LEADER 04081oam 2200781I 450 001 9910972113403321 005 20240516060007.0 010 $a9786613151278 010 $a9781136740534 010 $a1136740538 010 $a9781136740541 010 $a1136740546 010 $a9781283151276 010 $a1283151278 010 $a9780203819067 010 $a0203819063 024 7 $a10.4324/9780203819067 035 $a(CKB)2670000000094066 035 $a(EBL)692318 035 $a(OCoLC)730151665 035 $a(SSID)ssj0000524488 035 $a(PQKBManifestationID)11327023 035 $a(PQKBTitleCode)TC0000524488 035 $a(PQKBWorkID)10546118 035 $a(PQKB)10813107 035 $a(Au-PeEL)EBL692318 035 $a(CaPaEBR)ebr10477488 035 $a(CaONFJC)MIL315127 035 $a(OCoLC)732320753 035 $a(MiAaPQ)EBC692318 035 $a(EXLCZ)992670000000094066 100 $a20180706d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aNineteenth-century theatre and the Imperial encounter /$fMarty Gould 205 $a1st ed. 210 1$aNew York :$cRoutledge,$d2011. 215 $a1 online resource (266 p.) 225 1 $aRoutledge advances in theatre and performance studies ;$v18 300 $aDescription based upon print version of record. 311 08$a9781032924113 311 08$a103292411X 311 08$a9780415889841 311 08$a0415889847 320 $aIncludes bibliographical references and index. 327 $aIntroduction: around the world in eighty plays -- Imperial theatrics: spectacle and empire in the nineteenth century -- Pt. 1: Re-casting the castaway: the nineteenth-century theatrical robinsonade -- The novel is not enough: text and performance in the cataract of the ganges -- Adapting a nation to empire: the evolution of the Crusoe pantomime -- Crusoe's clothes: performing authority in the admirable Crichton -- Pt. 2: Theatrical nabobery: imperial wealth, masculinity, and metropolitan identities -- The stage nabob's eighteenth-century origins -- 'The yellow beams of his oriental countenance': the nabob as racial and cultural hybrid -- Australian gold rush plays and the Anglo-Indian nabob's antipodal antithesis -- Pt. 3: Staging the mutiny: ethnicity, masculinity, and imperial crisis -- India in the limelight: empire and the theatre of war -- The empire needs men: mutiny plays and the mobilization of masculinity -- Forging a greater Britain: the highland soldier and the renegotiation of ethnic alterities -- Conclusion: the Imperial encounter from stage to screen. 330 $aIn this study, Gould argues that it was in the imperial capital's theatrical venues that the public was put into contact with the places and peoples of empire. Plays and similar forms of spectacle offered Victorian audiences the illusion of unmediated access to the imperial periphery; separated from the action by only the thin shadow of the proscenium arch, theatrical audiences observed cross-cultural contact in action. But without narrative direction of the sort found in novels and travelogues, theatregoers were left to their own interpretive devices, making imperial drama both a powerful 410 0$aRoutledge advances in theatre and performance studies ;$v18. 606 $aTheater$zGreat Britain$xHistory$y19th century 606 $aEnglish drama$y19th century$xHistory and criticism 606 $aTheater and society$zGreat Britain$xHistory$y19th century 606 $aImperialism$zGreat Britain$xHistory 615 0$aTheater$xHistory 615 0$aEnglish drama$xHistory and criticism. 615 0$aTheater and society$xHistory 615 0$aImperialism$xHistory. 676 $a792/.0941/09034 700 $aGould$b Marty$f1972-,$01801889 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910972113403321 996 $aNineteenth-century theatre and the Imperial encounter$94347347 997 $aUNINA LEADER 04525nam 22007934a 450 001 9910954790203321 005 20200520144314.0 010 $a9786612775710 010 $a9781282775718 010 $a1282775715 010 $a9780226249605 010 $a0226249603 024 7 $a10.7208/9780226249605 035 $a(CKB)2560000000016433 035 $a(EBL)584936 035 $a(OCoLC)664571301 035 $a(SSID)ssj0000417295 035 $a(PQKBManifestationID)11291432 035 $a(PQKBTitleCode)TC0000417295 035 $a(PQKBWorkID)10361689 035 $a(PQKB)10010447 035 $a(SSID)ssj0000777235 035 $a(PQKBManifestationID)12361176 035 $a(PQKBTitleCode)TC0000777235 035 $a(PQKBWorkID)10756412 035 $a(PQKB)11359351 035 $a(MiAaPQ)EBC584936 035 $a(DE-B1597)524778 035 $a(OCoLC)697282238 035 $a(DE-B1597)9780226249605 035 $a(Au-PeEL)EBL584936 035 $a(CaPaEBR)ebr10417005 035 $a(CaONFJC)MIL277571 035 $a(Perlego)1853096 035 $a(EXLCZ)992560000000016433 100 $a20031017d2004 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aEveryday genius $eself-taught art and the culture of authenticity /$fGary Alan Fine 205 $a1st ed. 210 $aChicago $cUniversity of Chicago Press$d2004 215 $a1 online resource (343 p.) 300 $aDescription based upon print version of record. 311 08$a9780226249513 311 08$a0226249514 311 08$a9780226249506 311 08$a0226249506 320 $aIncludes bibliographical references (p. 285-319) and index. 327 $tFrontmatter -- $tContents -- $tIllustrations -- $tPreface -- $tIntroduction -- $t1. Creating Boundaries -- $t2. Creating Biography -- $t3. Creating Artists -- $t4. Creating Collections -- $t5. Creating Community -- $t6. Creating Markets -- $t7. Creating Institutions -- $t8. Creating Art Worlds -- $tNotes -- $tIndex 330 $aFrom Henry Darger's elaborate paintings of young girls caught in a vicious war to the sacred art of the Reverend Howard Finster, the work of outsider artists has achieved unique status in the art world. Celebrated for their lack of traditional training and their position on the fringes of society, outsider artists nonetheless participate in a traditional network of value, status, and money. After spending years immersed in the world of self-taught artists, Gary Alan Fine presents Everyday Genius, one of the most insightful and comprehensive examinations of this network and how it confers artistic value. Fine considers the differences among folk art, outsider art, and self-taught art, explaining the economics of this distinctive art market and exploring the dimensions of its artistic production and distribution. Interviewing dealers, collectors, curators, and critics and venturing into the backwoods and inner-city homes of numerous self-taught artists, Fine describes how authenticity is central to the system in which artists-often poor, elderly, members of a minority group, or mentally ill-are seen as having an unfettered form of expression highly valued in the art world. Respected dealers, he shows, have a hand in burnishing biographies of the artists, and both dealers and collectors trade in identities as much as objects. Revealing the inner workings of an elaborate and prestigious world in which money, personalities, and values affect one another, Fine speaks eloquently to both experts and general readers, and provides rare access to a world of creative invention-both by self-taught artists and by those who profit from their work. "Indispensable for an understanding of this world and its workings. . . . Fine's book is not an attack on the Outsider Art phenomenon. But it is masterful in its anatomization of some of its contradictions, conflicts, pressures, and absurdities."-Eric Gibson, Washington Times 517 3 $aSelf-taught art and the culture of authenticity 606 $aOutsider art$zUnited States 606 $aArt$xMarketing 606 $aArt$xExpertising 615 0$aOutsider art 615 0$aArt$xMarketing. 615 0$aArt$xExpertising. 676 $a709/.04/07 700 $aFine$b Gary Alan$01097760 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910954790203321 996 $aEveryday genius$94367937 997 $aUNINA