Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.
Carolyn Williams is professor of English at Rutgers University, where she teaches courses on Victorian literature, theater, and culture. She is the author of Transfigured World: Walter Pater's Aesthetic Historicism, as well as numerous essays and articles.
Über den Autor
Carolyn Williams is professor of English at Rutgers University, where she teaches courses on Victorian literature, theater, and culture. She is the author of Transfigured World: Walter Pater's Aesthetic Historicism, as well as numerous essays and articles.
Inhaltsverzeichnis
List of IllustrationsPrefaceAcknowledgmentsIntroductionPart I. Genres 1. Outmoding Classical Extravaganza, Englishing Opera Bouffe: Thespis2. Gender in the Breach: Trial by Jury3. English Magic, English Intoxication: The Sorcerer4. "Never Mind the Why and Wherefore": The Parody of Nautical Melodramain H.M.S. Pinafore5. Recollecting Illegitimacy: The Pirates of PenzancePart II. Genders 6. New Light on Changing Gender Norms: Patience7. Transforming the Fairy Genres: Women on Top in Iolanthe8. War Between the Sexes: Princess IdaPart III. Cultures 9. Estrangement and Familiarity: The Mikado10. Mixing It Up: Gothic and Nautical Melodrama in Ruddigore11. The Past Is a Foreign Country: The Yeomen of the Guard12. Imaginary Republicanism: The Gondoliers13. Capitalism and Colonialism: Utopia, Limited14. Continental Recollections: The Grand DukeAfter Gilbert and Sullivan: The Momentum of Parody NotesIndex
Klappentext
Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.
