David O'Shaughnessy – författare

Best known for "Enquiry Concerning Political Justice" (1793) and "Caleb Williams" (1794), William Godwin (1756-1836) is one of the most important figures of the Romantic period. This book offers academics the chance to build a complete picture of Godwin as a writer and political figure.

This first modern scholarly edition of the letters of Oliver Goldsmith (1728-1774) sets the author of The Vicar of Wakefield, The Deserted Village, and She Stoops to Conquer in a rich context, showing how Goldsmith's Irish identity was marked and complicated by cosmopolitan ambition. He was at the very heart of Grub Street culture and the Georgian theatre, and was a founding member of Dr Johnson's Literary Club; his circle included Edmund Burke, Joshua Reynolds, David Garrick, George Colman and Hester Piozzi. Containing a detailed introduction and extensive notes, this edition is essential to those wishing to know more about Goldsmith the man and the writer, and provides a rich and suggestive nexus for understanding the cultural cross-currents of the literary Enlightenment in eighteenth-century London.

This first modern scholarly edition of the letters of Oliver Goldsmith (1728-1774) sets the author of The Vicar of Wakefield, The Deserted Village, and She Stoops to Conquer in a rich context, showing how Goldsmith's Irish identity was marked and complicated by cosmopolitan ambition. He was at the very heart of Grub Street culture and the Georgian theatre, and was a founding member of Dr Johnson's Literary Club; his circle included Edmund Burke, Joshua Reynolds, David Garrick, George Colman and Hester Piozzi. Containing a detailed introduction and extensive notes, this edition is essential to those wishing to know more about Goldsmith the man and the writer, and provides a rich and suggestive nexus for understanding the cultural cross-currents of the literary Enlightenment in eighteenth-century London.

This collection reveals the wide-ranging impact of the Stage Licensing Act of 1737 on literary and theatrical culture in Georgian Britain. Demonstrating the differing motivations of the state in censoring public performances of plays after the Stage Licensing Act of 1737 and until the Theatres Act 1843, chapters cover a wide variety of theatrical genres across a century and show how the mechanisms of formal censorship operated under the Lord Chamberlain's Examiner of Plays. They also explore the effects of informal censorship, whereby playwrights, audiences and managers internalized the censorship regime. As such, the volume moves beyond a narrow focus on erasures and emendations visible on manuscripts to elucidate censorship's wide-ranging significance across the long eighteenth century. Demonstrating theatre archives' potency as a resource for historical research, this volume is of exceptional value for researchers interested in the evolving complexities of Georgian society, its politics and mores.

The theatre was a crucial forum for the representation of Irish civility and culture for the eighteenth-century English audience. Irish actors and playwrights, operating both as individuals and within networks, were remarkably popular and potent during this period, especially in London. As ideas of Enlightenment percolated throughout Britain and Ireland, Irish theatrical practitioners - actors, managers, playwrights, critics and journalists - exploited a growing receptivity to Irish civility, and advanced a patriot agenda of political and economic autonomy. Mobility, toleration and the capacity to negotiate multiple allegiances are marked features of this Irish theatrical Enlightenment, whose ambitious participants saw little conflict between their twin loyalties to the Crown and to Ireland. This collection of essays responds to recent work in the areas of eighteenth-century theatre studies, Irish studies and Enlightenment studies. The volume's discussions of genre, colonialism, gender, race, music, slavery, and dress open up new avenues of scholarship and research across disciplines.

The theatre was a crucial forum for the representation of Irish civility and culture for the eighteenth-century English audience. Irish actors and playwrights, operating both as individuals and within networks, were remarkably popular and potent during this period, especially in London. As ideas of Enlightenment percolated throughout Britain and Ireland, Irish theatrical practitioners - actors, managers, playwrights, critics and journalists - exploited a growing receptivity to Irish civility, and advanced a patriot agenda of political and economic autonomy. Mobility, toleration and the capacity to negotiate multiple allegiances are marked features of this Irish theatrical Enlightenment, whose ambitious participants saw little conflict between their twin loyalties to the Crown and to Ireland. This collection of essays responds to recent work in the areas of eighteenth-century theatre studies, Irish studies and Enlightenment studies. The volume's discussions of genre, colonialism, gender, race, music, slavery, and dress open up new avenues of scholarship and research across disciplines.

William Godwin is one of the most important figures of the Romantic period. He wrote four plays at the end of the 18th/beginning of the 19th centuries. This book has two main objectives: to provide the first comprehensive discussion of these four plays, and to consider the notion of theatricality in relation to Godwin’s political project.

Oliver Goldsmith has a claim to be the only eighteenth-century author who wrote canonical works in prose fiction, poetry, and drama. An Irish writer working at the centre of the British and Irish Enlightenments, with all the rich complications of identity this entailed, he authored The Vicar of Wakefield, The Deserted Village, and She Stoops to Conquer, works that number among the greatest literary productions of the century. He was also a major historian, biographer, journalist, and translator operating at the heart of literary London. Through four sections covering Goldsmith's Life and Career; Social, Cultural, and Intellectual Contexts; Literary Contexts; and Critical Fortunes and Afterlives, this volume engages with a wide range of illuminating topics that will allow both new and experienced readers of Goldsmith to understand more deeply the impact he had on his times and the powerful influence he exerted on subsequent literary culture.

Charles Macklin (1699?–1797) was one of the most important figures in the eighteenth-century theatre. Born in Ireland, he began acting in London in around 1725 and gave his final performance in 1789 – no other actor can claim to have acted across seven decades of the century, from the reign of George I to the Regency Crisis of 1788. He is credited alongside Garrick with the development of the natural school of acting and gave a famous performance of Shylock that gave George II nightmares. As a dramatist, he wrote one of the great comic pieces of the mid-century (Love à la Mode, 1759), as well as the only play of the century to be twice refused a performance licence (The Man of the World, 1781). He opened an experimental coffeehouse in Covent Garden, he advocated energetically for actors’ rights and copyright reform for dramatists, and he successfully sued theatre rioters. In short, he had an astonishingly varied career. With essays by leading experts on eighteenth-century culture, this volume provides a sustained critical examination of his career, illuminating many aspects of eighteenth-century theatrical culture and of the European Enlightenment, and explores the scholarly benefit – and thrill – of restaging Macklin’s work in the twenty-first century.

William Godwin is one of the most important figures of the Romantic period. He wrote four plays at the end of the 18th/beginning of the 19th centuries. This book has two main objectives: to provide the first comprehensive discussion of these four plays, and to consider the notion of theatricality in relation to Godwin’s political project.