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Early Modern Actors and Shakespeare's Theatre
What skills did Shakespeare's actors bring to their craft? How do these skills differ from those of contemporary actors? Early Modern Actors and Shakespeare's Theatre: Thinking with the Body examines the 'toolkit' of the early modern player and suggests new readings of the plays of Shakespeare and his contemporaries through the lens of their many skills. Theatre is an ephemeral medium. Little remains to us of the plays of Shakespeare and his contemporaries: some printed texts, scattered documents and records, and a few scraps of description, praise, and detraction. Because most of what survives are printed playbooks, students of English theatre find it easy to forget that much of what happen...
Margins and Marginality
Examines commentary written in the margins of the text to show how the pages of the first printed books became the arena for struggled among authors, readers, and cultural authorities. Focuses on four controversies: the printed English Bible, two rivals for court favor, Martin Marprelate's theological pamphlets, and the glossed works of Ben Jonson. Annotation copyright by Book News, Inc., Portland, OR
Embodied Cognition and Shakespeare's Theatre
This collection considers issues that have emerged in Early Modern Studies in the past fifteen years relating to understandings of mind and body in Shakespeare’s world. Informed by The Body in Parts, the essays in this book respond also to the notion of an early modern ‘body-mind’ in which Shakespeare and his contemporaries are understood in terms of bodily parts and cognitive processes. What might the impact of such understandings be on our picture of Shakespeare’s theatre or on our histories of the early modern period, broadly speaking? This book provides a wide range of approaches to this challenge, covering histories of cognition, studies of early modern stage practices, textual ...
Material Agency
Thus far an ‘agent’ in the social sciences has always meant someone whose actions bring about change. In this volume, the editors challenge this position and examine the possibility that agency is not a solely human property. Instead, this collection of archaeologists, anthropologists, sociologists and other social scientists explores the symbiotic relationships between humans and material entities (a key opening a door, a speed bump raising a car) as they engage with one another.
Cognition in the Globe
Early modern playing companies performed up to six different plays a week and mounted new plays frequently. This book seeks to answer a seemingly simple question: how did they do it? Drawing upon work in philosophy and the cognitive sciences, it proposes that the cognitive work of theatre is distributed across body, brain, and world.
Cognitive Ecologies and the History of Remembering
This book unites research in philosophy and cognitive science with cultural history to re-examine memory in early modern religious practices. Offering an ecological approach to memory and culture, it argues that models derived from Extended Mind and Distributed Cognition can bridge the gap between individual and social models of memory.
Movement in Renaissance Literature
This book investigates how writers and readers of Renaissance literature deployed ‘kinesic intelligence’, a combination of pre-reflective bodily response and reflective interpretation. Through analyses of authors including Petrarch, Rabelais, and Shakespeare, the book explores how embodied cognition, historical context, and literary style interact to generate and shape responses to texts. It suggests that what was reborn in the Renaissance was partly a critical sense of the capacities and complexities of bodily movement. The linguistic ingenuity of humanism set bodies in motion in complex and paradoxical ways. Writers engaged anew with the embodied grounding of language, prompting reader...
Shakespeare's Memory Theatre
Wilder examines the excessive remembering of figures such as Romeo, Falstaff, and Hamlet as a way of defining Shakespeare's theatricality.
Cognition in the Globe
Early modern playing companies performed up to six different plays a week and mounted new plays frequently. This book seeks to answer a seemingly simple question: how did they do it? Drawing upon work in philosophy and the cognitive sciences, it proposes that the cognitive work of theatre is distributed across body, brain, and world.
