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Jean-Marc Larrue, « Le burlesque québécois : l’avant-garde version « peuple » », Jeu, 2002, p. 87‑98.

Tout le monde a entendu parler du burlesque, mais cette pratique reste le parent pauvre du champ théâtral. D'abord, parce qu'il a été longtemps discrédité, au Québec comme ailleurs. Mais aussi parce qu'on a peine à le définir et à le distinguer d'autres pratiques nord-américaines de la même époque, tels que les spectacles de variétés, le vaudeville américain et les revues. [...]

Michael E. Sinatra, « From Dante to the Romantics : The Reception History of Leigh Hunt’s « The Story of Rimini » », The Charles Lamb Bulletin, 2001, p. 120‑143.

1816 was arguably the most significant year in Leigh Hunt's career as a Romantic poet. After a two-year imprisonment, he had spent much of 1815 going back to the theatre and seeing Edmund Kean, the actor whom Hazlitt had praised so highly in the pages of The Examiner. [...]

Michael E. Sinatra, « A Revaluation of Leigh Hunt’s « Lord Byron and Some of his Contemporaries » », The Byron Journal, vol. 29, janvier 2001, p. 17‑26.

The present essay surveys the critical reception of Leigh Hunt's Lord Byron and Some of his contemporaries (1828), the publication of which ultimately dealt the final blow to Hunt's career during the Romantic period. [...]

Michael E. Sinatra, « Introducing « Critical Essays » : Leigh Hunt and Theatrical Criticism in the Early Nineteenth Century », Keats-Shelley Journal, vol. 50, 2001, p. 100‑123.

The years 1801 to 1808 saw the emergence of Leigh Hunt as a public figure on the London literary scene, first with the publication of his collection of poetry, «Juvenilia», and then with his work as theater critic for «The News» between 1805 and 1807. [...]

Michael E. Sinatra, « The Flying Mariner? Richard Wagner’s « The Flying Dutchman » as the Concluding Part to Coleridge’s “The Rime of the Ancient Mariner” », The Coleridge Bulletin, 2000, p. 102‑108.

Michael E. Sinatra, « Tom Paulin and David Chandler, eds. William Hazlitt’s The Fight and Other Writings. London: Penguin, 2000. ISBN: 1-357910-864-2. Price: £9.99. », Romanticism on the Net, 2000, p. 0‑0.

Michael E. Sinatra, « Gender, Authorship and Male Domination : Mary Shelley’s Limited Freedom in « Frankenstein » and « The Last Man » », in Michael E. Sinatra, (éd.). Mary Shelley’s Fictions: From Frankenstein to Falkner, éd. Michael E. Sinatra, New York, Palgrave Macmillan, 2000, p. 95‑108.

Ever since Ellen Moer's « Literary Women » (1976), « Frankenstein » has been recognized as a novel in which issues about authorship are intimately bound up with those of gender. The work has frequently been related to the circumstance of Shelley's combining the biological role of mother with the social role of author. [...]

Mary Shelley’s fictions : from Frankenstein to Falkner, éd. Michael E. Sinatra, Basingstoke, Macmillan Press ; New York, 2000, 250 p.

John Perry Barlow, « Déclaration d’indépendance du cyberespace », in Libres enfants du savoir numérique, Editions de l’Éclat, 2000, p. 47‑54.

Michael E. Sinatra, « « I will live beyond this life » : Shelley and his Reviewers », The Keats-Shelley Review, vol. 13 / 1, 1999, p. 88‑104.

Throughout his life, Percy Shelley remained constantly under attacks from reviewers. The criticisms were directed at the content of his works, his (supposed) imitative style, or his personal life. [...]

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