https://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&feed=atom&action=historyClaire M. L. Bourne - Revision history2024-03-29T09:00:34ZRevision history for this page on the wikiMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=20445&oldid=prevMeaghanBrown: Italicized titles2015-11-05T16:03:09Z<p>Italicized titles</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s <ins style="font-weight: bold; text-decoration: none;">''</ins>Tamburlaine<ins style="font-weight: bold; text-decoration: none;">''</ins>; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s <ins style="font-weight: bold; text-decoration: none;">''</ins>Works<ins style="font-weight: bold; text-decoration: none;">'' </ins>in 1709.</div></td></tr>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=20407&oldid=prevMeaghanBrown: linked to year2015-11-03T16:01:36Z<p>linked to year</p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Speaker, [[Shakespeare's Theatrical Documents (symposium)]] (Symposium, 2015–2016)</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Speaker, [[Shakespeare's Theatrical Documents (symposium)<ins style="font-weight: bold; text-decoration: none;">|Shakespeare's Theatrical Documents</ins>]] (Symposium, <ins style="font-weight: bold; text-decoration: none;">[[</ins>2015–2016 <ins style="font-weight: bold; text-decoration: none;">Folger Institute Scholarly Programs|2015–2016]]</ins>)</div></td></tr>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=20379&oldid=prevMadelineCrispell at 15:17, 30 October 20152015-10-30T15:17:58Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Speaker, Shakespeare's Theatrical Documents (<del style="font-weight: bold; text-decoration: none;">Seminar</del>, 2015–2016)</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Speaker, <ins style="font-weight: bold; text-decoration: none;">[[</ins>Shakespeare's Theatrical Documents (<ins style="font-weight: bold; text-decoration: none;">symposium)]] (Symposium</ins>, 2015–2016)</div></td></tr>
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</table>MadelineCrispellhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=20357&oldid=prevMadelineCrispell at 13:28, 30 October 20152015-10-30T13:28:49Z<p></p>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">===Scholarly Programs===</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Speaker, Shakespeare's Theatrical Documents (Seminar, 2015–2016)</ins></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Scholar]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Scholar]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:2014-2015]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:2014-2015]]</div></td></tr>
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</table>MadelineCrispellhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=16561&oldid=prevMeaghanBrown at 14:16, 14 April 20152015-04-14T14:16:30Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 09:16, 14 April 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>“'Set Forth as It Hath Been Played': Printing the Performance in Early Modern England” (Folger, [[Folger Institute <del style="font-weight: bold; text-decoration: none;">2014-2015 </del>long-term fellows|<del style="font-weight: bold; text-decoration: none;">2014-2015</del>]])</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>“'Set Forth as It Hath Been Played': Printing the Performance in Early Modern England” (Folger, [[Folger Institute <ins style="font-weight: bold; text-decoration: none;">2014–2015 </ins>long-term fellows|<ins style="font-weight: bold; text-decoration: none;">2014–2015</ins>]])</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=12773&oldid=prevMeaghanBrown at 15:00, 12 January 20152015-01-12T15:00:20Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 10:00, 12 January 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l2">Line 2:</td>
<td colspan="2" class="diff-lineno">Line 2:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">“Set </del>Forth as It Hath Been <del style="font-weight: bold; text-decoration: none;">Played”</del>: Printing the Performance in Early Modern <del style="font-weight: bold; text-decoration: none;">England </del>(Folger, [[Folger Institute 2014-2015 long-term fellows|2014-2015]])</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">“'Set </ins>Forth as It Hath Been <ins style="font-weight: bold; text-decoration: none;">Played'</ins>: Printing the Performance in Early Modern <ins style="font-weight: bold; text-decoration: none;">England” </ins>(Folger, [[Folger Institute 2014-2015 long-term fellows|2014-2015]])</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=11980&oldid=prevMeaghanBrown at 17:53, 3 December 20142014-12-03T17:53:11Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:53, 3 December 2014</td>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This page reflects a scholar's association with the [[Folger Institute]].</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This page reflects a scholar's association with the [[Folger Institute]]. </div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Assistant Professor of English, Virginia Commonwealth University</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship ===</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=11979&oldid=prevMeaghanBrown at 17:52, 3 December 20142014-12-03T17:52:58Z<p></p>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=8264&oldid=prevMeaghanBrown: /* Long-term fellowship (Folger, 2014-2015) */2014-08-27T20:29:29Z<p><span dir="auto"><span class="autocomment">Long-term fellowship (Folger, 2014-2015)</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:29, 27 August 2014</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Assistant Professor of English, Virginia Commonwealth University</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Assistant Professor of English, Virginia Commonwealth University</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship (Folger, [[Folger Institute 2014-2015 long-term fellows|2014-2015]]) <del style="font-weight: bold; text-decoration: none;">===</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship <ins style="font-weight: bold; text-decoration: none;"> ===</ins></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">“Set Forth as It Hath Been Played”: Printing the Performance in Early Modern England</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">“Set Forth as It Hath Been Played”: Printing the Performance in Early Modern England </ins>(Folger, [[Folger Institute 2014-2015 long-term fellows|2014-2015]])</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Using the typographical arrangements of the dramatic page as a rich site of inquiry, Printing the Performance challenges the long-standing division between “the theatrical” and “the literary” in studies of early modern drama. Building on two decades of work by book historians who have insisted that printed plays should be taken seriously as reading matter, this project seeks to demonstrate that plays initially written with the theater in mind developed into intelligible reading matter not only through their acquisition of bookish features, such as authorial attributions and dedicatory epistles, but also through print’s deliberate negotiations with stage dramaturgy and the effects of early modern plays in performance. In particular, Printing the Performance argues that sixteenth- and seventeenth-century experiments in playbook typography and page design show early modern English playwrights and stationers attempting to make the printed texts of plays legible to readers as drama. These experiments—with symbolic type, punctuation, scene division, and illustration—were designed to encourage reading experiences around genre-specific theatrical innovations by answering for the effects that these innovations produced in performance: for example, the didacticism of the excessive physicality central to Ben Jonson’s comical satires; the cumulative, frightful, and relentlessly violent stage tableaux of Christopher Marlowe’s Tamburlaine; and the suspenseful plotting of Francis Beaumont and John Fletcher’s tragicomedy. The conventions of dramatic typography that seem mundane to us today were by no means settled in these first two centuries of printing plays in England. By studying how these typographic conventions came into being, this project claims the intersection of dramaturgy and book design as fertile ground for understanding the literary formation of early modern English plays between the Tudor moralities and Rowe’s edition of Shakespeare’s Works in 1709.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Claire_M._L._Bourne&diff=8218&oldid=prevMeaghanBrown at 18:24, 27 August 20142014-08-27T18:24:22Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:24, 27 August 2014</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship (Folger, 2014-2015) ===</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>=== Long-term fellowship (Folger, <ins style="font-weight: bold; text-decoration: none;">[[Folger Institute </ins>2014-2015 <ins style="font-weight: bold; text-decoration: none;">long-term fellows|2014-2015]]</ins>) ===</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Set Forth as It Hath Been Played”: Printing the Performance in Early Modern England</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Set Forth as It Hath Been Played”: Printing the Performance in Early Modern England</div></td></tr>
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</table>MeaghanBrown