A monster with a thousand hands: the discursive spectator in early modern England
A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English com...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Philadelphia
University of Pennsylvania Press
[2018]
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| Online-Zugang: | BSB01 FAB01 FAW01 FCO01 FHA01 FKE01 FLA01 FUBA1 UBG01 UBR01 UPA01 Volltext |
| Zusammenfassung: | A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation.While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production |
| Beschreibung: | 1 Online-Ressource (VIII, 231 Seiten) |
| ISBN: | 9780812295207 |
| DOI: | 10.9783/9780812295207 |
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| 520 | |a A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. | ||
| 520 | |a The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation.While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. | ||
| 520 | |a And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production | ||
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Datensatz im Suchindex
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| any_adam_object | |
| author | Rodgers, Amy J. |
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| format | Electronic eBook |
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| spelling | Rodgers, Amy J. Verfasser aut A monster with a thousand hands the discursive spectator in early modern England Amy J. Rodgers Philadelphia University of Pennsylvania Press [2018] © 2018 1 Online-Ressource (VIII, 231 Seiten) txt rdacontent c rdamedia cr rdacarrier A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation.While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production Cultural Studies Literature Medieval and Renaissance Studies English drama Early modern and Elizabethan, 1500-1600 History and criticism Theater audiences England History 16th century Theater audiences England History 17th century Erscheint auch als Druck-Ausgabe 978-0-8122-5032-9 https://doi.org/10.9783/9780812295207 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Rodgers, Amy J. A monster with a thousand hands the discursive spectator in early modern England Cultural Studies Literature Medieval and Renaissance Studies English drama Early modern and Elizabethan, 1500-1600 History and criticism Theater audiences England History 16th century Theater audiences England History 17th century |
| title | A monster with a thousand hands the discursive spectator in early modern England |
| title_auth | A monster with a thousand hands the discursive spectator in early modern England |
| title_exact_search | A monster with a thousand hands the discursive spectator in early modern England |
| title_full | A monster with a thousand hands the discursive spectator in early modern England Amy J. Rodgers |
| title_fullStr | A monster with a thousand hands the discursive spectator in early modern England Amy J. Rodgers |
| title_full_unstemmed | A monster with a thousand hands the discursive spectator in early modern England Amy J. Rodgers |
| title_short | A monster with a thousand hands |
| title_sort | a monster with a thousand hands the discursive spectator in early modern england |
| title_sub | the discursive spectator in early modern England |
| topic | Cultural Studies Literature Medieval and Renaissance Studies English drama Early modern and Elizabethan, 1500-1600 History and criticism Theater audiences England History 16th century Theater audiences England History 17th century |
| topic_facet | Cultural Studies Literature Medieval and Renaissance Studies English drama Early modern and Elizabethan, 1500-1600 History and criticism Theater audiences England History 16th century Theater audiences England History 17th century |
| url | https://doi.org/10.9783/9780812295207 |
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