dt: Spring/Summer2015 vid: 27 iid: 3/4 pid: 678 pub: University of Toronto Press artinfo: ui: 109930103 10.3138/ecf.27.3.451 ppf: 451 ppct: 28 formats: fmt: @attributes: type: P size: 10.6MB tig: atl: The Scottish Play: Nationalism, Masculinity, and the Georgian Afterlife of The Wonder: A Woman Keeps a Secret. aug: au: Anderson, Misty G. su: Centlivre, Susanna, ca. 1667-1723 Wonder: A Woman Keeps Her Secret, The (Theatrical production) Religious identity Protestantism Catholic Church sug: subj: Centlivre, Susanna, ca. 1667-1723 Wonder: A Woman Keeps Her Secret, The (Theatrical production) Religious identity Protestantism Catholic Church ab: This essay argues that Susanna Centlivre's play The Wonder: A Woman Keeps a Secret (1714) uses parody to help audiences imagine British identity in broad imperial terms, beginning with the identity of George i and Prince George on the eve of the Hanoverian succession. Religious identity was fundamental to the Hanoverian settlement, which cut off the Stuart line in the name of a reliably Protestant Great Britain. Centlivre uses parody's modernizing temporal rhetoric to mediate anxieties about Scots, Roman Catholics, and patriarchalism and to stage the cultural triumph of a modern Great Britain that coincides conceptually with Protestant values. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Eighteenth Century Fiction is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Eighteenth Century Fiction holder: University of Toronto Press dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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