The French Revolution and the London Stage, 1789-1805

By George Taylor | Go to book overview

CHAPTER 7
Theatre and alienation

When trying to recapture a past time, its events, experiences, thoughts and feelings, historians used to conjure up a Spirit of the Age. This romantic concept has since been replaced by the more objective analysis of belief systems and their expression as ideology and culture. Within a generation of the Revolution, Marx posited a causal relationship between the social realities of economic power and the conceptual superstructure of politics, law, religion and art. This simple equation of base and superstructure has long been problematised, but it would be extremely foolish to reject Marx's essential argument about the dialectical relationship between cultural production and economic circumstances: 'Men are the producers of their conceptions, ideas, etc., Developing their material production and their material intercourse, [they alter], along with this their real existance, their thinking and the products of their thinking. Life is not determined by consciousness, but consciousness by life'. 1

Yet the idealist thesis, the subject of Marx's attack that concepts determine progress was precisely that which had inspired the Enlightenment, and had been adopted by the Romantics in their belief that the individual imagination can encompass all possible experiences. I have endeavoured throughout this book to argue for the influence of circumstance over agency and that the process of Revolutionary events was far from what had been originally envisaged by those involved. Indeed, there was a very disturbing disjuncture between good intentions and evil effects. This was partly because real power was not in the hands of those politicians and artists who believed they were responsible for the events and for the rhetoric and images of the period, and partly because those with the power - capitalist entrepreneurs and military leaders - followed a different agenda, even though they professed, and perhaps thought

-188-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The French Revolution and the London Stage, 1789-1805
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 263

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.