Barbara T Cooper
Biographic Data
| ID | 1709014 |
|---|---|
| NAME | Barbara T Cooper |
| GIVEN NAMES | Barbara T |
| FAMILY NAME | Cooper |
| SIGNATURE | COOPER B T |
| AFFILIATIONS | University of New Hampshire at Manchester |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Juan de Pareja
La vie de Juan de Pareja, esclave afro-hispanique du peintre espagnol Vélasquez, puis artiste autonome, est racontée dans des textes encyclopédiques, journalistiques, historiques et littéraires tout au long du xix e siècle. Cet article propose d’examiner Pareja tel qu’il figure dans deux pièces de théâtre non jouées sur des scènes institutionnelles : Juan de Paréja, drame en un acte, en vers de Jacques Bornet et Le Mulâtre, ou l’Atelier de Vélasq…
Franchir « le quatrième mur » par la parodie
Cet article compare la parodie burlesque, Mathilde, de Gabriel Lurieu et Michel Masson (Théâtre du Palais-Royal), au drame également intitulé Mathilde, de Félix Pyat et Eugène Sue (Théâtre de la Porte-Saint-Martin), afin de montrer les divers moyens par lesquels les parodistes réussissent à faire éclater l'illusion théâtrale qui, normalement, permet à ceux qui sont venus voir une pièce d'adhérer à la fiction créée sur les planches. Ils jouent ent…
Polder et Le Siège de Saragosse
Aujourd’hui il n’est plus permis de penser les rapports du mélodrame et du drame romantique comme une succession chronologique. Leur concurrence dans le temps est faite d’influences réciproques qui défient la rigidité des bornes génériques tracées dans les manuels scolaires. Cet essai cherche à mettre en évidence les caractéristiques et la qualité exceptionnelle de la mise en scène de Polder, ou le Bourreau d’Amsterdam , de Guilbert de Pixerécour…
Le Docteur noir
In recent years, studies of black and Orientalist characters in nineteenth-century French prose fiction and poetry have proliferated. 1 Scholarly attention to theatrical works featuring people of color, while growing, has developed far more slowly. 2 This disparity may be explained, to some extent, by the non-canonical status of the majority of those playwrights whose texts include non-white characters and by the conventional nature of their piec…
Politics and Theater
Staging Ourika and the Spectacle of Difference
Playing it again
(1989). Playing it again: A study of vaudeville and the aesthetics of incorporation in restoration France. Nineteenth-Century Contexts: Vol. 13, No. 2, pp. 197-210
Master Plots
Friedrich Nietzsche's The Birth of Tragedy (1872) and George Steiner's The Death of Tragedy (1961) betray, by their very titles, that preoccupation with organicism which has been the hallmark of much of theatre history at least since the late nineteenth century. Yet when one looks back on the diverse dramatic compositions and creations produced in France in the early nineteenth century, one cannot help but wonder about the adequacy of a linear ev…
"Exploitation of the Body in Vigny's "Chatterton
In the preface he composed during the night of 29-30 June 1834 for his just completed drama, Chatterton, Alfred de Vigny wrote: This is not ideology.' That statement was not a pro forma disclaimer of philosophical bias. Rather, it was a deliberately made and seriously intended definition of the grounds on which Vigny meant to fight for the unencumbered leisure to develop his artistic talents.2 Already in Stello, [Vigny] had proclaimed the superio…
Le Docteur noir
In recent years, studies of black and Orientalist characters in nineteenth-century French prose fiction and poetry have proliferated. 1 Scholarly attention to theatrical works featuring people of color, while growing, has developed far more slowly. 2 This disparity may be explained, to some extent, by the non-canonical status of the majority of those playwrights whose texts include non-white characters and by the conventional nature of their piec…
Master Plots
Friedrich Nietzsche's The Birth of Tragedy (1872) and George Steiner's The Death of Tragedy (1961) betray, by their very titles, that preoccupation with organicism which has been the hallmark of much of theatre history at least since the late nineteenth century. Yet when one looks back on the diverse dramatic compositions and creations produced in France in the early nineteenth century, one cannot help but wonder about the adequacy of a linear ev…
"Exploitation of the Body in Vigny's "Chatterton
In the preface he composed during the night of 29-30 June 1834 for his just completed drama, Chatterton, Alfred de Vigny wrote: This is not ideology.' That statement was not a pro forma disclaimer of philosophical bias. Rather, it was a deliberately made and seriously intended definition of the grounds on which Vigny meant to fight for the unencumbered leisure to develop his artistic talents.2 Already in Stello, [Vigny] had proclaimed the superio…
Master Plots
Friedrich Nietzsche's The Birth of Tragedy (1872) and George Steiner's The Death of Tragedy (1961) betray, by their very titles, that preoccupation with organicism which has been the hallmark of much of theatre history at least since the late nineteenth century. Yet when one looks back on the diverse dramatic compositions and creations produced in France in the early nineteenth century, one cannot help but wonder about the adequacy of a linear ev…
Playing it again
(1989). Playing it again: A study of vaudeville and the aesthetics of incorporation in restoration France. Nineteenth-Century Contexts: Vol. 13, No. 2, pp. 197-210
Staging Ourika and the Spectacle of Difference
Politics and Theater
Le Docteur noir
In recent years, studies of black and Orientalist characters in nineteenth-century French prose fiction and poetry have proliferated. 1 Scholarly attention to theatrical works featuring people of color, while growing, has developed far more slowly. 2 This disparity may be explained, to some extent, by the non-canonical status of the majority of those playwrights whose texts include non-white characters and by the conventional nature of their piec…
Polder et Le Siège de Saragosse
Aujourd’hui il n’est plus permis de penser les rapports du mélodrame et du drame romantique comme une succession chronologique. Leur concurrence dans le temps est faite d’influences réciproques qui défient la rigidité des bornes génériques tracées dans les manuels scolaires. Cet essai cherche à mettre en évidence les caractéristiques et la qualité exceptionnelle de la mise en scène de Polder, ou le Bourreau d’Amsterdam , de Guilbert de Pixerécour…
Franchir « le quatrième mur » par la parodie
Cet article compare la parodie burlesque, Mathilde, de Gabriel Lurieu et Michel Masson (Théâtre du Palais-Royal), au drame également intitulé Mathilde, de Félix Pyat et Eugène Sue (Théâtre de la Porte-Saint-Martin), afin de montrer les divers moyens par lesquels les parodistes réussissent à faire éclater l'illusion théâtrale qui, normalement, permet à ceux qui sont venus voir une pièce d'adhérer à la fiction créée sur les planches. Ils jouent ent…
Juan de Pareja
La vie de Juan de Pareja, esclave afro-hispanique du peintre espagnol Vélasquez, puis artiste autonome, est racontée dans des textes encyclopédiques, journalistiques, historiques et littéraires tout au long du xix e siècle. Cet article propose d’examiner Pareja tel qu’il figure dans deux pièces de théâtre non jouées sur des scènes institutionnelles : Juan de Paréja, drame en un acte, en vers de Jacques Bornet et Le Mulâtre, ou l’Atelier de Vélasq…
Art (7 works) · Historical and Literary Studies (6 works) · Historical and Literary Analyses (4 works) · Historical Studies and Socio-cultural Analysis (4 works) · Humanities (4 works) · Literature (3 works) · Drama (2 works) · Law (2 works) · Political science (2 works) · Aesthetics (1 work)