Gotowe bibliografie tematyczne / Irish dramatists

Gotowa bibliografia na temat „Irish dramatists”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 1 sierpnia 2024

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Artykuły w czasopismach na temat "Irish dramatists"

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Gallagher, S. F., i Michael Etherton. "Contemporary Irish Dramatists". Canadian Journal of Irish Studies 16, nr 1 (1990): 81. http://dx.doi.org/10.2307/25512814.

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Holder, Heidi J., i Michael Etherton. "Contemporary Irish Dramatists". Theatre Journal 42, nr 4 (grudzień 1990): 524. http://dx.doi.org/10.2307/3207743.

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Kealy, Una. "Eileen Kearney and Charlotte Headrick (editors), Irish Women Dramatists 1908–2001". Irish University Review 46, nr 2 (listopad 2016): 401–4. http://dx.doi.org/10.3366/iur.2016.0239.

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Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952". Estudios Irlandeses, nr 18 (17.03.2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.
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Trotter, Mary. "Modern Dramatists: A Casebook of Major British, Irish and American Playwrights (review)". Theatre Journal 54, nr 1 (2002): 175–76. http://dx.doi.org/10.1353/tj.2002.0031.

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Mozetič, Uroš. "The Rack-Brain Pencil-Push of hurt-in-hiding: Translating the Poetry of Seamus Heaney into Slovene". ELOPE: English Language Overseas Perspectives and Enquiries 2, nr 1-2 (22.06.2005): 277–91. http://dx.doi.org/10.4312/elope.2.1-2.277-291.

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The paper raises the issue of the Slovene possibilities of translating culture-, politics-, and language-specific poetic texts of the Irish author Seamus Heaney. The inquiry has been triggered by the unfavourable response to the poet’s work in Slovenia, which is all the more telling in light of other modern Irish writers, especially dramatists, who have lately gained firm ground and acquired sympathy from the Slovene public. Our comparison of Heaney’s poems with their Slovene translations is, therefore, aimed at elucidating the main reasons for such a tepid response, drawing mainly on a variety of the Slovene stylistic, linguistic, and pragmatic interpretations of his poetic output, which happen to be more often than not at variance with the author’s intrinsic poetic output and thus the chief culprit in the misapprehension of his poetic communique.
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CLARE, DAVID. "The “Hibernicising” of George Farquhar’s Plays after Irish Independence". Estudios Irlandeses, nr 18.2 (18.12.2023): 1–10. http://dx.doi.org/10.24162/ei2023-11982.

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Since the establishment of the Irish Free State in 1922, theatres and theatre companies in the twenty-six counties have had an uneasy relationship with the work of Derry-born playwright George Farquhar. This is presumably because Farquhar’s fervent loyalty to the English crown and his “unenlightened” views on religious tolerance – including the frankly sectarian treatment of Catholicism in his later plays – do not sit well with theatremakers who want to rebrand him as a narrowly and uncomplicatedly Irish playwright. While some post-independence productions of Farquhar have subtly and cleverly exploited Irish elements already present in his scripts, most have crudely imposed Irish elements onto his work. Farquhar is, of course, not the only playwright from the distinguished line of England-based, Irish Anglican dramatists to have had his England-set works “Hibernicised” in this way; works by Oliver Goldsmith, Richard Brinsley Sheridan, Oscar Wilde, and Bernard Shaw have all suffered a similar fate in the Irish Free State and Irish Republic since 1922. However, Farquhar has been subjected to this “Hibernicising” process significantly more than any other playwright from the august Irish Anglican dramatic tradition. And, as this article demonstrates, a reluctance to fully engage with Farquhar’s Irish/British hybridity and his views on religion is a key feature of most productions of the playwright’s work in the twenty-six counties since independence. This is, of course, an insult to a man who – according to legend – was inside the walls during the Siege of Derry, who fought for King Billy at the Battle of the Boyne, and whose childhood home (his father’s parsonage) was burned to the ground by Catholic rebels.
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Etherton, Michael. "The Field Day Theatre Company and the New Irish Drama". New Theatre Quarterly 3, nr 9 (luty 1987): 64–70. http://dx.doi.org/10.1017/s0266464x00008514.

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In the previous article, the author exempted one company's work from her strictures on the present state of Ulster playwriting. That company was Field Day, based in the town whose very choice of name distinguishes Catholic from Protestant, Derry or Londonderry. Here, Michael Etherton outlines the aims of the company, which extend far beyond the theatrical, and also describes and assesses three plays which, although not all originating from Field Day, seem to him to reflect the distinctive ‘poetic and political view’ which he believes the company has nurtured. Most notable, be believes, is its attempt to reveal and replace the arid rhetoric to which beliefs and argument on both ‘sides’ have been reduced. Michael Etherton, presently teaching at King Alfred's College, Winchester, has previously published widely in the field of African theatre, on which he wrote in TQ10 of our original series, and he is preparing a volume on contemporary Irish drama for the Macmillan Modern Dramatists series.
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Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003". New Theatre Quarterly 20, nr 1 (5.01.2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scottish, and American) playwriting, however modishly its characters may now be drawn from the underclass rather than the upper; and he identifies a ‘hunger for ideas’ among British audiences which is ill-satisfied by the dystopian despair of many would-be political dramatists.
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Alghanem, Alanoud Abdulaziz. "Textualizing History in Synge’s Riders to the Sea and O’Casey’s Juno and the Paycock: A Comparative Study". World Journal of English Language 14, nr 1 (22.12.2023): 520. http://dx.doi.org/10.5430/wjel.v14n1p520.

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In a radical reaction against the idealism and sentimentality of melodrama, a few dramatists in the second half of the nineteenth century shifted the dramaturgy style into what came to be known as realism. This school of thought emphasizes the presentation of life as it is without exaggeration, illusions or artifices. It is evidently reflected in the dramatic works of some playwrights like John Millington Synge and Sean O’Casey who are the main concern of this paper. In this respect, the textualization of history is significantly an important aspect of realist plays. Therefore, this comparative study explores the textualization of history in two iconic Irish plays; John Millington Synge’s Riders to the Sea (1904) and Sean O’Casey’s Juno and the Paycock (1924). These plays are realistic portrayals of Irish society and the profound impact of historical events on the lives of ordinary individuals. By utilizing a new historicist and postcolonial reading, this study aims to uncover how historical events are recorded, reinterpreted, and recreated within literary works. It investigates the ways in which Synge and O’Casey incorporate these historical elements into their plays, demonstrating the dual nature of the relationship between history and literature. Besides, the study will conclude by proving the indirect commitment of these playwrights to their nations, countering accusations leveled against them.
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Rozprawy doktorskie na temat "Irish dramatists"

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Box, Carolyn. "Exchanges and innovation : creative collaborations with Shakespeare by British and Irish dramatists, 1970-2010". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/3182/.

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My thesis is an exploration of the collaborations between British and Irish dramatists and Shakespeare over the past forty years. Within its bounds, there exists an extensive collection of innovative works produced in spaces from the community halls of the fringe to the main stages of the national theatres. The dramatists in question write from diverse perspectives. They may inflect elements in the work to counter stereotypes, employ intertextual images to subvert naturalistic scenes, or, alternatively, deploy the dark images inherent in the language in modern tragedies. It is helpful to think about this relationship in terms of a series of exchanges: contemporary dramatists influence Shakespearean production, offering fresh readings of the plays; and they value Shakespeare’s poetry and ability to address history in an enduring form. Although there are parallels with the present, denying Shakespearean resolutions can reflect present-day complexities. New plays are viewed as ‘collaborations’ rather than ‘appropriations’ or ‘adaptations’, so as to place the focus on the coming together of ideas from more than one source. It is not so much about what contemporary dramatists have done to Shakespeare, but how and why they have chosen to combine their ideas with those inherent in his works.
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Riordan, Michael, i n/a. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Griffith University. School of Humanities, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040615.132200.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second section of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
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Riordan, Michael. "Terrible Beauty: Ideology and Political Discourse in the Early Plays of Sean O'Casey". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367087.

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This thesis argues that prominent in the purposes of the dramaturgy of Irish playwright Sean O'Casey was the promotion of his political causes - most notably socialism. In his avidity for the cause of establishing a workers' paradise, following the Soviet model, in Ireland, his ire was drawn to the movements and institutions he perceived as distracting the masses from pursuit of this ideal: republicanism and the Church. These political ideals are prominent themes in his collected works - both fiction and non-fiction. The work is essentially divided into two sections. The first examines the development of O'Casey's ideologies - his socialism, anti-nationalism and anti-clericalism - and the backdrop against which they developed. The purpose is to establish just how passionately O'Casey felt about these ideals and how, in his letters, histories and autobiographies, he dedicated much of his effort to promoting them. Having dedicated so much time and energy to championing socialism and attacking the Church in these texts, it is little wonder they should appear so prominently in his plays. The thesis argues that O'Casey distorted the content of his Autobiographies to reinforce his role as self appointed champion of Dublin's "bottom fifth" and his beloved working class. It contends that O'Casey embellished the suffering of his childhood and the hardship endured by his family to fortify his credentials as a "socialist hero" - to be "for them" he sought to be "of them," and to provide a model for how learning and conversion to the socialist ideal would liberate them from the economic oppression that kept them low. A number of facts, even elementary ones like the number of children in the Casey brood and particular dates and addresses where he had lived, were changed to cultivate the working class hero image, the disadvantaged boy who rose up against all that an unjust and unsympathetic world could throw at him, that he so coveted. The more abject the origins, the greater the final triumph. The thesis then looks briefly at the origins and purposes of the Abbey Theatre, and its part in the Irish Renaissance that gave O'Casey his start. It focuses particularly on the role of Yeats, and his desire to build a dramatic movement which created work free from opinion. His famous determination to "reduce the world to wallpaper" brought him into conflict with O'Casey, who saw his plays as a legitimate vehicle for the expression of his own world view. It is important, in terms of the objective of this study, to establish that O'Casey's works were deliberately constructed pieces of didacticism, to demonstrate just how inimical to the original intent of the movement his purposes were. With this in mind, it is instructive to compare him with the other great Irish dramatist of the period, John Millington Synge, whose works, with their more rustic focus, promoted the kind of impressionistic 'slice of life' theatre the Abbey founders were championing. For O'Casey, the cause was paramount. He wrote morality plays. The study examines how O'Casey's dominant ideological position evolved by examining his own changing perspective about the world around him. It shows how O'Casey began to see all struggles in terms of the economic one between classes, and how he came to be converted to the tenets of socialism. His opposition to nationalism and his anti-clericalism essentially reflected his belief that they were hostile to the interests of the workers, and therefore must be engaged. The dominant sources in this section are O'Casey's letters, his Autobiographies, and his book, The Story of the Irish Citizen Army. The second sectio of the thesis focuses on the first seven extant plays: The Harvest Festival, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The Silver Tassie, Within the Gates, and The Star Turns Red, and examines how each promotes O'Casey's causes. The purpose of the thesis is not to promote a reworking of the biographical detail of O'Casey's life, but to trace the shift in the playwright's ideology - from Protestant Orange to Republican Green and finally, and most steadfastly, Socialist Red - and examine how these beliefs found voice in the characters and construction of his earlier plays.
Thesis (Masters)
Master of Philosophy (MPhil)
School of Humanities
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Pangallo, Matteo A. "“The labor we delight in”: Amateur dramatists in the London professional theaters, 1590–1642". 2012. https://scholarworks.umass.edu/dissertations/AAI3518404.

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In the commercial theaters of early modern London there worked a group of dramatists who, though they wrote for the playmaking industry, were not members of it. Rather than outliers in a unified, closed field of playwriting, they were amateur dramatists, a distinct class of writers who took advantage of the radically open nature of the field of playwriting for professional theaters to supply their own plays to the actors. Their plays require a different set of critical and historical questions than that traditionally used in examining plays by professionals. The reason for this distinction is that amateur dramatists came to their work with primary experience of the theater as cultural consumers rather than producers: they were playgoers who, though from a diverse range of economic and social backgrounds, shared a passion for the public stage—a passion that they translated into efforts to pen plays for that same stage. As plays by playgoers, their texts provide evidence for better understanding how particular audience members saw and understood the professional stage. Their plays reveal directly what audience members wanted to see and how they thought actors might stage it. In their attempts to replicate specific practices, conventions, and techniques that they saw in professionals' plays, they reveal how certain playgoers understood, or thought they understood, the professional theater. In their deviations from what they saw in professionals' plays, they testify to a gap between what the profession produced and what the audience wanted—a gap unnoticed by studies of audience experience that rely on professionals' plays to recreate that experience. Playgoers writing their own plays demonstrate that the early modern audience was a participatory, engaged, and even autonomously active force of dramatic creation. In the early modern professional theater, playgoers could create the texts and, in some cases, the performances that they desired. Reading amateurs' plays with an awareness that they were written not just for audiences but also by audiences thus opens a new window onto the early modern playhouse, the diversity of dramatists who wrote for it, and the creative experiences of the spectators who attended it.
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McHugh, Meadhbh. "Black Lyric: Trauma and Poetic Voice in Contemporary Irish Drama". Thesis, 2021. https://doi.org/10.7916/d8-x20m-ys55.

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I argue that lyricism, prevalent on the Irish stage from the inception of the national dramatic theatre tradition, is invoked, subverted, and exhausted by contemporary Irish playwrights. Lyric art had an evident nation-building function on the Irish stage, but the capacities of lyric language also included the expression and containment of painful material that otherwise could not easily be represented or voiced, but which, by the second half of the twentieth century, could not be comfortably repressed. In the period 1960-2010 (from Tom Murphy to Mark O’Rowe), playwrights of national significance—Murphy, Marina Carr, Martin McDonagh, Enda Walsh, and O’Rowe—increasingly associate the Hiberno-English lyric register with social fracture, emotional and psychic disturbance, and loss, until the lyric mode itself is exposed as inherently traumatized. I call this later mode, at the close of the twentieth century, “black lyric.” Black lyric operates as a travesty of lyric expression. Black lyrical writing is lyrical text containing, but also produced by, pain, and at its fullest power, it operates as a grotesque parody of poetic expressiveness. It confronts the audience with trauma and psychic suffering attached to national expression rather than offering sonorous comfort. This project uses a combination of close reading, historical research, and theoretical analysis to argue that the playwrights who deploy heightened Hibernicized English at the end of the twentieth century are commenting upon and challenging the canon of Irish drama, which depended on a lyric register not only to console but to conceal. Commentators of twentieth-century Irish drama routinely remark on the dramatic tradition’s visceral poetry, yet it is rarely the subject of any sustained analysis outside of considerations of “language” or “style” generally. This dissertation seeks to partly address that omission.
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Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama". Thesis, 2007. http://hdl.handle.net/1805/918.

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Thesis (M.A.)--Indiana University, 2007.
Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)
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Książki na temat "Irish dramatists"

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Etherton, Michael. Contemporary Irish Dramatists. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4.

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Etherton, Michael. Contemporary Irish dramatists. London: Macmillan, 1989.

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Etherton, Michael. Contemporary Irish dramatists. Basingstoke: Macmillan Education, 1989.

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Etherton, Michael. Contemporary Irish dramatists. New York: St. Martin's Press, 1989.

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John, Bull, red. British and Irish dramatists since World War II. Detroit, MI: Gale Group, 2001.

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John, Bull, red. British and Irish dramatists since World War II. Detroit: Gale Group, 2001.

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John, Bull, red. British and Irish dramatists since World War II. Detroit: Thomson Gale, 2005.

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O'Casey, Sean. Les tambours de Dublin. Paris: Le chemin vert, 1987.

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O'Farrell, Ciara A. A playwrights journey: A critical biography of louis D'Alton (1900-1951). Dublin: University College Dublin, 1998.

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tr, Longepierre Christine, red. Coucher de soleil et étoile du soir. Paris: Belfond, 1996.

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Części książek na temat "Irish dramatists"

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Etherton, Michael. "Dublin and Belfast". W Contemporary Irish Dramatists, 1–62. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_1.

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Etherton, Michael. "The Theatre in the West". W Contemporary Irish Dramatists, 63–106. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_2.

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Etherton, Michael. "The Plays of Thomas Murphy". W Contemporary Irish Dramatists, 107–46. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_3.

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Etherton, Michael. "The Plays of Brian Friel". W Contemporary Irish Dramatists, 147–208. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_4.

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Etherton, Michael. "The Plays of Margaretta D’Arcy and John Arden". W Contemporary Irish Dramatists, 209–30. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_5.

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Etherton, Michael. "Conclusion". W Contemporary Irish Dramatists, 231–38. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20018-4_6.

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Carregal-Romero, José. "“He’s Been Wanting to Say That for a Long Time”: Varieties of Silence in Colm Tóibín’s Fiction". W New Directions in Irish and Irish American Literature, 65–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-30455-2_4.

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AbstractThis chapter explores the multivalent significance of silence in Colm Tóibín’s fiction, from his debut novel The South (1990) to his collection of stories The Empty Family (2010). The chapter considers Colm Tóibín’s use of silence as an aesthetic practice and key narrative element that foregrounds the tensions between revelation and concealment, emotional release and reticence, as well as the ambiguities between knowing and unknowing, which underlie most of his protagonists’ dilemmas. The analysis pays attention to how Tóibín dramatises sexual taboos and traumas—i.e. familial homophobia and AIDS stigma—through narratives that develop within the domain of personal silences. The chapter thus identifies and assesses a discourse of silence running through Tóibín’s oeuvre, which constructs his characters’ psychology as they navigate personal and social pressures, and attempt to come to terms with their emotional truths.
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McIvor, Charlotte, i Ian R. Walsh. "Nation". W Contemporary Irish Theatre, 165–202. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_7.

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AbstractArguably the nation and its many anti-colonial, postcolonial, Troubles-era, post-conflict and early twenty-first-century permutations remain the defining thematic obsession of contemporary Irish theatre. This chapter contributes elucidating frameworks for navigating how contemporary Irish theatre continues to dramatise and negotiate these complex and contested dimensions of the nation from the perspective of past, present and future. The three frameworks and accompanying case studies that model the application of these critical lenses to key theatre productions are: Theatre and the political work of nation-building (Michael West/Corn Exchange’s Dublin By Lamplight), Woman and/as nation (Anne Devlin’s Ourselves Alone), Interrogating national histories through the Irish history play (Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme).
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O’Brien, Cormac. "New Century Theatre Companies: From Dramatist to Collective". W The Palgrave Handbook of Contemporary Irish Theatre and Performance, 255–68. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_17.

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Palmer, Michael. "The Press in Literature and Drama". W The Edinburgh History of the British and Irish Press, Volume 1, 575–85. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474499170.003.0027.

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The chapter examines the role of dramatists, novelists and essayists in the history of the early press. One of the first dramatists to comment (negatively) on the seventeenth-century print culture was Ben Jonson in News from the New World Discovered in the Moon (1620) and The Staple of News (1626). The chapter also considers the contributions of Henry Fielding, Samuel Richardson, Daniel Defoe, Jonathan Swift, Alexander Pope, Richard Sheridan and Samuel Johnson to the history of periodical news and comment. Some such comment could be highly critical, as was the case with Samuel Johnson. He bemoaned the repetitiveness of press coverage with the words: “Thus journals are daily multiplied without increase of knowledge. The tale of the morning paper is told again in the evening, and the narratives of the evening are bought again in the morning” (The Idler, 1758).
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