The Villains of Stage Melodrama: Romanticism and the Politics of Character

John, Juliet

doi:10.1093/acprof:oso/9780198184614.003.0003

Cited by 2 publications

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“…Agitated further by his child's offer of bread, he reaches for an old-fashioned muzzle-loader hanging on the wall. 88 Playing to an unmoving camera set to medium shot, the rest of the family gather round to remonstrate, but facing no other option than the hated Poor Law the man will not be turned from his course. Determinedly clutching the ancient firearm, and with the copy of Solomon's painting still in view, the head of the house embarks on his fateful mission.…”

Section: Waiting For the Verdict: From Stage To Screenmentioning

confidence: 99%

‘Why is it Different with a Hare?’ Game-Law Melodrama on Stage and Screen in Colin Hazlewood's Waiting for the Verdict

Ridgwell¹

2022

Nineteenth Century Theatre and Film

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Much of Colin Hazlewood's prolific mid-Victorian output consisted of adaptations. A classic example of Hazlewood's adaptational practice and an excellent case study in the restlessly intermedial nature of nineteenth- and early-twentieth-century popular culture was his 1859 game-law melodrama Waiting for the Verdict. One of Hazlewood's most successful plays, it was later adapted for the screen by the Edwardian filmmakers Mitchell and Kenyon. Tracing his work across different media forms, this article further confirms Hazlewood as a highly skilled adaptor, while offering some viewable evidence of the creative links between theatre and early cinema. The article also suggests that what I term game-law melodrama represented a significant sub-genre variant to the broader one of domestic drama. Game-law melodramas such as Waiting for the Verdict offered picturesque entertainment for largely urban audiences, but they also provided pertinent social comment on a major concern of the day.

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Section: Waiting For the Verdict: From Stage To Screenmentioning

confidence: 99%

‘Why is it Different with a Hare?’ Game-Law Melodrama on Stage and Screen in Colin Hazlewood's Waiting for the Verdict

Ridgwell¹

2022

Nineteenth Century Theatre and Film

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“…Typically, speech and thought presentation is used as an indication of the mental and perceptual states of fictional characters, drawing on Leech and Short’s (2007) model. However, Dickens’s characters tend to be largely ‘externalised’: they are depicted through their direct speech, actions and gestures rather than through explicit insights into their minds ( John, 2001 ; Palmer, 2002 ). Therefore we will investigate the narrative contexts in which Mr. Dick occurs more widely.…”

Section: Modelling a Simple Mindmentioning

confidence: 99%

Mind-modelling with corpus stylistics in David Copperfield

Stockwell

Mahlberg

2015

Language and Literature: International Journal of Stylistics

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We suggest an innovative approach to literary discourse by using corpus linguistic methods to address research questions from cognitive poetics. In this article, we focus on the way that readers engage in mind-modelling in the process of characterisation. The article sets out our cognitive poetic model of characterisation that emphasises the continuity between literary characterisation and real-life human relationships. The model also aims to deal with the modelling of the author’s mind in line with the modelling of the minds of fictional characters. Crucially, our approach to mind-modelling is text-driven. Therefore we are able to employ corpus linguistic techniques systematically to identify textual patterns that function as cues triggering character information. In this article, we explore our understanding of mind-modelling through the characterisation of Mr. Dick from David Copperfield by Charles Dickens. Using the CLiC tool (Corpus Linguistics in Cheshire) developed for the exploration of 19th-century fiction, we investigate the textual traces in non-quotations around this character, in order to draw out the techniques of characterisation other than speech presentation. We show that Mr. Dick is a thematically and authorially significant character in the novel, and we move towards a rigorous account of the reader’s modelling of authorial intention.

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The Villains of Stage Melodrama: Romanticism and the Politics of Character

Cited by 2 publications

References 0 publications

‘Why is it Different with a Hare?’ Game-Law Melodrama on Stage and Screen in Colin Hazlewood's Waiting for the Verdict

‘Why is it Different with a Hare?’ Game-Law Melodrama on Stage and Screen in Colin Hazlewood's Waiting for the Verdict

Mind-modelling with corpus stylistics in David Copperfield

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