Patrick Neilson
Biographic Data
| ID | 6359759 |
|---|---|
| NAME | Patrick Neilson |
| GIVEN NAMES | Patrick |
| FAMILY NAME | Neilson |
| SIGNATURE | NEILSON P |
| AFFILIATIONS | McGill University |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 0 |
Scenography, Portraiture, and The Rover on the 17th Century English Stage
Using textual evidence, the author explores how contemporary notions about scenographic stage design might be applied to 17th century English theatrical practice. The scenographic use of portraits is examined in brief case studies of John Webster’s The White Devil, the second part of Thomas Heywood’s If You Know Not Me, You Know Nobody, and Aphra Behn’s The Rover. Using methodology suggested by Michael McKeon’s analysis of Behn’s Love‐Letters bet…
Staged Properties in Early Modern English Drama (review)
Reviewed by: Staged Properties in Early Modern English Drama Patrick Neilson Staged Properties in Early Modern English Drama. Edited by Jonathan Gil Harris and Natasha Korda. Cambridge: Cambridge University Press, 2003; pp. x + 347. $60.00 cloth. This collection of essays examines the multiple properties of stage props, both on and off the early modern English stage. It expands the common definition of stage properties to include not only all mat…
No prominent works on this page.
Staged Properties in Early Modern English Drama (review)
Reviewed by: Staged Properties in Early Modern English Drama Patrick Neilson Staged Properties in Early Modern English Drama. Edited by Jonathan Gil Harris and Natasha Korda. Cambridge: Cambridge University Press, 2003; pp. x + 347. $60.00 cloth. This collection of essays examines the multiple properties of stage props, both on and off the early modern English stage. It expands the common definition of stage properties to include not only all mat…
Scenography, Portraiture, and The Rover on the 17th Century English Stage
Using textual evidence, the author explores how contemporary notions about scenographic stage design might be applied to 17th century English theatrical practice. The scenographic use of portraits is examined in brief case studies of John Webster’s The White Devil, the second part of Thomas Heywood’s If You Know Not Me, You Know Nobody, and Aphra Behn’s The Rover. Using methodology suggested by Michael McKeon’s analysis of Behn’s Love‐Letters bet…
Art (2 works) · Drama (2 works) · History (2 works) · History (2 works) · Literature (2 works) · Sociology (2 works) · Aesthetics (1 work) · Anthropology (1 work) · Aphra (1 work) · Art history (1 work)