Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-k7p5g Total loading time: 0 Render date: 2024-07-13T15:59:22.892Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  31 December 2018

Jonathan Mulrooney
Affiliation:
College of the Holy Cross, Massachusetts
Get access
Type
Chapter
Information
Romanticism and Theatrical Experience
Kean, Hazlitt and Keats in the Age of Theatrical News
, pp. 236 - 253
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Advertisements.” Quarterly Review 97 (June & September 1855): 183225.Google Scholar
The Advertising System.” Edinburgh Review 155 (February 1843): 243.Google Scholar
Agnew, Jean-Christophe. “Coming Up for Air: Consumer Culture in Historical Perspective.” Consumption and the World of Goods. Eds. Brewer, John and Porter, Ray. London and New York: Routledge, 1993. 1939.Google Scholar
Agnew, Jean-Christophe. Worlds Apart: The Market and the Theater in Anglo-American Thought, 1550–1750. Cambridge: Cambridge University Press, 1986.CrossRefGoogle Scholar
Altick, Richard. The English Common Reader: A Social History of the Mass Reading Public, 1800–1900. Columbus: Ohio State University Press, 1957.Google Scholar
Altick, Richard. The Shows of London. Cambridge, MA: Belknap, 1978.Google Scholar
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso, 1983.Google Scholar
Aspinall, Arthur. Politics and the Press, c. 1780–1850. London: Home & Van Thal, 1949.Google Scholar
Aspinall, Arthur. “The Social Status of Journalists at the Beginning of the Nineteenth Century.” The Review of English Studies 21.81 (January 1945): 216–32.Google Scholar
Asquith, Ivon. “Advertising and the Press in the Late Eighteenth and Early Nineteenth Centuries: James Perry and the Morning Chronicle 1790–1821.” The Historical Journal 18.4 (1975): 703–24.CrossRefGoogle Scholar
Austen, Jane. Mansfield Park. Ed. Lucas, John. Oxford: Oxford University Press, 1975.Google Scholar
Baer, Marc. Theatre and Disorder in Late Georgian London. Oxford: Clarendon, 1992.CrossRefGoogle Scholar
Bailey, Nathan. An Universal English Dictionary. London: R. Ware, 1775.Google Scholar
Baker, Herschel. William Hazlitt. Cambridge, MA: Belknap, 1962.CrossRefGoogle Scholar
Barker, Hannah. Newspapers, Politics, and Public Opinion in Eighteenth-Century England. Oxford: Clarendon, 1998.CrossRefGoogle Scholar
Barker-Benfield, G. J. The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain. Chicago: University of Chicago Press, 1992.Google Scholar
Bate, Jonathan. “Keats’s Two Hyperions and the Problem of Milton.” Romantic Revisions. Eds. Brinkley, Robert and Keith, Hanley. Cambridge: Cambridge University Press, 1992. 321–38.Google Scholar
Bate, Jonathan. Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830. Oxford: Clarendon, 1989.Google Scholar
Bate, Walter Jackson. John Keats. Cambridge, MA: Belknap, 1963.Google Scholar
Bate, Walter Jackson. “Keats’s Style: Evolution Toward Qualities of Permanent Value,” The Major English Romantic Poets. Eds. Thorpe, Clarence D, Baker, Carlos, and Weaver, Bennett. Carbondale: Southern Illinois University Press, 1957.Google Scholar
Beaudry, Harry R. The English Theatre and John Keats. Salzburg: Salzburg Studies in English Literature, 1973.Google Scholar
Behrendt, Stephen C., ed. Romanticism, Radicalism, and the Press. Detroit: Wayne State University Press, 1997.Google Scholar
Benjamin, Walter. Illuminations. Ed. Arendt, Hannah. Trans. Harry Zohn. New York: Schocken, 1968.Google Scholar
Bewell, Alan. “The Political Implication of Keats’s Classicist Aesthetics.” Studies in Romanticism 25.2 (Summer 1986): 220–29.CrossRefGoogle Scholar
Bermingham, Ann. “Urbanity and the Spectacle of Art.” Romantic Metropolis: The Urban Scene of British Culture, 1780–1840. Eds. Chandler, James and Gilmartin, Kevin. Cambridge: Cambridge University Press, 2005. 151–76.Google Scholar
Bermingham, Ann. “Elegant Females and Gentleman Connoisseurs: The Commerce in Culture and Self-image in Eighteenth-century England.” The Consumption of Culture 1600–1800: Image, Object, Text. Eds. Bermingham, Ann and Brewer, John. London and New York: Routledge, 1995. 489513.Google Scholar
Bermingham, Annand Brewer, John, eds., The Consumption of Culture 1600–1800: Image, Object, Text. London and New York: Routledge, 1995.Google Scholar
The Bible: Authorized King James Version. Eds. Carroll, Robert and Prickett, Stephen. Oxford: Oxford University Press, 2008.Google Scholar
Black, Jeremy. The English Press in the Eighteenth Century. Philadelphia: University of Pennsylvania Press, 1987.Google Scholar
Bloom, Harold. “The Internalization of Quest Romance.” Romanticism and Consciousness. Ed. Bloom, Harold. New York: Norton, 1970. 324.Google Scholar
Bloom, Harold. The Visionary Company: A Reading of English Romantic Poetry. Rev. Edition. Ithaca: Cornell University Press, 1971.Google Scholar
Blunden, Edmund. Leigh Hunt’s “Examiner” Examined. New York: Archon, 1967.Google Scholar
Bohstedt, John. Riots and Community Politics in England and Wales, 1790–1810. Cambridge, MA: Harvard University Press, 1983.CrossRefGoogle Scholar
Bolton, Betsy. Women, Nationalism and the Romantic Stage: Theatre and Politics in Britain, 1780–1800. Cambridge: Cambridge University Press, 2001.Google Scholar
Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Trans. Richard Nice. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Johnson, Randal. New York: Columbia University Press, 1993.Google Scholar
Bourdieu, Pierre. The Rules of Art: Genesis and Structure of the Literary Field. Trans. Susan Emanuel. Stanford: Stanford University Press, 1996.CrossRefGoogle Scholar
Bourne, H. R. Fox. English Newspapers: Chapters in the History of Journalism. Vol. 1. New York: Russell & Russell, 1966. 1887.Google Scholar
Bratton, Jacky. “The Celebrity of Edmund Kean: An Institutional Story.” Theatre and Celebrity in Britain, 1660–2000. Eds. Luckhurst, Mary and Moody, Jane. New York: Palgrave, 2006. 90106.Google Scholar
Bratton, Jacky. New Readings in Theatre History. Cambridge: Cambridge University Press, 2003.Google Scholar
Brewer, John. “‘The Most Polite Age and the Most Vicious’: Attitudes towards Culture as Commodity, 1660–1800.The Consumption of Culture 1600–1800: Image, Object, Text. Eds. Bermingham, Ann and Brewer, John. London and New York: Routledge, 1995. 341–61.Google Scholar
Bromwich, David. Hazlitt: The Mind of a Critic. Oxford: Oxford University Press, 1983.Google Scholar
Brooks, Cleanth. The Well-Wrought Urn: Studies in the Structure of Poetry. New York: Harvest/HBJ, 1947.Google Scholar
Burgess, Miranda J. “Bearing Witness: Law, Labor and the Gender of Privacy in the 1720s.” Modern Philology 98.3 (2001): 393422.CrossRefGoogle Scholar
Burgess, Miranda J. “‘Courting Ruin:’ The Economic Romances of Frances Burney.” Novel: A Forum on Fiction 28.2 (Winter 1995): 131–55.Google Scholar
Burke, Edmund. Reflections on the Revolution in France. Ed. O’Brien, Conor Cruise. New York: Penguin, 1968.Google Scholar
Burney, Frances. The Wanderer; or, Female Difficulties. Eds. Doody, Margaret Anne, Mack, Robert L., and Sabor, Peter. Oxford: Oxford University Press, 1991.Google Scholar
Burroughs, Catherine B. Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Philadelphia: University of Pennsylvania Press, 1997.CrossRefGoogle Scholar
Burroughs, Catherine B, ed. Women in British Romantic Theatre: Drama, Performance, and Society, 1790–1840. Cambridge: Cambridge University Press, 2000.Google Scholar
Burwick, Frederick. Playing to the Crowd: London Popular Theatre, 1780–1830. New York: Palgrave Macmillan, 2011.Google Scholar
Burwick, Frederick. Romantic Drama: Acting and Reacting. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Byrne, Paula. Jane Austen and the Theatre. London: Hambledon and London, 2002.Google Scholar
Calhoun, Craig, ed. Habermas and the Public Sphere. Cambridge, MA: MIT Press, 1992.Google Scholar
Campbell, Colin. The Romantic Ethic and the Spirit of Modern Consumerism. Oxford: Blackwell, 1987.Google Scholar
Campbell, Colin. “Understanding Traditional and Modern Patterns of Consumption in Eighteenth-Century England: A Character-Action Approach.” Consumption and the World of Goods. Eds. Brewer, John and Porter, Roy. London and New York: Routledge, 1993. 3957.Google Scholar
Caputo, Nicoletta. “Theatrical Periodicals and the Ethics of Theatre in the Romantic Age.” The Romantic Stage: A Many-Sided Mirror. Eds. Crisafulli, Lilla Maria and Liberto, Fabio. Amsterdam: Rodopi, 2014. 4356.Google Scholar
Carlson, Julie A. “Hazlitt and the Sociability of Theatre.” Romantic Sociability: Social Networks and Literary Culture in Britain 1770–1840. Eds. Russell, Gillian and Tuite, Clara. Cambridge: Cambridge University Press, 2002. 145–65.Google Scholar
Carlson, Julie A. In the Theatre of Romanticism: Coleridge, Nationalism, Women. Cambridge: Cambridge University Press, 1994.CrossRefGoogle Scholar
Carlyle, Thomas. “Signs of the Times.” Edinburgh Review (June 1829): 439–59.Google Scholar
The Censor. London [biweekly], 1828–1829.Google Scholar
The Champion. London [weekly], 1814–1822.Google Scholar
Chandler, James. England in 1819. Chicago: University of Chicago Press, 1998.Google Scholar
Chandler, James. “Hallam, Tennyson, and the Poetry of Sensation: Aestheticist Allegories of a Counter-Public Sphere.” Studies in Romanticism 33.4 (Winter 1994): 527–37.CrossRefGoogle Scholar
Chandler, James and Gilmartin, Kevin, eds. Romantic Metropolis: The Urban Scene of British Culture, 1780–1840. Cambridge: Cambridge University Press, 2005.Google Scholar
Christensen, Jerome. Lord Byron’s Strength: Romantic Writing and Commercial Society. Baltimore: Johns Hopkins University Press, 1995.Google Scholar
Christensen, Jerome. Romanticism at the End of History. Baltimore: Johns Hopkins University Press, 2000.Google Scholar
Christie, Ian. Stress and Stability in Late Eighteenth-Century Britain. Oxford: Clarendon, 1984.Google Scholar
Cibber, Colley. The Plays of Colley Cibber. Ed. Hayley, Rodney L. Vol. 1. New York: Garland, 1980.Google Scholar
Clarke, Charles Cowden and Cowden, Mary. Recollections of Writers. Fontwell: Centaur, 1969.Google Scholar
Clive, John. Scotch Reviewers: The Edinburgh Review, 1802–1815. Cambridge, MA: Harvard University Press, 1957.Google Scholar
Coleridge, Samuel Taylor. Biographia Literaria. The Collected Works of Samuel Taylor Coleridge. Eds. Bate, Walter Jackson and Engell, James. Vol 1. Princeton: Princeton University Press, 1985.Google Scholar
Coleridge, Samuel Taylor. Table Talk. The Collected Works of Samuel Taylor Coleridge. Ed. Woodring, Carl. Vol. 14, Part 2. Princeton: Princeton University Press, 1990.Google Scholar
Colley, Linda. Britons: Forging the Nation 1707–1837. New Haven: Yale University Press, 1992.Google Scholar
The Columbine and Weekly Review. London [weekly], 1829–1830.Google Scholar
Complete Defence of Kean Against the Unmanly Attacks of The Times. London: W. Mason, 1825.Google Scholar
Cook, Jon. Introduction. William Hazlitt: Selected Writings. Ed. Cook, Jon. Oxford: Oxford University Press, 1992.Google Scholar
Corcoran, Brendan. “Keats’s Death: Towards a Posthumous Poetics.” Studies in Romanticism 48.2 (Summer 2009): 321–48.Google Scholar
The Covent Garden Theatrical Gazette. London [daily], 1816.Google Scholar
Cox, Jeffrey. Poetry and Politics in the Cockney School: Keats, Shelley, Hunt and their Circle. Cambridge: Cambridge University Press, 1998.Google Scholar
Cox, Jeffrey. “Re-viewing Romantic Drama.” Literature Compass 1.1 (2004): http://dx.doi.org/10.1111/j.1741–4113.2004.00096.x; January 14, 2015.Google Scholar
Cox versus Kean: Fairburn’s Edition of the Trial between Robert Albion Cox, Esq. and Edmund Kean, Defendant for Criminal Conversation with the Plaintiff’s Wife. London: Fairburn, 1825.Google Scholar
Cranfield, G. A. The Press and Society: From Caxton to Northcliffe. London: Longman, 1978.Google Scholar
Crafton, Lisa Plummer. “‘Insipid Decency’: Modesty and Female Sexuality in Wollstonecraft.” European Romantic Review 11.3 (Summer 2000): 277–99.CrossRefGoogle Scholar
Crisafulli, Lilla Maria and Liberto, Fabio, eds. The Romantic Stage: A Many-Sided Mirror. Amsterdam: Rodopi, 2014.Google Scholar
Crochunis, Thomas C. “British Women Playwrights Around 1800: New Paradigms and Recoveries.” Introduction to special issue of Romanticism on the Net 12 (1998): www.erudit.org/revue/ron/1998/v/n12/index.html; January 14, 2015.Google Scholar
Crochunis, Thomas C. “Edmund Kean’s ‘Radical’ Acting.” Paper delivered at the Association for Theatre in Higher Education Conference. Chicago, IL, July 1994.Google Scholar
Crochunis, Thomas C. “Women and Dramatic Writing in the British Romantic Era.” Literature Compass 1 (2004): 114: www.literature-compass.com/viewpoint.asp; January 14, 2015.CrossRefGoogle Scholar
The Daily Advertiser [London]: February 26, 1730.Google Scholar
The Daily Courant [London]: March 11, 1702, October 8, 1708.Google Scholar
The Daily Universal Register (later The Times) [London]: January 1, 1785, January 4, 1785.Google Scholar
Davis, Tracy C. “‘Reading Shakespeare by Flashes of Lightning:’ Challenging the Foundations of Romantic Acting Theory.” ELH 62 (1995): 933–54.CrossRefGoogle Scholar
Davis, Tracy C. and Postlewait, Thomas, eds. Theatricality. Cambridge: Cambridge University Press, 2004.Google Scholar
Defoe, Daniel. Defoe’s Review: Reproduced from the Original Editions. Vol. 1. New York: Columbia University Press, 1938.Google Scholar
De Man, Paul. “Introduction to the Poetry of John Keats.” Critical Writings, 1953–1978. Ed. Waters, Lindsay. Minneapolis: University Minnesota Press, 1989.Google Scholar
De Man, Paul. “The Rhetoric of Temporality.” Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism. Minneapolis: University of Minnesota Press, 1983. 187228.Google Scholar
DeQuincey, Thomas. The Collected Writings of Thomas DeQuincey. Ed. Masson, David. Vol. XIII. Tales and Prose Phantasies. New York: AMS, 1968; Edinburgh: Adam and Charles Black, 1890.Google Scholar
Dictionary of National Biography. Eds. Sir Leslie, Stephen and Sir Lee, Sidney. 22 vols. Oxford: Oxford University Press, 1921–22. rpt. 1959–60.Google Scholar
Donohue, Joseph W., Jr. Dramatic Character in the English Romantic Age. Princeton: Princeton University Press, 1970.Google Scholar
Donohue, Joseph W.. “Hazlitt’s Sense of the Dramatic: Actor as Tragic Character.” Studies in English Literature 5.4 (1965): 705–21.CrossRefGoogle Scholar
Donohue, Joseph W.. Theatre in the Age of Kean. Totowa, NJ: Rowman & Littlefield, 1975.Google Scholar
The Drama; A Daily Register of Histrionic Performances on the Dublin Stage. Dublin [daily], 1821.Google Scholar
The Drama; or, Theatrical Pocket Magazine. London [monthly], 1821–1825.Google Scholar
The Dramatic Censor. London [weekly], 1800–1801.Google Scholar
The Dramatic Censor; or, Critical and Biographical Illustration of the British Stage. London [monthly], 1811.Google Scholar
The Dramatic Correspondent, and Amateur’s Place Book. London [weekly], 1828–1829.Google Scholar
The Dramatic Magazine. London [monthly], 1829–1831.Google Scholar
The Dramatic Observer and Musical Review. London [daily], 1823.Google Scholar
Eagleton, Terry. The Function of Criticism: From The Spectator to Post-Structuralism. London: Verso, 1984.Google Scholar
Eberle-Sinatra, Michael. Leigh Hunt and the London Literary Scene: A Reception History of His Major Works, 1805–1828. New York: Routledge, 2005.Google Scholar
Edelstein, Dan. The Enlightenment: A Genealogy. Chicago: University of Chicago Press, 2010.Google Scholar
Edinburgh Dramatic Review. Edinburgh [daily], 1824–1825.Google Scholar
Edinburgh Dramatic Tete-a-Tete. Edinburgh [daily], 1828.Google Scholar
Eger, Elizabeth, Grant, Charlotte, Gallchoir, Clíona Ó, and Warburton, Penny, eds. Women, Writing, and the Public Sphere, 1700–1830. Cambridge: Cambridge University Press, 2001.Google Scholar
Ellis, Aytoun. The Penny Universities: A History of the Coffee-houses. London: Secker and Warburg, 1956.Google Scholar
Enright, Nancy. “William Hazlitt and His ‘Familiar Style.’Essays on the Essay: Redefining the Genre. Ed. Butrym, Alexander J.. Athens: University of Georgia Press, 1989.Google Scholar
Esterhammer, Angela. Romanticism and Improvisation, 1750–1850. Cambridge: Cambridge University Press, 2009.Google Scholar
The Examiner. London [weekly], 1808–1836.Google Scholar
Faflak, Joel. “Romantic Psychoanalysis: Keats, Identity, and ‘(The Fall of) Hyperion.’” Lessons of Romanticism. Eds. Pfau, Thomas and Robert, Gleckner. Durham, NC: Duke University Press, 1998. 304–27.Google Scholar
Favret, Mary. War at a Distance: Romanticism and the Making of Modern Wartime. Princeton: Princeton University Press, 2009.CrossRefGoogle Scholar
Fay, Elizabeth. “Mary Robinson: On Trial in the Public Court.” Studies in Romanticism 45.3 (Fall 2006): 397–23.CrossRefGoogle Scholar
Franta, Andrew. Romanticism and the Rise of the Mass Public. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Fraser, Nancy. “Rethinking the Public Sphere: A Contribution to the Critique of Actually Existing Democracy.” Habermas and the Public Sphere. Ed. Calhoun, Craig. Cambridge, MA: MIT Press, 1992. 109–42.Google Scholar
Fry, Paul. “History, Existence, and ‘To Autumn,’Studies in Romanticism 25.2 (Summer 1986): 211–19.CrossRefGoogle Scholar
Fry, Paul. The Poet’s Calling in the English Ode. New Haven: Yale University Press, 1980.Google Scholar
Fulford, Tim. Romantic Poetry and Literary Coteries: The Dialect of the Tribe. New York: Palgrave Macmillan, 2015.CrossRefGoogle Scholar
Gamer, Michael. “Authors in Effect: Lewis, Scott and the Gothic Drama.ELH 66.4 (1999): 831–61.Google Scholar
Gamer, Michael. “A Matter of Turf: Romanticism, Hippodrama, and Legitimate Satire.Nineteenth-Century Contexts 28.4 (2006): 305–34.CrossRefGoogle Scholar
Gamer, Michael. Romanticism and the Gothic: Genre, Reception and Canon Formation. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Gamer, Michael and Robinson, Terry F, “Mary Robinson and the Dramatic Art of the Comeback.Studies in Romanticism 48.2 (Summer 2009): 219–56.Google Scholar
Ganzel, Dewey. “Patent Wrongs and Patent Theatres: Drama and the Law in the Early Nineteenth Century,” PMLA 76 (1961): 384896.Google Scholar
Gay, Penny. Jane Austen and the Theatre. Cambridge: Cambridge University Press, 2002.Google Scholar
Gentleman, Francis. The Dramatic Censor, or Critical Companion. London: J. Bell, 1770.Google Scholar
The Genuine Theatrical Observer [Dublin], daily, 1823.Google Scholar
Gilmartin, Kevin. “Hazlitt’s Visionary London.” Repossessing the Romantic Past. Eds. Glen, Heather and Paul, Hamilton. Cambridge: Cambridge University Press, 2006. 4062.CrossRefGoogle Scholar
Gilmartin, Kevin. Print Politics: The Press and Radical Opposition in Early-Nineteenth Century England. Cambridge: Cambridge University Press, 1996.Google Scholar
Gilmartin, Kevin. William Hazlitt: Political Essayist. Oxford: Oxford University Press, 2015.Google Scholar
Gonda, Caroline. “Misses, Murderesses and Magdalens: Women in the Public Eye.” Eds. Eger, Elizabeth, Grant, Charlotte, Gallchior, Clíona Ó, and Warburton, Penny. Cambridge: Cambridge University Press, 2001. 5371.Google Scholar
Goodman, Kevis. Georgic Modernity and British Romanticism: Poetry and the Mediation of History. Cambridge: Cambridge University Press, 2004.Google Scholar
Gowen, David Robert. Studies in the History and Function of the British Theatre Playbill and Programme, 1564–1914. Diss. St. Catherine’s College, Oxford, 1998.Google Scholar
Gray, Charles Harold. Theatrical Criticism in London to 1795. New York: Columbia University Press, 1931.Google Scholar
Guest, Harriet. Small Change: Women, Learning, Patriotism 1750–1810. Chicago: University of Chicago Press, 2000.Google Scholar
Habermas, Jurgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with Frederick Lawrence. Cambridge, MA: MIT Press, 1989.Google Scholar
Hadley, Elaine. Melodramatic Tactics: Theatricalized Dissent in the English Marketplace, 1800–1885. Stanford: Stanford University Press, 1995.CrossRefGoogle Scholar
Hamilton, Paul. Metaromanticism: Aesthetics, Literature, Theory. Chicago: University of Chicago Press, 2003.Google Scholar
Hanson, Frank Burton. London Theatre Audiences of the Nineteenth Century. Diss. Yale University, 1953.Google Scholar
The Harlequin. London [weekly], 1829.Google Scholar
Harris, Michael. “The Structure, Ownership, and Control of the Press, 1620–1780.” Newspaper History: From the Seventeenth Century to the Present Day. Eds. Boyce, George, Curran, James, and Pauline, Wingate. London: Constable, 1978. 8297.Google Scholar
Hawkins, F. W. The Life of Edmund Kean. London: Tinsley Bros., 1869.Google Scholar
Hays, Michael and Nikolopoulou, Anastasia, eds. Melodrama: The Cultural Emergence of a Genre. New York: Palgrave Macmillan, 1999.Google Scholar
Hazlitt, William. The Complete Works of William Hazlitt. 21 vols. Ed. Howe, P. P. after the edition of Waller, A. R. and Glover, Arnold. New York: AMS Press, 1967.Google Scholar
Hessell, Nikki. Literary Authors, Parliamentary Reporters: Johnson, Coleridge, Hazlitt, Dickens. Cambridge: Cambridge University Press, 2012.Google Scholar
Hessell, Nikki. “The Opposite of News: Rethinking the 1800 Lyrical Ballads and the Mass Media.” Studies in Romanticism 45.3 (Fall 2003): 331–55.Google Scholar
Higgins, David. “Englishness, Effeminacy, and the New Monthly Magazine: Hazlitt’s ‘The Fight’ in Context.” Romanticism 10 (2004).Google Scholar
Higgins, David. Romantic Genius and the Literary Magazine. New York: Routledge, 2005.Google Scholar
Hill, Aaron and People, William. The Prompter: A Theatrical Paper, 1734–1736. Eds. Appleton, William W. and Burnim, Kalman A.. New York: Benjamin Blom, 1966.Google Scholar
Hillebrand, Harold Newcomb. Edmund Kean. New York: Columbia University Press, 1933.Google Scholar
Hindle, Wilfred. The Morning Post 1772–1937: Portrait of a Newspaper. London: Routledge, 1937.Google Scholar
The History of The Times. Vol. 1. The Thunderer in the Making 1785–1841. New York: Macmillan, 1935.Google Scholar
Hogan, Charles Beecher, The London Stage, 1776–1800: A Critical Introduction. Carbondale, IL: Southern Illinois University Press, 1968.Google Scholar
Hogan, Charles Beecher, ed. The London Stage 1660–1800. Part 5, Vol. 3. 1776–1800. Carbondale: Southern Illinois University Press, 1968.Google Scholar
Holland, Peter. “‘Some of you might have seen him’: Laurence Olivier’s Celebrity.” Theatre and Celebrity in Britain, 1660–2000. Eds. Luckhurst, Mary and Moody, Jane. New York: Palgrave, 2006. 214–32.Google Scholar
Howe, P. P. The Life of William Hazlitt. New York: George H. Doran, 1923.Google Scholar
The Hull Dramatic Censor. Hull [weekly], 1826–1827.Google Scholar
Hume, David. A Treatise of Human Nature. Eds. Norton, David Fate and Norton, Mary J.. Oxford: Oxford University Press, 2000.Google Scholar
Hunt, Leigh. The Autobiography of Leigh Hunt. 2 vols. New York: AMS Press, 1965.Google Scholar
Hunt, Leigh. Leigh Hunt’s Dramatic Criticism, 1808–1831. Eds. Houtchens, Lawrence Huston and Houtchens, Carolyn Washburn. New York: Columbia University Press, 1949.Google Scholar
Hunt, Leigh. “Prospectus.” Examiner 1.1 (June 3, 1808): 68.Google Scholar
Hunt, Leigh. The Selected Writings of Leigh Hunt. Vol. 1: Periodical Essays, 1805–14. Eds. Kucich, Greg and Cox, Jeffrey N.. London: Pickering and Chatto, 2003.CrossRefGoogle Scholar
Hunt, Lynn. Politics, Culture, and Class in the French Revolution. Berkeley and Los Angeles: University of California Press, 1984.Google Scholar
The Independent Theatrical Observer. Dublin [daily], 1822.Google Scholar
The Irish Dramatic Censor. Dublin [monthly?], 1811–1812.Google Scholar
Jacobus, Mary. “Intimate Connections: Scandalous Memoirs and Epistolary Indiscretion.” Women, Writing, and the Public Sphere, 1700–1830. Eds. Eger, Elizabeth, Grant, Charlotte, Gallchior, Clíona Ó, and Warburton, Penny. Cambridge: Cambridge University Press, 2001. 274–89.Google Scholar
Jeffrey, Francis. “The State and Prospects of Europe,” Edinburgh Review 45 (April 1814): 140.Google Scholar
Jewett, William. Fatal Autonomy: Romantic Drama and the Rhetoric of Agency. Ithaca: Cornell University Press, 1997.Google Scholar
Johnson, Samuel. A Dictionary of the English Language. New York: Arno, 1979; London: W. Strahan, 1755.Google Scholar
Johnson, Samuel. The Yale Edition of the Works of Samuel Johnson. Vol. 2: The Idler and The Adventurer. Eds. Bate, W. J., Bullitt, John M., and Powell, L. F.. New Haven: Yale University Press, 1963.Google Scholar
Johnson, Samuel. The Yale Edition of the Works of Samuel Johnson. Vol. 6: Poems. Ed. McAdam, E. L., Jr. with Milne, George. New Haven: Yale University Press, 1964.Google Scholar
Jones, Elizabeth. “Keats in the Suburbs.” Keats-Shelley Journal 45 (1996): 2343.Google Scholar
Jones, Leonidas. “Keats’s Theatrical Reviews in the Champion.” Keats-Shelley Journal 3 (Winter 1954): 5565.Google Scholar
Jones, Stanley. Hazlitt: A Life. Oxford: Clarendon, 1989.Google Scholar
Kahan, Jeffrey. The Cult of Kean. Alderhsot: Asghate, 2006.Google Scholar
Kandl, John. “Plebian Gusto, Negative Capability, and the Low Company of ‘Mr. Kean’: Keats’ Dramatic Review for the Champion (21 December 1817),” Nineteenth-Century Prose 28.2 (2001): 130–41.Google Scholar
Kaufman, Robert. “Everybody Hates Kant: Blakean Formalism and the Symmetries of Laura Moriarty.” Modern Language Quarterly 61.1 (2000): 131–55.Google Scholar
Kaufman, Robert. “Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde.Critical Inquiry 27.2 (2001): 354–84.Google Scholar
Keach, William. “Cockney Couplets: Keats and the Politics of Style.” Studies in Romanticism 25.2 (Summer 1986): 182–96.CrossRefGoogle Scholar
Kean Vindicated, or the Truth Discovered with his Flattering Reception on Monday Evening. London: Reed. 1825.Google Scholar
Keats, John. Complete Poems. Ed. Stillinger, Jack. Cambridge, MA: Belknap, 1978.Google Scholar
Keats, John. Keats’s Poetry and Prose. Ed. Cox, Jeffrey N.. New York: Norton, 2009.Google Scholar
Keats, John. The Letters of John Keats. Ed. Rollins, Hyder Edward. 2 vols. Cambridge, MA: Harvard University Press, 1958.Google Scholar
Keats, John. The Poems of John Keats. Ed. Allott, Miriam. New York: Norton, 1970.Google Scholar
Keats, John. The Poetical Works and Other Writings of John Keats. The Hampstead Edition. Ed. Buxton Forman, H.. Revised Forman, Maurice Buxton. Vol. 5. New York: Charles Scribner’s Sons, 1939.Google Scholar
Kee, James. “Addressing the ‘Cold Pastoral’: Word, Image, and the Drama of Romantic Selfhood in Keats’s ‘Ode on a Grecian Urn.’” Interfaces 18 (2000): 3342.Google Scholar
Kelley, Theresa. Reinventing Allegory. Cambridge: Cambridge University Press, 1997.Google Scholar
Kinnaird, John. William Hazlitt: Critic of Power. New York: Columbia University Press, 1978.Google Scholar
Klancher, Jon P.Discriminations, or Romantic cosmopolitanisms in London.” Romantic Metropolis: The Urban Scene of British Culture, 1780–1840. Eds. Chandler, James and Gilmartin, Kevin. Cambridge: Cambridge University Press, 2005. 6582.Google Scholar
Klancher, Jon P.. Introduction.Romanticism and its Publics.” Studies in Romanticism 25.2 (Summer 1986): 523–25.Google Scholar
Klancher, Jon P.. The Making of English Reading Audiences, 1790–1832. Madison: University of Wisconsin Press, 1987.Google Scholar
Klancher, Jon P.. “Romantic Criticism and the Meanings of the French Revolution.” Studies in Romanticism 28 (Fall 1989): 463–91.Google Scholar
Klein, Lawrence E. “Politeness for Plebes: Consumption and Social Identity in Early Eighteenth-Century England.” Consumption and the World of Goods. Eds. Brewer, John and Porter, Ray. London and New York: Routledge, 1993. 362–82.Google Scholar
Korobkin, Laura Hanft. Criminal Conversations: Sentimentality and Nineteenth Century Legal Stories of Adultery. New York: Columbia University Press, 1998.Google Scholar
Kruger, Loren. The National Stage: Theatre and Cultural Legitimation in England, France, and America. Chicago: University of Chicago Press, 1992.Google Scholar
Kucich, Greg. “‘The Wit in the Dungeon’: Leigh Hunt and the Insolent Politics of Cockney Coteries.” European Romantic Review 10 (1999): 242–53.Google Scholar
Kucich, Greg and Cox, Jeffery N. “Introduction.” The Selected Writings of Leigh Hunt. Vol. 1. Political Essays, 1805–1814. Eds. Kucich, Greg and Cox, Jeffrey N.. London: Pickering and Chatto, 2003. xxixliii.Google Scholar
Lamb, Charles and Mary, . The Letters of Charles and Mary Lamb. Ed. Lucas, E. V.. 3 vols. New York: AMS, 1968; London: Methuen, 1935.Google Scholar
Lamb, Charles. The Works of Charles and Mary Lamb. Ed. Lucas, E. V.. 5 vols. Miscellaneous Prose 1798–1834. New York: AMS, 1968; London: Methuen, 1903.Google Scholar
Latham, Sean and Scholes, Robert, “The Rise of Periodical Studies,” PMLA 121.2 (March 2006): 517–31.Google Scholar
Levinson, Marjorie. Keats’s Life of Allegory: The Origins of a Style. Oxford: Blackwell, 1988.Google Scholar
Levinson, Marjorie. The Romantic Fragment Poem: A Critique of Form. Chapel Hill: Universtiy of North Carolina Press, 1986.Google Scholar
Lillywhite, Bryant. London Coffee Houses. London: Allen and Unwin, 1963.Google Scholar
Lincoln Dramatic Censor. Lincoln [weekly], 1809.Google Scholar
Liu, Alan. “The Power of Formalism: The New Historicism.” ELH 56.4 (Winter 1989): 721–71.Google Scholar
Loftis, John. Sheridan and the Drama of Georgian England. Cambridge, MA: Harvard University Press, 1977.Google Scholar
Lynch, James J., Box, Pit and Gallery: Stage and Society in Johnson’s London. Berkeley and Los Angeles: University of California Press, 1953.Google Scholar
Mackintosh, James. “A Speech in Defence of Jean Peltier, Accused of a Libel on the First Consul of France.” The Miscellaneous Works of the Right Honourable Sir James Mackintosh. Boston: Phillips, Sampson & Company: 1854. 484504.Google Scholar
Magnuson, Paul. Reading Public Romanticism. Princeton: Princeton University Press, 1998.Google Scholar
Mahoney, John L. The Logic of Passion: The Literary Criticism of William Hazlitt. New York: Fordham University Press, 1981.Google Scholar
Mander, Raymond and Mitchenson, Joe. The Theatres of London. Illus. Timothy Birdsall. London: Rupert Hart Davis, 1961.Google Scholar
Mason, Nicholas. “Building Brand Byron: Early Nineteenth-Century Advertising and the Marketing of Childe Harold’s Pilgrimage.Modern Language Quarterly 63.4 (2002): 411–40.Google Scholar
Maurer, Shawn Lisa. Proposing Men: Dialectics of Gender and Class in Eighteenth-Century English Periodical. Stanford: Stanford University Press, 1998.Google Scholar
Mayer, David, III. Harlequin in His Element: The English Pantomime, 1806–1836. Cambridge, MA: Harvard University Press, 1969.Google Scholar
McCann, Andrew. Cultural Politics in the 1790s: Literature, Radicalism, and the Public Sphere. New York: St. Martin’s, 1999.CrossRefGoogle Scholar
McFarland, Thomas. The Masks of Keats: The Endeavor of a Poet. Oxford: Oxford University Press, 2000.CrossRefGoogle Scholar
McGann, Jerome J. The Beauty of Inflections: Literary Investigations in Historical Method and Theory. Oxford: Clarendon, 1985.Google Scholar
McGann, Jerome J. “Keats and the Historical Method in Literary Criticism.” Modern Language Notes 94.5 (1979): 9881032.Google Scholar
McGann, Jerome J. The Romantic Ideology. Chicago: University of Chicago Press, 1983.Google Scholar
McGann, Jerome J. Towards a Literature of Knowledge. Chicago: University of Chicago Press, 1989.Google Scholar
McKendrick, Neil. “The Consumer Revolution of Eighteenth-Century England.” The Birth of a Consumer Society: The Commercialization of Eighteenth-Century Society. Eds. McKendrick, Neil, Brewer, John, and Plumb., J. H. Bloomington: Indiana University Press, 1982.Google Scholar
McKeon, Michael. The Secret History of Domesticity: Public, Private, and the Division of Knowledge. Baltimore: The Johns Hopkins University Press, 2005.Google Scholar
McLeod, Randall. “Un-Editing Shakespeare.” SubStance 33.4 (1982): 2655.Google Scholar
Milnes, Tim. “‘Darkening Knowledge:’ Hazlitt and Bentham on the Limits of Empiricism.” Metaphysical Hazlitt: Bicentenary Essays. Eds. Natarajan, Uttara, Paulin, Tom, and Duncan, Wu. London: Routledge, 2005. 125–36.Google Scholar
Mitchell, Robert. “Suspended Animation, Slow Time, and the Politics of Trance.” PMLA 126.1 (2011) 107–22.Google Scholar
Mole, Tom. Byron’s Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy. New York: Palgrave Macmillan, 2007.Google Scholar
The Monthly Theatrical Reporter. London [monthly], 1814–1815.Google Scholar
The Monthly Theatrical Review. London [monthly], 1829.Google Scholar
Moody, Jane. “‘Fine wore, legitimate!’: Towards a Theatrical History of Romanticism.” Texas Studies in Language and Literature 38.3/4 (1996): 223–44.Google Scholar
Moody, Jane. Illegitimate Theatre in London, 1770–1840. Cambridge: Cambridge University Press, 2000.Google Scholar
Moody, Jane. “Romantic Shakespeare.” The Cambridge Companion to Shakespeare on Stage. Eds. Wells, Stanley and Sarah, Stanton. Cambridge: Cambridge University Press, 2002. 3757.CrossRefGoogle Scholar
Moody, Jane. “The Silence of the New Historicism: A Mutinous Echo from 1830.” Nineteenth Century Theatre. 22.2 (1996): 6189.Google Scholar
Moody, Jane. “The Theatrical Revolution, 1776–1843.” The Cambridge History of British Theatre: Vol. 2: 1660–1800. Ed. Donohue, Joseph. Cambridge: Cambridge University Press, 2008. 199215.Google Scholar
Morison, Stanley. The English Newspaper: Some Account of the Physical Development of Journals Printed in London Between 1622 & the Present Day. Cambridge: Cambridge University Press, 1932.Google Scholar
The Morning Chronicle [London]: May 3, 1792, November 25, 1812, December 2, 1812.Google Scholar
Muir, Kenneth. “Keats and Hazlitt.” John Keats: A Reassessment. Ed. Muir, Kenneth. Liverpool: Liverpool University Press, 1969.Google Scholar
Mulrooney, Jonathan. “Keats’s ‘Dull Rhymes’ and the Making of the Ode Stanza.” Literature Compass 5.1 (2008).CrossRefGoogle Scholar
Mulrooney, Jonathan. “Reading Theatre 1730–1830.” The Cambridge Companion to British Theatre 1730–1830. Eds. Moody, Jane and O’Quinn, Daniel. Cambridge: Cambridge University Press, 2007. 249–60.Google Scholar
Mulvihill, James. “Hazlitt and the Idea of Identity.” Metaphysical Hazlitt: Bicentenary Essays. Eds. Natarajan, Uttara, Paulin, Tom, and Duncan, Wu. London: Routledge, 2005. 3042.Google Scholar
The Museum, or Record of Literature (June 1822).Google Scholar
Natarajan, Uttara. Hazlitt and the Reach of Sense: Criticism, Morals, and the Metaphysics of Power. Oxford: Clarendon, 1999.Google Scholar
Natarajan, Uttara, Paulin, Tom, and Duncan, Wu, eds. Metaphysical Hazlitt: Bicentenary Essays. London: Routledge, 2005.Google Scholar
The National Omnibus; and Entertaining Advertiser. London [bi-weekly], 1831–1833.Google Scholar
Negt, Oskar and Kluge, Alexander. Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere. Trans. Peter Labanyi, Jamie Owen Daniel, and Assenka Oksiloff. Minneapolis: University of Minnesota Press, 1993.Google Scholar
Newey, Vincent. “Keats, History, and the Poets.” Keats and History. Ed. Roe, Nicholas. Cambridge: Cambridge University Press, 1995.Google Scholar
Newlyn, Lucy. Reading, Writing, and Romanticism: The Anxiety of Reception. Oxford: Oxford University Press, 2000.Google Scholar
Newspaper Press.” The Westminster Review 10.19 (January 1829): 216–37.Google Scholar
Newspapers.” The Westminster Review 1.3 (July 1824): 194212.Google Scholar
Nichols, John. Literary Anecdotes of the Eighteenth Century. 2nd ed., Vol. 1. London: Nichols, Son & Bentley, 1812.Google Scholar
Nicoll, Allardyce. The Garrick Stage: Theatres and Audiences in the Eighteenth Century. Athens: University of Georgia Press, 1980.Google Scholar
Nicoll, Allardyce. A History of English Drama 1660–1900. Vol. 3. Late Eighteenth Century Drama, 1750–1800. Cambridge: Cambridge University Press, 1966.Google Scholar
Nuss, Melynda. Distance, Theatre, and the Public Voice, 1750–1850. New York: Palgrave Macmillan, 2012.Google Scholar
O’Neill, Michael. “‘When this warm scribe my hand’: Writing and History in ‘Hyperion’ and ‘The Fall of Hyperion.’Keats and History. Ed. Roe, Nicholas. Cambridge: Cambridge University Press, 1995. 143–64.Google Scholar
The Opera Glass. London [monthly], 1829–1830.Google Scholar
Daniel., O’Quinn Entertaining Crises in the Atlantic Imperium, 1770–1790. Baltimore: Johns Hopkins University Press, 2011.Google Scholar
Daniel., O’Quinn. Staging Governance: Theatrical Imperialism in London 1770–1800. Baltimore: Johns Hopkins University Press, 2005.Google Scholar
The Original Theatrical Observer. Dublin [daily], 1821.Google Scholar
O’Rourke, James, ed. ‘Ode on a Grecian Urn’: Hypercanonicity and Pedagogy. Romantic Praxis Series (2003): www.rc.umd.edu/praxis/grecianurn/; January 14, 2015Google Scholar
Oxberry’s Theatrical Inquisitor; or, Monthly Mirror of the Drama. London [monthly], 1828.Google Scholar
Oxford English Dictionary. Eds. Murray, James A. H., Bradley, Henry, Craigie, W. A., and Onions, C. T.. Oxford: Clarendon, 1970.Google Scholar
Park, Roy. Hazlitt and the Spirit of the Age. Oxford: Clarendon, 1971.Google Scholar
Parker, Mark. Literary Magazines and British Romanticism. Cambridge: Cambridge University Press, 2000.Google Scholar
Pascoe, Judith. Romantic Theatricality: Gender, Poetry, and Spectatorship. Ithaca: Cornell University Press, 1997.Google Scholar
Pascoe, Judith. The Sarah Siddons Audiofiles: Romanticism and the Lost Voice. Ann Arbor: University of Michigan Press, 2013.Google Scholar
Paulin, Tom. The Day-Star of Liberty: William Hazlitt’s Radical Style. London: Faber and Faber, 1998.Google Scholar
Playfair, Giles. The Flash of Lightning: A Portrait of Edmund Kean. London: William Kimber, 1983.Google Scholar
Plotz, John. The Crowd: British Literature and Public Politics. Berkeley: University of California Press, 2000.Google Scholar
Plumly, Stanley. Posthumous Keats: A Personal Biography. New York: Norton, 2008.Google Scholar
Plymouth Theatrical Spy. Plymouth [weekly], 1828.Google Scholar
The Poetic Epistles of Edmund, with Notes, Illustrations, and Reflections. London: Effingham Wilson, 1825.Google Scholar
Pope, Alexander. The Poems of Alexander Pope: A Reduced Version of the Twickenham Text. Ed. Butt, John. New Haven: Yale University Press, 1966.Google Scholar
Pratt, Kathryn. “‘Dark Catastrophe of Passion’: The ‘Indian’ as Human Commodity in Nineteenth-Century British Theatrical Culture.” Studies in Romanticism 41.4 (Winter 2002): 605–26.Google Scholar
Prince, Kathryn. Shakespeare in the Victorian Periodicals. New York: Routledge, 2008.Google Scholar
Purinton, Marjean. Romantic Ideology Unmasked: The Mentally Constructed Tyrannies in Dramas of William Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie. Newark: University of Delaware Press, 1994.Google Scholar
Rajan, Tilottama. “Keats, Poetry, and ‘The Absence of the Work.’” Modern Philology 95.3 (1998): 334–51.Google Scholar
Rea, Robert. The English Press in Politics. Lincoln: University of Nebraska Press, 1963.Google Scholar
Regier, Alexander. Fracture and Fragmentation in British Romanticism. Cambridge: Cambridge University Press, 2010.Google Scholar
Reiman, Donald H. “Keats and the Third Generation.” The Persistence of Poetry. Eds. Ryan, Robert M. and Sharp, Ronald A. Amherst: University of Massachusetts Press, 1998. 109–19.Google Scholar
Reiman, Donald H, ed. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part C. Vol. 1. Shelley, Keats, and the London Radical Writers. New York: Garland, 1972.Google Scholar
Remarks on the Causes of the Dispute between the Public and Managers of the Theatre Royal, Covent Garden, by John Bull. London: John Fairburn, 1809.Google Scholar
Reynolds, Paige. “Modernist Periodicals.” A History of Modernist Poetry. Eds. Davis, Alex and Lee, Jenkins. Cambridge: Cambridge University Press, 2015. 118–38.Google Scholar
Richardson, Alan. A Mental Theater: Poetic Drama and Consciousness in the Romantic Age. University Park: Pennsylvania State University Press, 1988.Google Scholar
Ricks, Christopher. Allusion to the Poets. Oxford: Oxford University Press, 2002.Google Scholar
Ricks, Christopher. Keats and Embarrassment. Oxford: Clarendon, 1984.Google Scholar
Ridley, M. R. Keats’s Craftsmanship: A Study in Poetic Development. Oxford: Clarendon, 1933.Google Scholar
Roach, Joseph. “Public Intimacy: The Prior History of ‘It.’Theatre and Celebrity in Britain, 1660–2000. Eds. Luckhurst, Mary and Moody, Jane. New York: Palgrave, 2006. 1530.Google Scholar
Bruce, Robbins, ed. The Phantom Public Sphere. Minneapolis: University of Minnesota Press, 1993.Google Scholar
Robinson, Terry F. “National Theatre in Transition: The London Patent Theatre Fires of 1808–1809 and the Old Price Riots.” BRANCH: Britain, Representation and Nineteenth-Century History. Ed. Felluga, Dino Franco. July 14, 2017: www.branchcollective.org/?ps_articles=terry-f-robinson-national-theatre-in-transition-the-london-patent-theatre-fires-of-1808-1809-and-the-old-price-riots.Google Scholar
Roe, Nicholas. Fiery Heart: The First Life of Leigh Hunt. London: Pimlico, 2005.Google Scholar
Roe, Nicholas. John Keats: A New Life. New Haven: Yale University Press, 2012.Google Scholar
Roe, Nicholas. John Keats and the Culture of Dissent. Oxford: Oxford University Press, 1997.Google Scholar
Rohrbach, Emily. “Reading the Heart, Reading the World: Keats’s Historiographical Aesthetic.” European Romantic Review 25.3 (June 2014): 275–88.Google Scholar
Rollins, Hyder Edward. The Keats Circle: Letters and Papers. 2 vols. Cambridge, MA: Harvard University Press, 1965.Google Scholar
Russell, Gillian. “‘Announcing each day the performances’: Playbills, Ephemerality, and Romantic Period Media/Theater History.” Studies in Romanticism 54 (Summer 2015): 241–68.CrossRefGoogle Scholar
Russell, Gillian. “Keats, Popular Culture, and the Sociability of Theatre.” Romanticism and Popular Culture in Britain and Ireland. Eds. Connell, Philip and Leask, Nigel. Cambridge: Cambridge University Press, 2009. 194213.Google Scholar
Russell, Gillian. “Playing at Revolution: The Politics of the O.P. Riots of 1809,” Theatre Notebook 44 (1990): 1626.Google Scholar
Russell, Gillian. “Theatre.” An Oxford Companion to the Romantic Age. Eds. McCalman, Iain et al. Oxford: Oxford University Press, 1999.Google Scholar
Russell, Gillian. The Theatres of War: Performance, Politics and Society, 1793–1815. Oxford: Clarendon, 1995.Google Scholar
Russell, Gillian. Women, Sociability and Theatre in Georgian London. Cambridge: Cambridge University Press, 2007.Google Scholar
Russell, Gillian and Tuite, Clara, eds. Romantic Sociability: Social Networks and Literary Culture in Britain 1770–1840. Cambridge: Cambridge University Press, 2002.Google Scholar
Rzepka, Charles J. “A Gift That Complicates Employ: Poetry and Poverty in ‘Resolution and Independence.’Studies in Romanticism 28.2 (Summer 1989): 225–47.CrossRefGoogle Scholar
Rzepka, Charles J. The Self as Mind: Vision and Identity in Wordsworth, Coleridge, and Keats. Cambridge, MA: Harvard University Press, 1986.Google Scholar
Sachs, Jonathan. “The Time of Decline.” European Romantic Review 22.3 (June 2011): 305–12.Google Scholar
Schaffer, Simon. “The Consuming Flame: Electrical Showman and Tory Mystics in the World of Goods.” Consumption and the World of Goods. Eds. Brewer, John and Porter, Ray. London and New York: Routledge, 1993. 489526.Google Scholar
Schmitt, Carl. Political Romanticism. Trans. Guy Oakes. Cambridge, MA: MIT Press, 1986.Google Scholar
Schoch, Richard. Not Shakespeare: Bardolatry and Burlesque in the Nineteenth Century. Cambridge: Cambridge University Press, 2002.Google Scholar
Schoenfield, Mark. British Periodicals and Romantic Identity: The “Lower Literary Empire.” New York: Palgrave Macmillan, 2009.Google Scholar
Schoenfield, Mark. The Professional Wordsworth: Law, Labor, and the Poet’s Contract. Athens: University of Georgia Press, 1996.Google Scholar
Scott, Joan Wallach. Gender and the Politics of History. rev. edition. New York: Columbia University Press, 1999.Google Scholar
Scrivener, Michael. Poetry and Reform: Periodical Verse from the English Democratic Press. Detroit: Wayne State University Press, 1992.Google Scholar
Secrets Worth Knowing: Suppressed Letters, Cox v. Kean. London: T. Reed, 1825.Google Scholar
Shakespeare, William. Othello. Ed. Honigmann, E. A. J.. London: Arden, 1996.Google Scholar
Sherwin, Paul. “‘Dying into Life’: Keats’s Struggle with Milton in Hyperion.” PMLA 93.3 (1978): 383–95.Google Scholar
Simpson, David. Irony and Authority in Romantic Poetry. London: Macmillan, 1979.CrossRefGoogle Scholar
Simpson, Michael. Closet Performances: Political Exhibition and Prohibition in the Dramas of Byron and Shelley. Stanford: Stanford University Press, 1998.Google Scholar
Siskin, Clifford. The Work of Writing: Literature and Social Change in Britain, 1700–1830. Baltimore: Johns Hopkins University Press, 1998.Google Scholar
Slote, Bernice. Keats and the Dramatic Principle. Lincoln: University of Nebraska Press, 1958.Google Scholar
Smith, Adam. The Theory of Moral Sentiments. Amherst, NY: Prometheus, 2000.Google Scholar
The Stage; or, Theatrical Inquisitor. London [monthly], 1828–1829.Google Scholar
The Stage; or, Theatrical Touchstone. London [biweekly], 1805.Google Scholar
Stewart, Garrett. “Keats and Language.” The Cambridge Companion to Keats. Ed. Wolfson, Susan. Cambridge: Cambridge University Press, 2001. 135–51.Google Scholar
Stone, Laurence. Road to Divorce: England, 1530–1987. Oxford: Oxford University Press, 1990.Google Scholar
Strachan, John. Advertising and Satirical Culture in the Romantic Period. Cambridge: Cambridge University Press, 2007.Google Scholar
Stratman, Carl J. Britain’s Theatrical Periodicals, 1720–1967. New York: New York Public Library, 1972.Google Scholar
Straub, Katrina. Sexual Suspects: Eighteenth-Century Players and Sexual Ideology. Princeton: Princeton University Press, 1992.Google Scholar
Stuart, Daniel. “Anecdotes of Public Newspapers.” Gentleman’s Magazine (July 1838): 2327.Google Scholar
Styles, John. The Dress of the People: Everyday Fashion in Eighteenth-Century England. New Haven: Yale University Press, 2007.Google Scholar
Sun, Emily. “Facing Keats with Winnicott: On a New Therapeutics of Poetry.” Studies in Romanticism 46.1 (Spring 2007): 5775.Google Scholar
Sutherland, James. The Restoration Newspaper and Its Development. Cambridge: Cambridge University Press, 1986.Google Scholar
Sutherland, Kathryn. “‘Events … Have Made Us a World of Readers’: Reader Relations 1780–1839.” The Penguin History of Literature. vol. 5. The Romantic Period. Ed. Pirie, David B. New York: Penguin, 1995.Google Scholar
Talfourd, Thomas Noon. Critical and Miscellaneous Writings. Boston: Phillips, Sampson, and Company, 1854.Google Scholar
The Tatler. Ed. Bond, Donald. Vol. 2. Oxford: Clarendon, 1987.Google Scholar
Taylor, George. The French Revolution and the London Stage, 1789–1805. Cambridge: Cambridge University Press, 2000.Google Scholar
Thalia’s Tablet and Melpomene’s Memorandum Book. London [weekly], 1821.Google Scholar
The Theatrical Examiner. London [daily], 1823–1831.Google Scholar
The Theatrical Gazette. London [daily], 1815.Google Scholar
The Theatrical Inquisitor; or, Literary Mirror. London [monthly], 1812–1820.Google Scholar
The Theatrical Looker-On. Birmingham [weekly], 1822–1823.Google Scholar
The Theatrical Mince Pie. London [weekly], 1825.Google Scholar
The Theatrical Mirror; or Daily Bills of the Performances. London [daily], 1827.Google Scholar
The Theatrical Observer. Dublin [daily], 1821 (later Original Theatrical Observer, 1821–1822).Google Scholar
The Theatrical Observer. Dublin [daily], 1821–1822 (later Nolan’s Theatrical Observer, 1822–1825).Google Scholar
The Theatrical Observer: and Daily Bill of the Play. London [daily], 1821–1876.Google Scholar
The Theatrical Recorder. London [monthly], 1805.Google Scholar
The Theatrical Repertory, or Weekly Rosciad. London [weekly], 1801–1802.Google Scholar
The Theatrical Review. Bath [weekly], 1822–1824.Google Scholar
The Theatrical Rod! London [weekly], 1831.Google Scholar
The Thespian Sentinel; or Theatrical Vademecum. London [daily], 1825.Google Scholar
Thomas, Peter D. G. “The Beginning of Parliamentary Reporting in Newspapers, 1768–1774.” English Historical Review 74 (October 1959): 623–36.Google Scholar
Thompson, E. P. The Making of the English Working Class. New York: Vintage, 1963.Google Scholar
Thompson, E. P.. “The Moral Economy of the English Crowd in the Eighteenth Century.” Past & Present 50 (1971): 76136.Google Scholar
Thompson, E. P.. “Patrician Society, Plebian Culture.” Journal of Social History 7.4 (1974): 382405.Google Scholar
Thorpe, Clarence D. “Keats and Hazlitt: A Record of Personal Relationship and Critical Estimate.” PMLA 62 (1947): 487502.Google Scholar
The Times. [London]: August 19, 1789, August 3, 1795, September 30, 1806, October 7, 1806, August 29, 1809, August 30, 1809, September 4, 1809, January 15, 1829.Google Scholar
The Townsman, Addressed to the Inhabitants of Manchester on Theatricals. Manchester [weekly, tri-weekly], 1803–1805.Google Scholar
Trilling, Lionel. “The Poet as Hero: Keats in His Letters.” The Opposing Self. New York: Viking, 1955. 349.Google Scholar
Vendler, Helen. The Odes of John Keats. Cambridge, MA: Belknap, 1983.Google Scholar
Walker, R. B.Advertising in London Newspapers, 1650–1750.” Business History 15.2 (July 1973): 112–30.Google Scholar
Wanko, Cheryl. “‘Fans’ and the Eighteenth-century English Stage.” Romanticism and Celebrity Culture, 1750–1850. Ed. Mole, Tom. Cambridge: Cambridge University Press, 2009. 209–26.Google Scholar
Watkins, Daniel. Keats’s Poetry and the Politics of the Imagination. Toronto: Associated University Presses, 1989.Google Scholar
Watkins, Daniel. A Materialist Critique of English Romantic Drama. Gainesville: University of Florida Press, 1993.Google Scholar
Watt, Ian. The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Berkeley and Los Angeles: University of California Press, 1957.Google Scholar
The Weekly Dramatic Register, A Concise History of the London Stage. London [weekly], 1825–1827.Google Scholar
Weekly Newspapers.” The Westminster Review 10.20 (April 1829): 466–80.Google Scholar
Werkmeister, Lucyle. The London Daily Press: 1772–1792. Lincoln: University of Nebraska Press, 1963.Google Scholar
Whale, John. “Hazlitt on Burke: The Ambivalent Position of a Radical Essayist.” Studies in Romanticism 25.4 (Winter 1986): 465–81.Google Scholar
Whale, John. Imagination Under Pressure, 1789–1832. Cambridge: Cambridge University Press, 2000.Google Scholar
Wheatley, Kim, ed. Romantic Periodicals and Print Culture. New York: Routledge, 2003.Google Scholar
Williams, Raymond. Culture and Society: 1780–1950. New York: Columbia University Press, 1983; 1958.Google Scholar
Williams, Raymond. The Long Revolution. New York: Penguin, 1961.Google Scholar
Williams, Raymond. “The Press and Popular Culture: An Historical Perspective.” Newspaper History: From the Seventeenth Century to the Present Day. Eds. Boyce, George, Curran, James, and Wingate, Pauline. London: Constable, 1978. 4150.Google Scholar
Wilson, Kathleen. “The Good, the Bad, and the Impotent: Imperialism and the Politics of Identity in Georgian England.” The Consumption of Culture 1600–1800: Image, Object, Text. Eds. Bermingham, Ann and Brewer, John. London and New York: Routledge, 1995. 237–62.Google Scholar
Wilson, Kathleen. The Sense of the People: Politics, Culture and Imperialism in England, 1715–1785. Cambridge: Cambridge University Press, 1995.Google Scholar
The Wind-Up; or, Candor versus The Times. London, 1825.Google Scholar
Wolfson, Susan. The Questioning Presence: Wordsworth, Keats, and the Interrogative Mode in Romantic Poetry. Ithaca: Cornell University Press, 1986.Google Scholar
Woods, Leigh. “Edmund Kean, New Plays, and Critics of Acting.” Nineteenth Century Theatre 20.2 (1992): 77100.Google Scholar
Wordsworth, William and Coleridge, Samuel. Lyrical Ballads 1798 and 1800. Eds. Gamer, Michael and Porter, Dahlia. Peterborough, ONT: Broadview, 2008.Google Scholar
Worrall, David. The Politics of Romantic Theatricality: The Road to the Stage, 1787–1832. New York: Palgrave, 2007.Google Scholar
Worrall, David. Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773–1832. Oxford: Oxford University Press, 2006.Google Scholar
Wu, Duncan. William Hazlitt: The First Modern Man. Oxford: Oxford University Press, 2008.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Jonathan Mulrooney, College of the Holy Cross, Massachusetts
  • Book: Romanticism and Theatrical Experience
  • Online publication: 31 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316874905.007
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Jonathan Mulrooney, College of the Holy Cross, Massachusetts
  • Book: Romanticism and Theatrical Experience
  • Online publication: 31 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316874905.007
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Jonathan Mulrooney, College of the Holy Cross, Massachusetts
  • Book: Romanticism and Theatrical Experience
  • Online publication: 31 December 2018
  • Chapter DOI: https://doi.org/10.1017/9781316874905.007
Available formats
×