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Shakespeare wrote for a theater in which the audience was
understood to be, and at times invited to be, active and
participatory. How have Shakespeare's audiences, from the sixteenth
century to the present, responded to that invitation? In what ways
have consumers across different cultural contexts, periods, and
platforms engaged with the performance of Shakespeare's plays? What
are some of the different approaches taken by scholars today in
thinking about the role of Shakespeare's audiences and their
relationship to performance? The chapters in this collection use a
variety of methods and approaches to explore the global history of
audience experience of Shakespearean performance in theater, film,
radio, and digital media. The approaches that these contributors
take look at Shakespeare's audiences through a variety of lenses,
including theater history, dramaturgy, film studies, fan studies,
popular culture, and performance. Together, they provide both close
studies of particular moments in the history of Shakespeare's
audiences and a broader understanding of the various, often
complex, connections between and among those audiences across the
long history of Shakespearean performance.
Shakespeare wrote for a theater in which the audience was
understood to be, and at times invited to be, active and
participatory. How have Shakespeare's audiences, from the sixteenth
century to the present, responded to that invitation? In what ways
have consumers across different cultural contexts, periods, and
platforms engaged with the performance of Shakespeare's plays? What
are some of the different approaches taken by scholars today in
thinking about the role of Shakespeare's audiences and their
relationship to performance? The chapters in this collection use a
variety of methods and approaches to explore the global history of
audience experience of Shakespearean performance in theater, film,
radio, and digital media. The approaches that these contributors
take look at Shakespeare's audiences through a variety of lenses,
including theater history, dramaturgy, film studies, fan studies,
popular culture, and performance. Together, they provide both close
studies of particular moments in the history of Shakespeare's
audiences and a broader understanding of the various, often
complex, connections between and among those audiences across the
long history of Shakespearean performance.
With original contributions from a diverse range of teachers,
scholars, and practitioners in literary studies, history, book
arts, library science, language studies, and archives, Teaching the
History of the Book is the first collection of its kind dedicated
to book history pedagogy. Presenting a variety of methods for
teaching book history both as its own subject and as an approach to
other material, each chapter describes lessons, courses, and
programs centered on the latest and best ways of teaching
undergraduate and graduate students. Expansive and instructive,
this volume introduces ways of helping students consider how texts
were produced, circulated, and received, with chapters that cover
effective ways to organize courses devoted to book history,
classroom activities that draw on this subject in other courses,
and an overview of selected print and digital tools. Contributors,
many of whom are leading figures in the field, utilize their own
classroom experiences to bring to life some of the rich
possibilities for teaching book history in the twenty-first
century. In addition to the volume editors, contributors include
Ryan Cordell, Brigitte Fielder, Barbara Hochman, Leslie Howsam,
Matthew Kirschenbaum, Clare Mullaney, Kate Ozment, Leah Price,
Jonathan Rose, Jonathan Senchyne, Sarah Wadsworth, and others.
Thomas May's The Tragedy of Antigone (1631), edited by Matteo
Pangallo, is the first English treatment of the story made famous
by Sophocles. This edition contains a facsimile of the copy held at
the Beinecke Library of Yale University, making the play
commercially available for the first time since its original
publication. The extensive introduction discusses, among other
things, the ownership history of existing copies and their marginal
annotations, and of the play's topical political implications in
the light of May's wavering between royalist and republican
sympathies. Writing during the contentious early years of Charles
I's reign, May used Sophocles' Antigone to explore the problems of
just rule and justified rebellion. He also went beyond the scope of
the original, adding content from a wide range of other classical
and contemporary plays, poems and other sources, including
Shakespeare's Romeo and Juliet and Macbeth. This volume will be
essential reading for advanced students, researchers and teachers
of early English drama and seventeenth-century political history.
-- .
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