Entertainments at John B. Ricketts's Circus, 1793-1800

Moy, James S.

doi:10.2307/3206292

Cited by 6 publications

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“…Especially egged on by coverage of the USÁMexico War, editors, authors, impresarios and entertainers loaded their productions with American flags, poems to George Washington, images of eagles and more, all of which told the reader: 'This book/magazine/show is made by and for Americans' (Glenn, 2007;Johannsen, 1985;Moy, 1978;Roth, 2000;Somkin, 1967). In order to reflect the spirit of the times, thus did various authors of Middle Eastern travel narratives similarly identify themselves as 'a young American,' 'An American Traveller,' or 'An American Merchant,' for instance.…”

Section: A Note On Sources and Terminologymentioning

confidence: 97%

The Ottoman Empire and the American flag: patriotic travel before the age of package tours, 1830–1870

Nance

2009

Journal of Tourism History

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Section: A Note On Sources and Terminologymentioning

confidence: 97%

The Ottoman Empire and the American flag: patriotic travel before the age of package tours, 1830–1870

Nance

2009

Journal of Tourism History

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Two Versions of General Washington's Resignation : Politics, Commerce, and Visual Culture in 1790s Philadelphia

Auricchio¹

2011

ecs

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In a span of less than two years, two versions of John James Barralet's General Washington's Resignation appeared in Philadelphia: a transparency, now lost, that anchored the meaning of a celebratory dinner (1797); and an engraving employed as the frontispiece to a partisan, Federalist magazine (1799). Drawing on the era's burgeoning periodical culture, this essay follows the image through a web of politics and commerce, analyzes the alterations that accompanied its change of medium and venue, and examines some of the contests that swirled around the figure of Washington as his image became synonymous with the well-being of the nation.

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Between Archive and Repertoire: Astley's Amphitheatre, Early Circus, and Romantic-Era Song Culture

Davis¹

2019

Studies in Romanticism

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Performances," and "Equestrian" entertainments. The evening was to conclude with another novelty, the "much-admired Grand Serio and Comic Pantomime" called "THE EGYPTIAN ORACLE; Or, HARLEQUIN CRIMINAL," featuring "a most splendid variety of Scenery, Machinery, Mechanical Changes, Scenic Transformations, Metamorphoses, &c. suited to the Customs and Manners of the Egyptians, contrasted with the Europeans of the present day." In other words, it was to be another typical night at Astley's.Sandwiched between these descriptions of military horses, death-defying feats of tumbling and spectacular machinery is information about the performance of a "comic song": "TIPPY JACK'S DESCRIPTION of DRIVING A GIG; or Young GILPIN'S Journey to Hyde Park Corner" to be sung by "Mr. JOHANNOT." The bold face typography used to advertise this song suggests that this vocal act was considered equally as compelling to contemporary audiences as any of the more exotic spectacles. To a twenty-first century observer, this seems puzzling. Why should a song attract the same attention as the antics of a troupe of trained monkeys or the acrobatics of a group of trick riders? How could the sound of one man singing possibly compete with the other visually stunning and action-packed spectacles featured that night? In the essay that follows, I consider further the example of that song and others like it that were performed night after night onstage of Astley's. 3 As a form of entertainment grouping together 3 For informative works on circus, see Paul Bouissac, Circus and Culture: A Semiotic

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Entertainments at John B. Ricketts's Circus, 1793-1800

Cited by 6 publications

References 0 publications

The Ottoman Empire and the American flag: patriotic travel before the age of package tours, 1830–1870

The Ottoman Empire and the American flag: patriotic travel before the age of package tours, 1830–1870

Two Versions of General Washington's Resignation : Politics, Commerce, and Visual Culture in 1790s Philadelphia

Between Archive and Repertoire: Astley's Amphitheatre, Early Circus, and Romantic-Era Song Culture

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