Theatre studies Books

Book SynopsisThis dictionary features more than 1500 up-to-date entries, researched by its internationally respected author, Beverly Fletcher. Each tap term is concisely defined in all its variations. Clear directions on "How to Execute" are given.Trade Review"For those interested in the American tap scene, this manual would be a treat..." -- Dance Expression, October 2003. "The dictionary, [which] includes directions for many steps, is the heart of the book." -- Dance Spirit, May/June 2003. "Fletcher's "Tapworks" has been adopted by the Dance Masters of America as the official tap manual. " -- Choice, June 2003. "An important reference for teachers of tap dance." -- Journal Of Dance Education, October 2003."Beverly Fletcher is surely one of the most knowledgeable authorities in tap dance and its history today." --Bob Rizzo, choreographer

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Book SynopsisAutocratic male impresarios increasingly dominated the American stage between 1865 and 1914. This work spotlights three passionate impresario-actress relationships of exceptional duration that encapsulated the social tensions of the day and strongly influenced the theatre of the twentieth century.

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Book SynopsisTHE AMAZING STORY OF THE FANTASTICKS

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Book SynopsisMUSIC ON FILM: GREASE

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisFirst extended historical account of the latino theatre programme

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Book SynopsisBill Blakeis Assistant Professor and Director of the Program in Dramatic Literature at New York University, USA.

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Book SynopsisChris Jones is the longtime chief theater critic and Sunday culture columnist of the Chicago Tribune, where he has been on staff since 2002. Throughout the 1990s, he covered Broadway and its tours for Variety. He is author of Bigger, Brighter, Louder: 150 Years of Chicago Theater (2013) and his work has appeared often in the New York Times, Washington Post, Los Angeles Times, and many other publications. Jones read Drama at the University of Hull, UK, and has a PhD from The Ohio State University. In 2011, Jones was named by American Theater magazine as one of the most influential theater critics in America. In 2014, he became the director of the Eugene O'Neill Theater Center's National Critics Institute in Waterford, Connecticut. Jones is a winner of the George Jean Nathan Award for Dramatic Criticism, the most prestigious honour for drama critics in the United States.Trade ReviewFrom Angels in America to Hamilton, so many Broadway shows have made important statements to their audiences, causing them to examine the reality of their lives. Chris Jones has written a wonderful history of that era that is extremely well-researched. His writing is lively and crisp, and his stories are well-told and entertaining. Anyone who loves theatre or cultural history or social commentary will love this book. This book deserves broad readership beyond those groups by anyone interested in our society today. * Manhattan Book Review *There is much to be praised, and so often the details are beautifully stated in the author’s clean, accessible voice ... Jones’ prowess as a critic is on great display here; shows you’ve never seen come startlingly alive on the page, their essence boiled down, their heart and soul expertly explained. What shines through most is Jones as a giddy chronicler of ideas and a lover of the theater, eager to draw the line from his own knowledge of the art form to what is happening offstage. * Third Coast Review *In his new book, “Rise Up! Broadway and American Society from ‘Angels in America’ to ‘Hamilton,’” Chris Jones … has chronicled the era in a singularly creative way, bringing to bear his prodigious gift for tapping into the nexus of artistic innovation, the business of show business, new forms of audience engagement, and (as the book’s title so clearly proclaims), the political fevers that can emerge during a given period of history … Whether you booed or applauded for all or some of the many plays and musicals discussed in “Rise Up!” there is no denying that Jones has vividly caught the unsettled spirit of the times in which they came to the stage. And given the wildly melodramatic nature of our current moment on this planet he leaves you wondering just where the theater might be headed over the course of the next 25 years. * Hedy Weiss, WTTW *Chris Jones [writes] cogently and intelligently in a fashion that is easy to read and understand. In fact, this is a real page turner. * British Theatre Guide *A vivid compelling read that will form an important part of any Broadway-lover's bookshelf * Matt Wolf, theatre critic *Some critics get it right, some critics get it wrong, but Chris Jones is one of the only critics who consistently reviews all shows trying to be helpful to its creators so they can put right what is wrong. Chris brings his formidable analytical skills to examining the theatrical tissue and political discourse that has led to the spectacular rebirth of the American play and musical on Broadway. A hugely informative resume of the rise up over the last 25 years of the American theatre from “Angels in America” to “Hamilton”. It puts you into the room as it happened. * Cameron Mackintosh, theatrical producer *Table of Contents1. 1993: An Angel Lands 2. 1994: The Committed Solo Voice Emerges 3. 1996: Paying Rent 4. 1997: The Lion King, the Exotic Narrative and the Return of the Family to the Theater 5. 1999: The Short-order Cook with the Moral Conscience and the Epic Idea 6. 2001 Mythic Healing for a Nation in Pain 7. 2002: Urinetown, Spamalot and the Rise of the Meta 8. 2002: Edward Albee Roars Again and Brings on Others 9. 2007: American Familial Tragedy, Recalibrated for the Now 10. 2010: American Idiocy, the Musical Collage and America Walking Together 11. 2011: Bloody, Bloody, Self-Awareness 12. 2011: Spider-Man, the End of Auteurism and the Great Over-reach 13. 2014: The Lorraine Hansberry Renaissance, Broadway Finds Itself at One with the Obama Administration, and Hope Emerges 14. 2015: Hamilton, the Game-changer, Only It Wasn’t Ever Really a Game Bibliography Index

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Book SynopsisThis book turns to history to show just how significant movement and the sense of movement were to pioneers of modernism at the turn of the 20th century. It makes this history vivid through a picture of movement in the lives of an extraordinary generation of Russian artists, writers, theatre people and dancers bridging the last years of the tsars and the Revolution. Readers will gain a new perspective on the relation between art and life in the period 1890-1920 in great innovators like the poets Mayakovsky and Andrei Bely, the theatre director Meyerhold, the dancer Isadora Duncan and the young men and women in Russia inspired by her lead, and esoteric figures like Gurdjieff. Movement, and the turn to the body as a source of natural knowledge, was at the centre of idealistic creativity and hopes for a new age, for a new man', and this was true both for those who looked forward to the technology of the future and those who looked back to the harmony of Ancient Greece. The book weaves hisTrade ReviewWhat makes The Sixth Sense of the Avant-Garde an invaluable scholarly contribution is the persuasive and ambitious argument that the authors, Irina Sirotkina and Roger Smith, present in the book – an argument that extends well beyond literary and artistic studies of modernist practices. Specifically, they seek to reassess longstanding notions on the senses of perception … [The book] provides an interesting perspective on avant-garde art, offering a wide-ranging overview of the ideas that preoccupied intellectuals at that time. As such, it can be of interest to scholars of various backgrounds. Furthermore, while the authors try to redefine and even dismantle some of the stable categories and bring attention to a concept of the ‘knowing body,’ they also keep the content lively and engaging for their readers throughout the entire work. * Slavic and East European Journal *This book is a treasure chest of personages and practices—everyone from Kandinsky to Blok, from Scriabin to Shklovsky, and multiple souls in between; everything from Dalcroze Eurythmics to the Foxtrot. It offers dynamic new ways to view the cultural history of this time. It all but exhorts its readers to go out and dance themselves. Many sources were crunched to make this book’s chapters, and many exciting roads lead out of them into future projects. * The Russian Review *This volume examines kinesthesia—the sense of movement—as a foundation of personal knowledge and cultural innovation, claiming primacy of kinesthesia over the other senses in that it affords unmediated contact with the world... The extensive notes and suggestions for further reading compensate and make the book invaluable. Summing Up: Recommended. * CHOICE *Table of ContentsList of illustrations Preface Acknowledgements Note on text/translation List of abbreviations Introduction: Movement and exuberant modernism Chapter 1 The sixth sense The senses Muscular feeling and kinaesthesia Chapter 2 Search for deeper knowledge The kinaesthetic intellect ‘The higher sensitivity’ Kinaesthesia and synaesthesia Chapter 3 Expression in dance The new dance The Russian Hellenes ‘Ach, the devil take it, they’re dancing here again’ Chapter 4 Speaking movement The perfect language: Andrei Bely on gesture The dance-word: the creative union of Esenin and Duncan Word plasticity: the budetliane and the bare-footed Chapter 5 By ‘the fourth way’ The mystic arts From Dalcroze to Gurdjieff ‘Presence’ Chapter 6 Thinking with the body Mayakovsky dances the fox-trot Brik-dance Who thought up biomechanics? Chapter 7 Art as bodily knowledge Technique Kinaesthesia in culture Further reading Notes Index

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Book SynopsisDiana E. Henderson is the Arthur J. Conner Professor of Literature at MIT, USA. She teaches, publishes and edits widely in the fields of Shakespeare, media studies and early modern studies, and is a dramaturg, designer of online educational modules and documentary producer. Stephen O'Neill is Associate Professor in English and Shakespeare Studies at Maynooth University, Ireland. He has published widely on adapted Shakespeare, especially in digital cultures.Trade ReviewThis is an essential volume for anyone working on contemporary Shakespeare, and will no doubt remain a rewarding resource within the field for many years to come. * Shakespeare Bulletin, Volume 41, Number 1, Spring 2023 *A treasure trove for those interested in the re-tellings of Shakespeare’s work. * Shakespeare Survey *Featuring a breath-taking array of examples and interventions, The Arden Research Handbook of Shakespeare and Adaptation is a stellar accomplishment. Embracing the full gamut of forms of adaptation, it ranges widely over theatre, poetry, film, fiction, television, and digital/media platforms, mapping a multiplicity of venues and celebrating the vitality of Shakespeare as a catalysing force. Context- and culture-specific, the case-studies offer a range of entry points into the field, whether through discussions of method, analyses of ideology, prioritisation of authorial voice or the ignition of global conversations. Crucially, as the intersecting chapters unfold, we are encouraged to participate in debate and reflect on Shakespeare’s past, present and future iterations. The generous provision of resources (sites and tools) is a particularly attractive feature. Above all, this is a Handbook that showcases the value of adaptation as practice and object of scholarly enquiry. As such, it is refreshing, revealing, and abundantly creative – indispensable. * Mark Thornton Burnett, Queen’s University Belfast, UK *This handbook reframes the subject of Shakespeare and Adaptation for a new generation of scholars. It combines what the editors call a “‘big tent’ vision of Shakespeare adaptation studies” with sharp focus on individual case studies, theoretical problems and themes that illuminate the range and vitality of Shakespeare-inspired adaptations. Leaving classificatory concerns behind, the volume focuses on work concerned with intermediality and appropriation, drawing additional critical energy from translation studies. This is a book that will inspire and guide a new generation of adaptation scholars interested in global challenges, social justice and how to do new things with Shakespeare. * Pascale Aebischer, University of Exeter, UK *Table of ContentsNotes on Contributors List of Illustrations 1. Introduction Diana E. Henderson and Stephen O’Neill 2. Research Methods and Problems 2.1 Shakespeare as Adaptor Emma Smith (University of Oxford, UK) 2.2 Shakespeare and Adaptation Theory: Unfinished Business Douglas M. Lanier (University of New Hampshire, USA) 2.3 What is Shakespeare Adaptation? Why Pericles? Why Cloud? Why Now? Julie Sanders (Newcastle University, UK) 3. Current Research and Issues Histories and Politics of Adaptation 3.1 Politics, Adaptation, Macbeth William C. Carroll (Boston University, USA) 3.2 Animating an Archive of Black Performance: Swing, William Alexander Brown, and The African Company Presents ‘Richard III’ Joyce Green MacDonald (University of Kentucky, USA) 3.3 ‘Does anyone know another text?’ Post-Migratory Othello Adaptations on the German-Speaking Stage Sabine Schülting (Freie Universität Berlin, Germany) 3.4 Japanese Novelizations of Shakespeare’s Hamlet and Macbeth: the culture of hon’an as adaptational practice Yukari Yoshihara (University of Tsukuba, Japan) Shakespeare in Parts 3.5 Shakespeare Live! and the Commemorative Gala Revue: Rhetoric, Festivity and Fragmented Adaptation Ailsa Grant Ferguson (University of Brighton, UK) 3.6 ‘What burgeons in the memory…’: Transgression, Culture and Canon in Postmodern Adaptations of the Sonnets Rui Carvalho Homem (University of Porto, Portugal) 3.7 ‘Play On’, or the Memeing of Shakespeare: Adaptation and Internet Culture Anna Blackwell (De Montfort University, UK) 3.8 Bollywood Gertrudes and Global Shakespeares Varsha Panjwani (NYU, London, UK) Media Lenses and Digital Cultures 3.9 Screening Dreamy LA: Reading Genre in Casey Wilder Mott’s Hollywood A Midsummer Night’s Dream (2018) Melissa Croteau (California Baptist University, USA) 3.10 Televisual Adaptation of Shakespeare in a Multi-Platform Age Susanne Greenhalgh (University of Roehampton, UK) 3.11 On Location in Asian Shakespeare Stage Adaptations Yong Li Lan (National University of Singapore, Singapore) 3.12 “And We Will Ship Him Hence”: The Case for Shakespeare Fan Studies Valerie M. Fazel (Arizona State University, USA) and Louise Geddes (Adelphi University, USA) 4. New Directions 4.1 Reduce, Rewrite, Recycle: Adapting A Midsummer Night’s Dream for Yosemite Katherine Steele Brokaw and Paul Prescott (University of California, USA) 4.2 Hamlet in the Age of Algorithmic Production Annie Dorsen (Independent Scholar interviewed by Miriam Felton-Dansky (Bard College, USA) 4.3 A King Lear Sutra Preti Taneja (Newcastle University, USA) 5. Resources Vanessa I. Corredera (Andrews University, USA) 6. Annotated Bibliography Kavita Mudan Finn (George Washington University, USA) 7. Index

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Book SynopsisWhat distinguishes modern tragedy from other forms of drama? How does it relate to contemporary political and social conditions? To what ends have artists employed the tragic form in different locations during the 20th century? Partly motivated by the urgency of our current situation in an age of ecocidal crisis, Modern Tragedy encompasses a variety of drama from throughout the 20th century. James Moran begins this book with John Millington Synge's Riders to the Sea (1904), which shows how environmental awareness might be expressed through tragic drama. Moran also looks at Brecht's reworking of Synge's drama in the 1937 play Señora Carrar's Rifles, and situates Brecht''s script in the light of the theatre practitioner's broader ideas about tragedy. Brecht's tragic thinking informed by Hegel and Marx is contrasted with the Schopenhauerian approach of Samuel Beckett. The volume goes on to examine theatre makers whose ideas were partly motivated by applying an undeTrade ReviewTaking his cue from Raymond Williams' landmark Modern Tragedy (1966), James Moran updates our understanding of 20th-century tragic drama to speak to contemporary concerns about politics, decolonisation and the climate emergency. An admirably clear and engaging argument for the continuing relevance of an age-old theatrical tradition. * Jennifer Wallace, University of Cambridge, UK, and author of Tragedy Since 9/11 *Table of ContentsSeries Preface Acknowledgments Introduction: Does Modern Tragedy Exist? 1. From 1904: Synge and the Nature Elegy 2. From 1937: Brecht and Political Engagement 3. From 1954: Walcott, Clark and the Postcolonial Conclusion Notes Bibliography Index

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Book SynopsisWhat work did physically disabled characters do for the early modern theatre? Through a consideration of a range of plays, including Doctor Faustus and Richard III, Genevieve Love argues that the figure of the physically disabled prosthetic body in early modern English theatre mediates a set of related likeness problems' that structure the theatrical, textual, and critical lives of the plays of Shakespeare and his contemporaries. The figure of disability stands for the relationship between actor and character: prosthetic disabled characters with names such as Cripple and Stump capture the simultaneous presence of the fictional and the material, embodied world of the theatre. When the figure of the disabled body exits the stage, it also mediates a second problem of likeness, between plays in their performed and textual forms. While supposedly imperfect textual versions of plays have been characterized as lame', the dynamic movement of prosthetic disabled characters in thTrade ReviewThis monograph is important both for performance studies scholars and for literary historians of disability. * Theatre Journal *Love promotes the “figure of disability” as the key figure for the ways that early modern theatre imagined itself, a figuration of and for figuration – this book is a stunner from the very first word to the final full stop. -- Professor Paul Menzer, Mary Baldwin University, USATable of ContentsAcknowledgements Note on the text Introduction: Disability and/as Theatricality 1 The Work of Standing and of Standing-for: Disability, Movement, Theatrical Personation in The Fair Maid of the Exchange 2 The Sound of Prosthetic Movement: Transnational and Temporal Analogy in A Larum for London 3 ‘Faustus has his legge again’: Truncation and Prosthesis, Theatricality and Bibliography in Doctor Faustus 4 Richard’s ‘giddy footing’: Degree of Difference and Cyclical Movement in Shakespeare’s Richard III Notes Bibliography Index

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Book SynopsisClaire Gleitman is Professor of Dramatic Literature and Dean of the School of Humanities and Sciences at Ithaca College, USA. She is the editor of All My Sons (Methuen Drama, 2022). At Ithaca College, she is also the director and co-founder of the On the Verge play-reading series and former coordinator of Women's, Gender and Sexuality Studies.Trade ReviewBy connecting post-World War Two American containment to current polarizing gender politics and Trumpism, this book offers historical insight and current social commentary to illustrate how American drama continuously investigates and critiques the society for which it has been written. An excellent study of drama, gender, race, and America itself. * Susan Abbotson, Rhode Island College, USA *Table of ContentsAcknowledgements Introduction: The Prison-House of Gender 1. Strudel and the Single Man: All My Sons and Death of a Salesman 2. Witchcraft and the Weird: The Crucible and A View from the Bridge 3. Performing White Male Heteronormativity: A Streetcar Named Desire and Cat on a Hot Tin Roof 4. Playing Ball on the Margins: Raisin in the Sun, Fences, Curse of the Starving Class 5. Queering a New Generation: Angels in America, How I Learned to Drive, Fun Home 6. Cakewalks and the White Gaze: Topdog/Underdog, Fairview, Slave Play Notes References Index

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Book SynopsisIn Stardust Lost, Stefan Kanfer brings the colorful Yiddish stage roaring back to life. Born of ancient traditions stretching back to the drama of the Old Testament, the Yiddish theater was a vibrant part of the immigrant experience. Kanfer invokes the energy, belief, and pure chutzpah it took to establish and run the thriving, influential theaters. He reveals the nightly drama and comedy that played out behind the scenes as well as onstage, and introduces all the players—actors, divas, playwrights, directors, and producers—who made it possible. A richly evocative chronicle of its brief but dazzling existence in America, this is both an elegy for and a tribute to Yiddish theater—lost, but not forgotten.

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Book SynopsisDrawing on the letters and testimony of Padua's medical students, Klestinec charts a new history of anatomy in the Renaissance, one that characterizes the role of the anatomy theater and reconsiders the pedagogical debates and educational structure behind human dissection.Trade Review"In this innovative study, Klestinec recasts the history of early modern anatomy around students, teachers, and pedagogy, rather than authors, illustrators, and publication. In the process, she not only bridges the gap between Andreas Vesalius and William Harvey, but offers a provocative and convincing description of the cultural dynamics that produced the first great anatomy theaters." (Katharine Park, Harvard University)"Table of ContentsList of FiguresPrefaceIntroduction: Redefining the Post-Vesalian Era1. Spectacular Anatomies: Demonstrations, Lectures, and Lessons2. Fabrici's Dominion: The First Anatomical Theater3. Civic and Civil Anatomies: The Second Anatomical Theater4. Medical Students and Their Corpses5. Private Anatomies and the Delights of Technical ExpertiseEpilogueAcknowledgmentsNotesBibliographyIndex

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Book SynopsisThis captivating book-the first of its kind-will appeal to scholars of literature, music, theater, and modernity as well as to sophisticated opera lovers everywhere.Trade ReviewThe often-vexed societal reception of modernism and opera is foreboding testimony to the necessity for this book, which is the first collection of its kind... Essential. ChoiceTable of ContentsAcknowledgments Richard Begam and Matthew Wilson SmithIntroduction Part OneWorld War I and Before: Crises of Gender and Theatricality 1. Matthew Wilson Smith"Laughing at the Redeemer: Kundry and the Paradox of Parsifal" 2. Daniel Albright "Materlinck, Debussy and Modernism" 3. Klara Moricz "Echoes of the Self: Cosmic Loneliness in Bartok's Duke Bluebeard's Castle" Part TwoInterwar Modernism: Movement and Countermovement 4. Bryan Gilliam"The Great War and Its Aftermath: Straussand Hofmannthal's 'Third-Way Modernism'" 5. Bernadette Meyler "Adorno's Shifting Wozzeck" 6. Derek Katz"Many Modernisms, Two Makropulos Cases:Capek, Janacek and the Shifting Avant-Gardes of Inter-war Prague" 7. Richard Begam"Schoenberg, Modernism and Degeneracy" 8. Cyrena Pondrom"Gertrude Stein, Minimalism and Modern Opera" Part ThreeOpera after World War II: Tensions of Institutional Modernism 9. Herbert S. Lindenberger, "Stravinsky, Auden and the Mid-Century Modernism of The Rake's Progress" 10. Irene Morra " Gloriana and the New Elizabethan Age" 11. Linda and Michael Hutcheon"One Saint in Eight Tableaux: The Untimely Modernism of Olivier Messiaen's Saint Francois d'Assise" 12. Joy H. Calico" Saariaho's L'amour de loin: Modernist Opera in the Twenty-First Century" Notes on ContributorsIndex

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Book SynopsisThe essays collected in this volume were initially presented at the Fourth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, May 28–30, 2011.

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Book SynopsisTable of ContentsBiographical Note and Notes on Contributors General Preface: Brenda Murphy and Julia Listengarten 1. Introduction to the 1980s by Sandra G. Shannon, Howard University, USA. 2. American Theatre in the 1980s by Sandra G. Shannon, Howard University, USA. 3. David Mamet: Edmond (1982), Glengarry Glen Ross (1984), Speed-the-Plow (1988), Oleanna (1992) by Nelson Pressley 4. David Henry Hwang: FOB (1980), The Dance and the Railroad (1981), Family Devotions (1981), M. Butterfly (1988) by William C. Boles, Rollins College, USA. 5. Maria Irene Fornès: The Danube (1982), Mud (1983), The Conduct of Life (1985) by Gwendolyn Alker, Tisch School of the Arts, USA. 6. August Wilson: Ma Rainey's Black Bottom (1984), Fences (1987), Joe Turner's Come and Gone (1984) by Sandra G. Shannon, Howard University, USA. Afterword Documents Notes Bibliography Index

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Book SynopsisTrade ReviewThe story has been greatly helped by the efforts of superb joint editors. Not only have they managed to encapsulate the decade in their own writing but also selected impressively qualified experts to enthuse about the four chosen playwrights. * British Theatre Guide *Table of ContentsAcknowledgements Biographical Note and Notes on Contributors General Preface: Brenda Murphy and Julia Listengarten 1. Introduction to the 1990s by Cherly Black, University of Missouri, USA; and Sharon Friedman, New York University, USA. 2. American theatre in the 1990s by Cherly Black, University of Missouri, USA; and Sharon Friedman, New York University, USA. 3. Terrence McNally by John M. Clum, Duke University, USA. 4. Paula Vogel by Joanna Mansbridge, Billkent University, Ankara, Turkey. 5. Tony Kushner by James Fisher, University of North Carolina, USA. 6. Suzan-Lori Parks by Kevin J. Wetmore, Jr, Loyola Marymount University, USA. Afterword Documents Notes Bibliography Index

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Book SynopsisPaul Menzer is Professor and the Director of the Mary Baldwin College MLitt/MFA Shakespeare and Performance graduate programTable of ContentsChapter 1: Revolutionary Nostalgia Chapter 2: A Peculiar Institution Chapter 3: Bringing History to Light Chapter 4: Ready or not Chapter 5: In Others’ Words Appendices: Timelines; Performance history; Architectural History Bibliography Notes Index

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Book SynopsisTable of ContentsList of Illustrations Notes on Contributors Series Preface Introduction, Emily Wilson (University of Pennsylvania, USA) 1. Forms and Media, Naomi Weiss (Harvard University, USA) 2. Sites of Performance and Circulation, Rosa D'Andújar (King's College London, UK) 3. Communities of Production and Consumption, Eirene Visvardi (Wesleyan University, USA) 4. Philosophy and Social Theory, Austin Busch (College at Brockport, USA) 5. Religion, Ritual and Myth, Isabelle Torrance (Aarhus University, Denmark) 6. Politics of City and Nation, Robert Cowan (University of Sydney, Australia) 7. Society and Family, Marcel Widzicz (Southern Virginia University, USA) 8. Gender and Sexuality, Kirk Ormand (Oberlin College, USA) Notes Bibliography Index

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Book SynopsisJody Enders is Distinguished Professor of French at the University of California, Santa Barbara, USA.Theresa Coletti is Professor of English at the University of Maryland, USA.John T. Sebastian is Professor of English at Loyola Marymount University, USA.Carol Symes is Professor of History at the University of Illinois, Urbana-Champaign, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface General Editor’s Acknowledgements Introduction: Miscarriages of Justice, Jody Enders (University of California, USA) 1. Forms and Media, Carol Symes (University of Illinois, USA) 2. Sites of Performance and Circulation, Christopher Swift (City University of New York, USA) 3. Communities of Production and Consumption, John T. Sebastian (Loyola Marymount University, USA) 4. Philosophy and Social Theory, Antonio Donato (City University of New York, USA) and Erith Jaffe-Berg (University of California, USA) 5. Religion, Ritual, and Myth, John Parker (University of Virginia, USA) 6. Politics of City and Nation, Hannah Skoda (University of Oxford, UK) 7. Society and Family, Theresa Coletti (University of Maryland College Park, USA) 8. Gender and Sexuality, Karen Sullivan (Bard College, USA) Notes Bibliography Index

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Book SynopsisNaomi Conn Liebler is a Professor of English and a University Distinguished Scholar at Montclair State University, USA.Table of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: Defining the Elephant, Naomi Conn Liebler (Montclair State University, USA) 1. Forms and Media, Rebecca Bushnell (University of Pennsylvania, USA) 2. Sites of Performance and Circulation, Bruce R. Smith (University of Southern California, USA) 3. Communities of Production and Consumption, András Kiséry (The City College of New York, USA) 4. Philosophy and Social Theory, Richard Wilson (Kingston University, UK and the University of Oxford, UK) 5. Religion, Ritual and Myth, Paul Innes (University of Gloucestershire, UK) 6. Politics of City and Nation, Ivan Lupic (Stanford University, USA) 7. Society and Family, Coppélia Kahn (Brown University, USA) 8. Gender and Sexuality, Goran Stanivukovic (Saint Mary’s University, Canada) Notes Bibliography Index

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