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xi Acknowledgments For sustained intellectual and collegial support over the entire course of this project, I heartily thank Theater Without Borders, an international research collective devoted to collaborative work on early modern theater from transnational points of view.Members of TWB heard drafts of several chapters in this chapter, and offered challenging, spirited, and helpful comments. I wish to thank particularly Susanne Wofford, Eric Nicholson , Richard Andrews, Jacques Lezra, David Schalkwyk, Pamela Allen Brown, Michael Armstrong-Roche, Eric Nicholson, Natasha Korda, Melissa Walter, Peg Katritzky, Christian Billing, Clare McManus, Pavel Drábek, Shormishtha Panja, Natasha Korda, Jane Tylus, and others who heard my papers at our annual gatherings. I came across the work of Rosa Salzberg on Italian street singers at just the right time to be able to incorporate it into my own chapter on piazza pamphlets.Although I have never metTom Nichols,his book The Art of Poverty was invaluable in helping me choose visual images regarding early modern poverty that I have included here. Erica Conti helped me with some of the Italian translations, and Ervin Malakaj assisted me with some German passages. For permissions and photographs of images in this book, I wish to thank Kevin Bailess at the British Library; Chris Sutherns at the British Museum; Ursula Schultheiss-Barth at the Hochschul-und Landesbibliothek , Fulda; and Vincent Reniel at the Bibliothèque Nationale de France. I stand particularly indebted to Rembrandt Duits, Paul Taylor, Berthold Kress, and François Quiviger at the Warburg Institute and to the collegial and collaborative spirit of the Warburg Institute in general. Their Iconographical Database was particularly useful to me and is to be recommended to all early modern scholars. Thank you to the research librarians at the Biblioteca Nazionale Marciana di Venezia, the Biblioteca Apostolica Vaticana, the British Library, xii ac k n ow l e d g m e n t s the Biblioteca Universitaria Alessandrina di Roma, the Biblioteca Universitaria di Bologna, the Biblioteca Nazionale Centrale di Firenze, the Biblioteca Nazionale Centrale di Roma, and those at the library of my host institution, Washington University. A year-long fellowship from the National Endowment for the Humanities allowed me to begin this project, and several summer Faculty Research Grants from Washington University helped move it along. Parts of this book have appeared as articles or essays in the following journals and essay collections: “Comparing Poverty: Fictions of a ‘Poor Theater’ in Ruzante and Shakespeare,” Comparative Drama 41 (2007): 193–217;“Representations of Poverty in the Commedia dell’Arte,”Theatre Survey 48:2 (2007): 229­ –46, Copyright © 2007 The American Society for Theatre Research, Inc. Reprinted by permission; “Sincerity, Fraud, and Audience Reception in the Performance of Early Modern Poverty,” Renaissance Drama 37 (2009): 157–76; “Ruzante and Shakespeare: A Comparative Case-Study,” in Shakespeare and Renaissance Literary Theories : Anglo-Italian Transactions, ed. Michele Marrapodi (Aldershot, UK: Ashgate Press, 2011), 153–73; and “Poor,” in 21st Century Approaches to Early Modern Theatricality, ed. Henry Turner (Oxford: Oxford University Press, 2013), 460–77. I am grateful to these publications for permission to reuse and rework the material. In submitting, revising, and publishing earlier versions of chapters, I had the good fortune to work with several extremely hands-on editors, who gave me thought-provoking and generative questions: Martin Puchner for Theatre Survey, William West for Renaissance Drama, and Henry S. Turner for his edited collection Early Modern Theatricality. At the University of Iowa Press, thanks to Holly Carver for her initial support for the project, to Catherine Cocks for her quick and insightful replies to my numerous email queries, to Christine Gever for her expert and meticulous copyediting, and to Susan Hill Newton for her overall guidance in the book’s production. As a distinctly non-academic debt, I’d like to thank the numerous individuals I met and spoke with over the years as a volunteer at the Catholic Worker community in St. Louis, a hospitality house for the homeless. I have learned much from their stories, as well as from Teka Childress, Ellen Rehg, and others at Karen House who have spent vastly more time with the poor than I have. ac k n ow l e d g m e n t s xiii My strongest single intellectual debt is to Tom Postlewait, who encouraged me to submit this study to his prestigious series years ago when he heard a very early version of a chapter at an IFTR (International Federation for Theatre Research) conference. Those in...


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