This volume addresses dealings with the wondrous, magical, holy,
sacred, sainted, numinous, uncanny, auratic, and sacral in the
plays of Shakespeare and contemporaries, produced in an era often
associated with the irresistible rise of a thinned-out secular
rationalism. By starting from the literary text and looking
outwards to social, cultural, and historical aspects, it comes to
grips with the instabilities of 'enchanted' and 'disenchanted'
practices of thinking and knowledge-making in the early modern
period. If what marvelously stands apart from conceptions of the
world's ordinary functioning might be said to be 'enchanted', is
the enchantedness weakened, empowered, or modally altered by its
translation to theatre? We have a received historical narrative of
disenchantment as a large-scale early modern cultural process,
inexorable in character, consisting of the substitution of a
rationally understood and controllable world for one containing
substantial areas of mystery. Early modern cultural change,
however, involves transpositions, recreations, or fresh inventions
of the enchanted, and not only its replacement in diminished or
denatured form. This collection is centrally concerned with what
happens in theatre, as a medium which can give power to experiences
of wonder as well as circumscribe and curtail them, addressing
plays written for the popular stage that contribute to and reflect
significant contemporary reorientations of vision, awareness, and
cognitive practice. The volume uses the idea of
dis-enchantment/re-enchantment as a central hub to bring multiple
perspectives to bear on early modern conceptualizations and
theatricalizations of wonder, the sacred, and the supernatural from
different vantage points, marking a significant contribution to
studies of magic, witchcraft, enchantment, and natural philosophy
in Shakespeare and early modern drama.
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