
I Feel Therefore I Am (BBC Radio 4)
Abigail Williams is, throughout the series, descriptive rather than prescriptive. I Feel Therefore I Am aims to elucidate the unacknowledged assumptions that shape fractious political debates.
The eighteenth century was the first great age of criticism. In this spirit, the Criticks website provides entertaining, informative and provocative reviews of events and media that are of interest to scholars of the eighteenth century. These complement the reviews of books that are published in the journal of the Society, Journal for Eighteenth-Century Studies.
Plays, concerts, operas, exhibitions, films, broadcasts and online resources are here considered in depth by experts in the field. If there is an event that you would like to see reviewed in these pages, or if you would like to review for us, please contact one of the editors below:
Fine and Decorative Art: Miriam Al Jamil
Media: Gráinne O’Hare
Music: Brianna Robertson-Kirkland
Theatre: Katie Noble
Abigail Williams is, throughout the series, descriptive rather than prescriptive. I Feel Therefore I Am aims to elucidate the unacknowledged assumptions that shape fractious political debates.
OFMD has broadened representation of historical figures yet to make it onto the big screen, but this isn’t what makes the show unique. Making up for centuries of heterosexual pirate
This production, in trying to balance too precariously between imitation and faithfulness to the novel, and adaptation and contemporary renewal, unfortunately fell into a rather spiritless abyss
The power in the script is its awareness that it is a fun adaptation with quite a simple plotline which allows for a freshness in its approach. It is beautifully made, with sweeping views of English
If you’re open to something different, refreshing, and a little bit more contemporary in the vein of EMMA., then this is the Austen adaptation for you.
Not without flaws, but still the most interesting 18th-century video game of recent years.
A thoroughly enjoyable adaptation even if you perhaps balk at its flippancy.
A feast for the senses eager build upon the success and controversies of the previous season in a way that foregrounds and nuances diversity without tokenism.
When the best thing you can say about a period romance – no a musical – is that the costumes were nice then something has gone horribly wrong.
While the second season of The Great loses its way in certain aspects, in others it finds its stride beautifully.