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The 'rise of the middle class' in the eighteenth century has long been taken to usher in a prosaic age synonymous with the death of tragedy, an age in which the sheer ordinariness of bourgeois life was both antithetical and inured to the tragic. But the period's literature tells a very different story. Re-assembling a body of print and performance concerned with the misfortunes of the middling sort, The Making of British Bourgeois Tragedy argues that these works imagined a particularly modern sort of affliction, an 'ordinary suffering' proper to ordinary life, divested of the sorts of meanings, rhetorics, and affective resonances once deployed to understand it. Whereas neoclassical aesthetics aligned tragedy with the heroic and the admirable, this 'bourgeois and domestic tragedy' treated the pain of common people with dignity and seriousness, meditating upon a suffering that was homely, familiar, entangled in the nascent values of capitalism, yet no less haunted by God. Hence, where many have seen aesthetic stagnation, misfiring emotion, and the absence of an idealized tragicness in the genre, this volume sees instead a sustained engagement in the emotional processes and representational techniques through which the middle rank feels its way into modernity. By attending closely to this long neglected subject, The Making of British Bourgeois Tragedy turns the critical account of eighteenth-century tragedy on its head. It reads the genre's emergence in the period as a vigorous cultural conversation on whose life--and whose way of life--is grievable, as well as how mourning might be performed

This volume illustrates the meanings the Romantics took from Shakespeare. It studies the critical practices and theories that evolved in England, Germany, and France, as well as the English stage and the relations between performance, criticism, and scholarship.

This book challenges the traditional view that Johnson knew and cared little about the fine arts. Brownell goes beyond pejorative anecdotes that exaggerate and misrepresent Johnson's attitudes toward music, painting, architecture, and landscape gardening, and presents evidence that Johnson was thoroughly familiar with the arts of his time, contributing to their patronage as something of a Handelian, friend of painters and architects, and a student of landscape more discerning than William Gilpin. Showing that Johnson's repeated expressions of disgust for the arts were part of a Socratic pretense designed to tease and challenge his contemporaries, the book illustrates that he deliberately chose to play the iconoclast at the very moment when the arts were reviving in England, when taste was becoming de rigeur, and the Royal Academy was being founded.

"The Catalogue ... has been prepared with a view to accomplish two objects. One, to offer an inventory of all the books on the shelves of the Reference Department of the Manchester Free Library: the other, to supply ... a ready Key both to the subjects of the books, and to the names of the authors." - v. 1, the compiler to the reader.

Catherine N. Parke offers new readings of Johnson's major prose writings, the familiar and the not so familiar. Through an inquiry into the centrality of biography in his thinking, she examines Johnson's ideas about education, portrays his habits of mind, and explores his creative temperment.

Presents a collection of essays, in which internationally-recognized Shakespearean scholars and equally eminent Johnsonians consider the relationship of these two central figures of the English canon - examining not just Shakespeare's influence on Dr Johnson, but also Johnson's influence on Shakespeare.

Exposes the intellectual and argumentative weaknesses of relativistic and social constructivist theories in literary criticism and the broader academic culture.

Includes authors, titles, subjects.

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