Ballad Collection, Lyric, and the Canon

Newman, Steve

doi:10.9783/9780812202939

Cited by 104 publications

(2 citation statements)

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“…64 As Steve Newman points out, Addison, who rejects the ideal of poetic justice, indicates that "the horror of war must be fully pictured in the death of the virtuous." 65 Addison's approach implies that the poem's beauty reconciles the reader to the terrible sacrifices exacted by war. The polite reader's acceptance is identified as "common," natural, in line with English tradition, and shared with those who have no access to polite education.…”

Section: War and Cultural Heritagementioning

confidence: 98%

War and the Culture of Politeness: The Case of The Tatler and The Spectator

Lincoln¹

2012

Eighteenth-Century Life

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During the last decades of the seventeenth century and the first decades of the eighteenth, transformations in the financing and organization of the military allowed England, and then Britain, to wage war abroad on an unprecedented scale. At the same time, some writers were trying to imagine and promote an idea of civil society governed by norms of a benevolent “politeness.” One function of the new culture of politeness was to reconcile readers to the massive increase in military activity. This essay will explore the process of reconciliation in the two most influential periodicals of the early eighteenth century, The Tatler and The Spectator, which are sometimes credited with a key role in the development of polite standards of taste in eighteenth-century Britain.

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Section: War and Cultural Heritagementioning

confidence: 98%

War and the Culture of Politeness: The Case of The Tatler and The Spectator

Lincoln¹

2012

Eighteenth-Century Life

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“…In The Beggar's Opera in Assassin's Creed, this is particularly evident: the killing is programmed to occur simultaneously with Mrs Peachum's air, which is specifically concerned with the romanticism of death, describing, in Steve Newman's description of the song, 'the beautiful pathos of the scaffold'. 48 Historical scholarship has long recognised that the varied medium of opera has had far more of a socially diverse audience than modern pop-culture representations of opera would typically admit. 49 The two operas in these games are particularly notable for their challenge to simplistic images of opera's cultural address.…”

Section: Hitmenmentioning

confidence: 99%

Opera Scenes in Video Games: Hitmen, Divas and Wagner’s Werewolves

Summers¹

2017

OPR

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This article aims to illuminate the meanings and aesthetic effects generated by scenes of staged opera in video games. It also explores the images of opera transmitted to the huge audiences that games address. Three dimensions of the opera-game encounter are discussed. First,ToscainHitman: Blood MoneyandThe Beggar’s OperainAssassin’s Creed IIIare used to examine the treatment of violence and the discourse of popular appeal in games and opera. Second, the arias sung by women inFinal Fantasy VIandParasite Eveillustrate how a melodramatic mode of expression represents a confluence of the aesthetic priorities of the two media. Finally,The Beast Within’s meditation on Wagner reveals how opera sequences aim to engage players by conjuring phantasmagorias through a unifying and enrapturing spectacle.

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Gothic Ballads

Hoeveler¹

2012

The Encyclopedia of Romantic Literature

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Gothic ballads, with their dead babies, seduced nuns, abandoned mermaids, undead knights, and malicious monks, enjoyed a heyday in Germany and England from the late eighteenth through the early nineteenth centuries. Steeped in folk and oral traditions, these neo‐primitivist ballads were a transitional genre – derived from a partly oral tradition and a partly written one – and as such they mediated in their very existence a culture in rapid flux, partly singing and partly writing its way into modernity. The ballad is perhaps one of the most inconsistent genres in its implications, highly traditional and providential, while its later manifestations appear to advocate the need to renounce superstitions in favour of the emerging rationalistic code of conduct that bourgeois Europe was tentatively embracing. One of the earliest attempts to define the ballad as a genre can be found in Bishop Thomas Percy's ‘Appendix II: On the Ancient Metrical Romances’ attached to his Reliques of Ancient English Poetry (1765). Percy's need to construct a dark Northern origin for Britain, shrouded in mists of obscurity, suggests for Clifford Siskin ‘a mysteriously romantic time that gave way to an enlightened present; it also includes our ongoing fascination with what Gothicism – with its strange mix of chivalry haunted by trips to Catholic countries and hints of the forbidden East – was and, to a large extent, still is … a site for the symbolic violence of selective forgetting and remembering’ (1988: 11).

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Ballad Collection, Lyric, and the Canon

Cited by 104 publications

References 1 publication

War and the Culture of Politeness: The Case of The Tatler and The Spectator

War and the Culture of Politeness: The Case of The Tatler and The Spectator

Opera Scenes in Video Games: Hitmen, Divas and Wagner’s Werewolves

Gothic Ballads

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