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  • Brief Notices
Simon Smith, Jackie Watson, and Amy Kenny, eds. The Senses in Early Modern England, 1558–1660. Manchester: Manchester University Press, 2015. Pp. xii + 243. $105.00.

This volume begins with a list of illustrations (vii), contributors (viii–x), a note on the text (xi), acknowledgments (xii), and an introduction by the editors (1–18). The primary text includes essays in three parts. Part 1, “Tracing a Sense,” includes: Lucy Munro, “Staging Taste” (19–38); Jackie Watson, “‘Dove-like looks’ and ‘serpents eyes’: Staging Visual Clues and Early Modern Aspiration” (39–54); Darren Royston “‘Filthie groping and uncleane handlings’: An Examination of Touching Moments in Dance of Court and Courtship” (55–73); Eleanor Decamp, “‘Though art like a punie-Barber (new come to the trade) thou pick’st our eares too deepe’: Barbery, Earwax and Snip-snaps” (74–91); Holly Dugan, “Seeing Smell” (91–112). Part 2, “The Senses in Context,” includes: Natalie K. Eschenbaum, “Robert Herrick and the Five (or Six) Senses” (113–129); Susan Wiseman “‘Did we lie downe, because ’twas night?’: Jone Donne, George Chapman and the Senses of Night in the 1590s” (130–47); Aurélie Griffin, “Love Melancholy and the Senses in Mary Wroth’s Works” (148–66). Part 3, “Aesthetic Sensory Experiences,” includes: Simon Smith, “‘I see no instruments, nor hands that play’: Antony and Cleopatra and Visual Musical Experience” (167–84); Faye Tudor, “‘Gazing in hir glasse of vaineglorie’: Negotiating Vanity” (185–200); Hanna August “‘Tickling the senses with sinful delight’: The Pleasure of Reading Comedies in Early Modern England” (201–16). The Text concludes with an afterward by Farah Karim-Cooper (217–19), a select bibliography (220–33), and an index (234–43).

Elizabeth A. Osborne and Christine Woodworth, eds. Working in the Wings: New Perspectives on Theatre History and Labor. Carbondale: Southern Illinois University Press, 2015. Pp. xii + 246. $40.00.

This volume begins with a list of illustrations and table (ix–x), acknowledgments (xi–xii), and an introduction, “The Work of Play in Performance,” by the editors (1–20). The primary text includes essays in four parts. Part 1, “Working Conditions,” includes: Chrystyna Dail, “Driving Race Work: The UAW, Detroit, and Discrimination for Everybody!” (21–35); Sara Freeman, “Working Together: [End Page 385] The Partnership of Les Waters and Annie Smart” (36–51); Tom Robson, “Advertising and the Commercial Spirit: Cataloging Nineteenth-Century Scenic Studio Practices” (52–64); Christine Woodworth: “Don’t Quit Your Day Job: Situating Extratheatrical Employment in the Performance Archive” (65–78). Part 2, “Inscription, Erasure, and Recovery: Palimpsests of Labor,” includes: Dorothy Chansky, “Retooling the Kitchen Sink: Representing Domestic Labor in American Performance after 1963” (81–94); Max Schulman, “Beaten, Battered, and Brawny: American Variety Entertainers and the Working-Class Body” (95–108); Elizabeth A. Osborne, “Hidden in Plain Sight: Recovering the Federal Theatre Project’s Caravan Theatre” (109–24); Jerry Dickey, “African American Waiters and Cakewalk Contests in Florida East Coast Resorts of the Gilded Age” (125–38). Part 3, “Myth, Memory, and Manifestation: The Work of the Public Mind,” includes: Elizabeth Reitz Mullenix, “Dion Boucicault’s The Octoroon and the Work of Republicanism” (139–55); AnnMarie T. Saunders, “Myth Made Manifest: Labor, Landscape, and the First Washington Theatre” (156–69); Rosemarie K. Bank, “Labor, Theatre, and the Dream of the White City” (170–80). Part 4, “The Creative Work/The Work of Creation,” includes: Melissa Rynn Porterfield, “Blue-Collar Bard: Recalling Shakespeare through the Rhetoric of Labor” (181–96); Tracey Elaine Chessum, “Songs of Salaried Warriors: Copyright, Intellectual Property, and John Philip Sousa’s The Free Lance” (197–210); Jonathan Chambers, “Working on a Masterpiece: Rinde Eckert’s And God Created Great Whales” (211–24). The text concludes with a conclusion, “Waiting in the Wings—Work,” by Elizabeth A. Osborne (225–34), contributors (235–38), and an index (239–46).

Thomas L. Berger and Sonia Massai, eds. Paratexts in English Printed Drama to 1642. Cambridge: Cambridge University Press, 2014. Pp. xx + 1040. $250.00.

This text has been published as a two volume set. Volume 1, “Single-Text and Collected Editions to 1623,” begins with a list of figures (viii), acknowledgments (ix), an introduction by the editors (xi–xv), and a user’s...

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Additional Information

ISSN
1936-1637
Print ISSN
0010-4078
Pages
pp. 385-389
Launched on MUSE
2016-02-28
Open Access
No
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