Eric Rothstein

Biographic Data

ID3858240
NAMEEric Rothstein
GIVEN NAMESEric
FAMILY NAMERothstein
SIGNATUREROTHSTEIN E
VERIFIEDNo
TOTAL WORKS13
TOTAL CITATIONS14
WORKS AS AUTHOR13
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1962
LATEST PUBLICATION YEAR1990
H-INDEX3

  • Anatomy and Bionomics of Criticism

    Eric RothsteinARTICLEEighteenth-Century Studies1990

    ABOUT A THIRD OF A CENTURY AGO, as a Harvard undergraduate, I decided to sign up for a course on literature and myth, but after some debate. A man named Frye was giving it; I had never heard of Mr. Frye; a professor, maybe, but not a Harvard professor; would he meet the level of sophistication that we Harvardians expected and deserved? The first lecture dried up my doubts like a laser beam hitting a mosquito puddle. A mob of other students, proba…

  • The Origins of the English Novel, 1600-1740

    Eric Rothstein, Michael MckeonARTICLEEighteenth-Century Studies1987

  • Probability and Literary Form

    Eric Rothstein, Douglas Lane PateyARTICLEEighteenth-Century Studies1986Cited by: 4

    Preface Part I. Stages in the History of the Idea of Probability: 1. From rhetoric to science 2. Probability and signs: reasoning from effect to cause Part II. Probability in Augustan Literary Criticism: 3. Vraisemblance, probability and opinion 4. The literary work as a hierarchy of probable signs 5. The role of probability in Augustan theories of imitation Part III. Probability and the Meaning of Augustan Narrative: 6. Probability and literary …

  • Restoration and Eighteenth-Century Poetry 1660-1780

    Richard Eversole, Eric Rothstein et al.ARTICLEEighteenth-Century Studies1983Cited by: 2

    Restoration and Eighteenth-Century Poetry 1660-1780, originally published in 1981, considers poetry written between 1660 and 1780, a period which, although largely recovered from its nineteenth-century reputation, still attracts widely varying critical responses. Abandoning the old labels such as 'neoclassicism', 'romanticism' and 'sensibility', the author focuses on descriptions of genres and their formal elements and traces the broader patterns…

  • Thomas Betterton and the Management of Lincoln's Inn Fields, 1695-1708

    Eric Rothstein, Judith MilhousARTICLEEighteenth-Century Studies1981

    This thoroughly new investigation into the theatre management competition between the Drury Lane and Lincoln s Inn Fields companies revises the established view of Thomas Betterton s management abilities by documenting the fact that his competition with the Drury Lane company made both an immediate and a permanent change in the course of British drama.Judith Milhous s meticulous investigation of an astonishing range of reference which includes un…

  • The Impossible Observer

    Eric Rothstein, Robert W UphausARTICLEEighteenth-Century Studies1980

  • Restoration Serious Drama

    Eric Rothstein, Geoffrey MarshallARTICLEEighteenth-Century Studies1976

  • Ideal Presence" and the "Non Finito" in Eighteenth-Century Aesthetics

    Eric RothsteinARTICLEEighteenth-Century Studies1976Cited by: 5

    YOUNG AULAY MACAULAY, fresh from M.A. at Glasgow (1778), informed the readers of his Essays (1780) that an ordinary writer spins out his thoughts, if I may so express myself, to the last dregs; but it is one great mark of original genius, to give scope to the invention of his reader, and to make one thought give rise to a whole of ideas. For example, Virgil's first Pastoral concludes with a thought, which raises in the mind a group of the finest …

  • The Augustan Milieu

    Bernhard Fabian, Henry K Miller et al.ARTICLEEighteenth-Century Studies1973Cited by: 3

  • The Works of John Dryden. Vol. X

    Eric Rothstein, Maximillian E Novak et al.ARTICLEEighteenth-Century Studies1972

  • Horologicals to Chronometricals

    Michael Mcgiffert, Sacvan Bercovitch et al.ARTICLEThe William and Mary Quarterly1972

  • The Framework of Shamela

    Eric RothsteinARTICLEELH1968

  • English Tragic Theory in the Late Seventeenth Century

    Eric RothsteinARTICLEELH1962

    William Gillette once observed, with professional amusement and contempt, that if the record of the effect of scholars, thinkers, and critics upon the drama could be roused to life-that is, to consideration but for a moment, it would demonstrate beyond the shadow of a doubt that Drama is perfectly immune from the maneuvers of any germ that may lurk in what people who are supposed to be 'Intellectual' may say or otherwise put forth regarding it. 1…