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Antitheatricality and the Body Public / Lisa A. Freeman.

By: Material type: TextTextSeries: Haney Foundation SeriesPublisher: Philadelphia : University of Pennsylvania Press, [2016]Copyright date: ©2017Description: 1 online resource (376 p.) : 24 illusContent type:
Media type:
Carrier type:
ISBN:
  • 9780812248739
  • 9780812293555
Subject(s): DDC classification:
  • 792.013 23
LOC classification:
  • PN2049
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Introduction. Antitheatricality and the Body Public -- Chapter 1. In the “Publike” Theater of William Prynne’s Histrio-Mastix -- Chapter 2. Political Allegiances and Bodies Public: Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage -- Chapter 3. The Political Economy of Bodies Public Scotland’s Douglas Controversy -- Chapter 4. Cultivating a Christian Body Public: The Richmond Theater Fire -- Chapter 5. Adjudicating Bodies Public: in NEA v. Finley -- Notes -- Works Cited -- Index -- Acknowledgments
Summary: Situating the theater as a site of broad cultural movements and conflicts, Lisa A. Freeman asserts that antitheatrical incidents from the English Renaissance to present-day America provide us with occasions to trace major struggles over the nature and balance of power and political authority. In studies of William Prynne's Histrio-mastix (1633), Jeremy Collier's A Short View of the Immorality and Profaneness of the English Stage (1698), John Home's Douglas (1757), the burning of the theater at Richmond (1811), and the U.S. Supreme Court's decision in National Endowment for the Arts v. Finley (1998) Freeman engages in a careful examination of the political, religious, philosophical, literary, and dramatic contexts in which challenges to theatricality unfold. In so doing, she demonstrates that however differently "the public" might be defined in each epoch, what lies at the heart of antitheatrical disputes is a struggle over the character of the body politic that governs a nation and the bodies public that could be said to represent that nation.By situating antitheatrical incidents as rich and interpretable cultural performances, Freeman seeks to account fully for the significance of these particular historical conflicts. She delineates when, why, and how anxieties about representation manifest themselves, and traces the actual politics that govern such ostensibly aesthetic and moral debates even today.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780812293555

Frontmatter -- Contents -- Introduction. Antitheatricality and the Body Public -- Chapter 1. In the “Publike” Theater of William Prynne’s Histrio-Mastix -- Chapter 2. Political Allegiances and Bodies Public: Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage -- Chapter 3. The Political Economy of Bodies Public Scotland’s Douglas Controversy -- Chapter 4. Cultivating a Christian Body Public: The Richmond Theater Fire -- Chapter 5. Adjudicating Bodies Public: in NEA v. Finley -- Notes -- Works Cited -- Index -- Acknowledgments

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Situating the theater as a site of broad cultural movements and conflicts, Lisa A. Freeman asserts that antitheatrical incidents from the English Renaissance to present-day America provide us with occasions to trace major struggles over the nature and balance of power and political authority. In studies of William Prynne's Histrio-mastix (1633), Jeremy Collier's A Short View of the Immorality and Profaneness of the English Stage (1698), John Home's Douglas (1757), the burning of the theater at Richmond (1811), and the U.S. Supreme Court's decision in National Endowment for the Arts v. Finley (1998) Freeman engages in a careful examination of the political, religious, philosophical, literary, and dramatic contexts in which challenges to theatricality unfold. In so doing, she demonstrates that however differently "the public" might be defined in each epoch, what lies at the heart of antitheatrical disputes is a struggle over the character of the body politic that governs a nation and the bodies public that could be said to represent that nation.By situating antitheatrical incidents as rich and interpretable cultural performances, Freeman seeks to account fully for the significance of these particular historical conflicts. She delineates when, why, and how anxieties about representation manifest themselves, and traces the actual politics that govern such ostensibly aesthetic and moral debates even today.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 08. Aug 2023)