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049 _aMAIN
100 1 _aFawcett, Julia H.,
_eauthor.
_932295
245 1 0 _aSpectacular Disappearances :
_bCelebrity and Privacy, 1696-1801 /
_cJulia H. Fawcett.
264 1 _aAnn Arbor :
_bUniversity of Michigan Press,
_c[2016]
300 _a1 online resource (ix, 280 pages)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
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347 _adata file
504 _aIncludes bibliographical references (pages 245-261) and index.
505 0 _aIntroduction -- The celebrity emerges as the deformed king: Richard III, the king of the dunces, and the overexpression of Englishness -- The growth of celebrity culture: Colley Cibber, Charlotte Charke, and the overexpression of gender -- The canon of print: Laurence Sterne and the overexpression of character -- The fate of overexpression in the age of sentiment: David Garrick, George Anne Bellamy, and the paradox of the actor -- The memoirs of Perdita and the language of loss: Mary Robinson's alternative to overexpression -- Coda: overexpression and its legacy.
588 0 _aPrint version record; resource not viewed.
506 _3Use copy
_fRestrictions unspecified
_2star
_5MiAaHDL
506 0 _aOpen Access
_5EbpS
520 3 _aFawcett theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated self-representations suggest a new way of understanding key aspects of celebrity culture, in the 18th century and today. This title was made Open Access by libraries from around the world through Knowledge Unlatched.
520 3 _aHow can the modern individual control his or her self-representation when the whole world seems to be watching? This question is a familiar one amid the the twenty-first century's architecture of 24-hour newsrooms, chat rooms and interrogation rooms, but this book traces this question back to the stages, the pages, and the streets of eighteenth-century London--and to the strange and spectacular self-representations performed there by England's first modern celebrities. These self-representations include the enormous wig that the actor, manager, and playwright Colley Cibber donned in his most famous comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of 'Tristram Shandy, ' a memorial to the parson Yorick (and his author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to hiehgten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, known throughout her life as Perdita. Linking all of these representations is a quality that Fawcett terms "over-expression." 'Spectacular Disappearances' theorizes over-expression as the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge many of the disciplinary divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. Drawing on a wide variety of materials and methodologies, 'Spectacular Disappearances' provides an overlooked but indispensable history for scholars and students of celebrity studies, performance studies, and autobiography--as well as to anyone curious about the origins of the eighteenth-century self.
533 _aElectronic reproduction.
_b[Place of publication not identified] :
_cHathiTrust Digital Library,
_d2016.
_5MiAaHDL
538 _aMaster and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
_uhttp://purl.oclc.org/DLF/benchrepro0212
_5MiAaHDL
546 _aText in English.
583 1 _adigitized
_c2016
_hHathiTrust Digital Library
_lcommitted to preserve
_2pda
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590 _aWorldCat record variable field(s) change: 651
650 0 _aCelebrities
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650 0 _aFame
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650 0 _aTheater
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650 0 _aPrivacy
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651 0 _aGreat Britain
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650 7 _aLITERARY CRITICISM
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650 7 _aEnglish literature.
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650 7 _aFame
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650 7 _aPrivacy.
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650 7 _aTheater.
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651 7 _aGreat Britain.
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650 7 _aHistorische Persönlichkeit
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650 7 _aSelbstdarstellung
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648 7 _a1700-1799
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654 _aPERFORMING ARTS / General.
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655 7 _aHistory.
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_dAnn Arbor : University of Michigan Press, [2016]
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