Abstract

Richard Brinsley Sheridan’s Pizarro (1799) demonstrates a world in geographical and linguistic play, a world of uncertain boundaries and definitions. Coming out of David Hartley’s philosophy—and out of Sheridan’s own theatrical and oratorical history—in which national and cultural experiences lead to differing associations and understandings, Sheridan’s Pizarro details an antifoundational hermeneutics of linguistic and representational instability and change.

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