Richard Cumberland wrote plays that had sympathetic depictions of the characters that focused on what mindset, based on unequal relationships between two countries?
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Richard Cumberland (dramatist) Richard Cumberland (19 February 1731/2 – 7 May 1811) was an English dramatist and civil servant. In 1771 his hit play "The West Indian" was first staged. During the American War of Independence he acted as a secret negotiator with Spain in an effort to secure a peace agreement between the two nations. He also edited a short-lived critical journal called "The London Review" (1809). His plays are often remembered for their sympathetic depiction of colonial characters and others generally considered to be margins of society.
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Colonialism Colonialism is the establishment of a colony in one territory by a political power from another territory, and the subsequent maintenance, expansion, and exploitation of that colony. Colonialism involves unequal relationships between the colonial power and the colony and often between the colonists and the indigenous peoples.
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Amour-propre Amour-propre (French, "self-love") is a concept in the philosophy of Jean-Jacques Rousseau that esteem depends upon the opinion of others. Rousseau contrasts it with "amour de soi", which also means "self-love", but which does not involve seeing oneself as others see one. According to Rousseau, "amour de soi" is more primitive and is compatible with wholeness and happiness, while "amour-propre" is an unnatural form of self-love that arose only with the appearance of society and individuals' consequent ability to compare themselves with one another. Rousseau thought that "amour-propre" was subject to corruption, thereby causing vice and misery.
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Malinchism Malinchism (Spanish: "malinchismo" ) or malinchist (Spanish: "malinchista" ) is a form of attraction that the foreigner has in the popular imagination, causing individuals to lose the spirit of nationality by moving to the other side, a particular case of cultural cringe. It is derived from the name of Hernán Cortés's Nahua advisor La Malinche, referring to a deep-rooted Mexican inferiority complex or self-hatred for the preference for all things foreign to the point of self-destruction. La Malinche is used as a symbol for being supposed to have assisted the Spaniards in destroying Native Americans' way of life, values, norms and culture and exploit the Native American peoples.
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Amanda Kerfstedt Hilda Augusta "Amanda" Kerfstedt, née "Hallström" (5 June 1835, in Eskilstuna – 10 April 1920, in Stockholm), was a Swedish novelist, playwright and translator. She was a popular and noted writer in late 19th and early 20th century Sweden, and participated in the public debate. She was also engaged in the movement for women's rights, and active in the "Fredrika-Bremer-Förbundet" and "Föreningen för gift kvinnas äganderätt". As a feminist, she focused on the debate around sexual equality, and was critical to the contemporary sexual double standards for men and women. As such, she was one of the participants in the "Sedlighetsdebatten" (Morality Debate), the public debate in Swedish papers, books and plays, which took place during the 1880s. She was the editor of the feminist paper "Dagny", the organ of the "Fredrika-Bremer-Förbundet", in 1888-1891. She was especially noted within the debate on children's literature.
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The Carmelite The Carmelite is a tragic play by the British writer Richard Cumberland. It was first staged at the Drury Lane Theatre on 2 December 1784. The play's hero Saint-Valori disguises himself as a Carmelite. The play enjoyed some success, and was later staged a theatre in Belfast where Wolfe Tone saw it in 1791.
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Amour de soi Amour de soi (French, "love of self") is a concept in the philosophy of Jean-Jacques Rousseau that refers to the kind of self-love that humans share with brute animals and predates the appearance of society. Acts committed out of "amour de soi" tend to be for individual well-being. They are naturally good and not malicious because "amour de soi" as self-love does not involve pursuing one's self-interest at the expense of others. The sentiment does not compare oneself with others, but is concerned solely with regarding oneself as an absolute and valuable existence. It is related to an awareness of one's future and can restrain present impulse. Rousseau contrasts it with "amour-propre", that kind of self-love, found in Thomas Hobbes' philosophy, in which one's opinion of oneself is dependent on what other people think and which arises only with society.
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Cross-cultural psychology Cross-cultural psychology is the scientific study of human behavior and mental processes, including both their variability and invariance, under diverse cultural conditions. Through expanding research methodologies to recognize cultural variance in behavior, language, and meaning it seeks to extend and develop psychology. Since psychology as an academic discipline was developed largely in North America and Europe, some psychologists became concerned that constructs accepted as universal were not as invariant as previously assumed, especially since many attempts to replicate notable experiments in other cultures had varying success. Since there are questions as to whether theories dealing with central themes, such as affect, cognition, conceptions of the self, and issues such as psychopathology, anxiety, and depression, may lack external validity when "exported" to other cultural contexts, cross-cultural psychology re-examines them using methodologies designed to factor in cultural differences so as to account for cultural variance. Although some critics have pointed to methodological flaws in cross-cultural psychological research and claim that serious shortcomings in the theoretical and methodological bases used impede rather than help the scientific search for universal principles in psychology, cross-cultural psychologists are turning more to the study of how differences (variance) occur, rather than searching for universals in the style of physics or chemistry.
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Moral character Moral character or character is an evaluation of an individual's stable moral qualities. The concept of "character" can imply a variety of attributes including the existence or lack of virtues such as empathy, courage, fortitude, honesty, and loyalty, or of good behaviors or habits. Moral character primarily refers to the assemblage of qualities that distinguish one individual from another—although on a cultural level, the set of moral behaviors to which a social group adheres can be said to unite and define it culturally as distinct from others. Psychologist Lawrence Pervin defines moral character as "a disposition to express behavior in consistent patterns of functions across a range of situations".
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The Jew (play) The Jew is a comedy written by playwright Richard Cumberland and first presented at the Drury Lane Theatre in London in May 1794. The play is notable as the first play in the English theatre to portray a Jewish moneylender as the hero of a stage production. An adaptation of the original play along with a facsimile copy of "The Jew" was published in 2012 as "Sheva, the Benevolent".
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Abdirahman Hussein Abdirahman Hussein (born in Hargeisa, Somaliland) is a scholar and teacher who taught at the University of Tennessee in Knoxville. He is best known for his book on Edward Said, "Edward Said: Criticism and Society" (London: Verso, 2002), in which he offers a critical study of Said and his influences. The book was praised by Bart Moore-Gilbert for its "judicious critique" of Moore-Gilbert's own 1997 study of Said in which, he says, he did not pay sufficient attention to the "Palestinian dimensions and orientations of Said's thinking". Also noted is Hussein's "triangulation" of Joseph Conrad, whose "Heart of Darkness" is, according to Hussein, "foundational to Said's entire career and project". One of Hussein's focal points is Said's 1976 book "Beginnings: Intention and Method", whose importance he says is overlooked.
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The Natural Son The Natural Son is a comedy play by the British writer Richard Cumberland. It was first staged at the Drury Lane Theatre in London in December 1784. The play is notable for the return of the popular character Major O'Flaherty from Cumberland's 1771 play "The West Indian".
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Fictionalism Fictionalism is the view in philosophy according to which statements that appear to be descriptions of the world should not be construed as such, but should instead be understood as cases of "make believe", of pretending to treat something as literally true (a "useful fiction"). Two important strands of fictionalism are modal fictionalism developed by Gideon Rosen, which states that possible worlds, regardless of whether they exist or not, may be a part of a useful discourse, and mathematical fictionalism advocated by Hartry Field, which states that talk of numbers and other mathematical objects is nothing more than a convenience for doing science. Also in meta-ethics, there is an equivalent position called moral fictionalism (championed by Richard Joyce). Many modern versions of fictionalism are influenced by the work of Kendall Walton in aesthetics.
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Anti-Western sentiment Anti-Western sentiment, also known as Anti-Atlanticism refers to broad opposition or hostility to the people, culture, values, or policies of the Western World. In many modern cases the United States and the United Kingdom are the subject of discussion or hostility, though for the most part historically it was fueled by anti-colonialism and anti-imperialism. Anti-Western sentiment occurs in many countries, even from the West itself – especially European countries. Broad anti-Western sentiment also exists in the Muslim world against Europeans. Another factor is the ongoing support by some Western governments—notably the United States—for Israel.
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The Battle of Hastings (play) The Battle of Hastings is a 1778 play by the English writer Richard Cumberland. It is a tragedy set around the Battle of Hastings in 1066. It was staged at the Drury Lane Theatre in October 1778 by Richard Brinsley Sheridan. Sheridan later mocked Cumberland's sensitivity to criticism by modelling the character Sir Fretful Plagiary, in his 1779 play "The Critic", after him.
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The True Tragedy of Richard III The True Tragedy of Richard III is an anonymous Elizabethan history play on the subject of Richard III of England. It has attracted the attention of scholars of English Renaissance drama principally for the question of its relationship with Shakespeare's "Richard III".
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The Outlaw (play) The Outlaw (1871; Swedish "Den fredlöse") is a one-act play by Swedish playwright August Strindberg written when he was a 22-year-old struggling University student who had yet to become a successful author. The story is based on old Viking sagas for which to prepare Strindberg taught himself Icelandic to read the old sagas. Soon after the premier at the Royal Theater, the King of Sweden, Charles XV, summoned Strindberg to his palace to tell him how much he enjoyed it and to offer help with the young writer's tuition. It was a seminal moment in Strindberg's career, allowing him to continue his studies and gaining him confidence and reputation as a writer.
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Blight (play) Blight: The Tragedy of Dublin is a play by Oliver St. John Gogarty. One of the earliest Irish "slum dramas", it focuses on the horrific conditions prevalent in Dublin's tenements and the ineffectuality of the medical and charitable institutions set up to combat them. The message of the play reflects Gogarty's belief that only a complete overhaul of the Dublin housing system, coupled with a more effective campaign of preventive medicine, were capable of producing positive change.
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Letter to M. D'Alembert on Spectacles Letter to M. D'Alembert on Spectacles (French: "Lettre a M. D'Alembert sur les spectacles" ) is a 1758 essay written by Jean-Jacques Rousseau in opposition to an article published in the "Encyclopédie" by Jean d'Alembert, that proposed the establishment of a theatre in Geneva. More generally, it is a critical analysis of the effects of culture on morals, that clarifies the links between politics and social life. Rousseau relates the issue of a theatre in Geneva to the broader social context, warning of the potential the theatre has to corrupt the morality in society.
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Star-crossed "Star-crossed" or "star-crossed lovers" is a phrase describing a pair of lovers whose relationship is often thwarted by outside forces. The term encompasses other meanings, but originally means the pairing is being "thwarted by a malign star" or that the stars are working against the relationship. Astrological in origin, the phrase stems from the belief that the positions of the stars ruled over people's fates, and is best known from the play "Romeo and Juliet" by the Elizabethan playwright William Shakespeare. Such pairings are often said to be doomed from the start.
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En fallit En fallit ("The Bankrupt") is a play by Norwegian playwright Bjørnstjerne Bjørnson that was published in 1875 in Copenhagen. The play was partially written in Rome, and has a theme that was new for the Scandinavians, because the dramatist had to deal with tragicomedy of money, and, while making a forcible plea for honesty to contrive to produce a stirring and entertaining play on what might seem so prosaic a foundation as business finance. The play was actually first performed in a Swedish translation, at Stockholm, a few days before it was produced at Christiania. After that the play also reached Berlin, Munich, Vienna, and other German and Austrian theaters. It was played in Paris, at the Théâtre Libre in 1894. The character of Berent, the lawyer, which became a favorite one with the famous Swedish actor Ernst Possart, was admittedly more or less of a portrait of a well-known Norwegian lawyer, by name Dunker. When Bjørnson was writing the play, he went to stay for some days with Dunker, who was to instruct him as to the legal aspect of bankruptcy. Bjørnson took the opportunity of studying the lawyer as well as the law.
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Tragedy Tragedy (from the Greek: τραγῳδία , "tragōidia" ) is a form of drama based on human suffering that invokes an accompanying catharsis or pleasure in audiences. While many cultures have developed forms that provoke this paradoxical response, the term "tragedy" often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilisation. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.