https://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&feed=atom&action=historyErika T. Lin - Revision history2024-03-29T13:36:46ZRevision history for this page on the wikiMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=21081&oldid=prevMadelineCrispell at 15:24, 26 February 20162016-02-26T15:24:54Z<p></p>
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</table>MadelineCrispellhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=21079&oldid=prevMadelineCrispell at 15:23, 26 February 20162016-02-26T15:23:06Z<p></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;"><div>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</div></td></tr>
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</table>MadelineCrispellhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=13914&oldid=prevMeaghanBrown at 14:02, 18 February 20152015-02-18T14:02:13Z<p></p>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=13913&oldid=prevMeaghanBrown at 14:01, 18 February 20152015-02-18T14:01:44Z<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><del style="font-weight: bold; text-decoration: none;">Associate Professor of English, George Mason 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;"><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"></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>"Seasonal Festivity and Commercial Performance in Early Modern England" (Mellon, [[Folger Institute 2014-2015 long-term fellows|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>"Seasonal Festivity and Commercial Performance in Early Modern England" (Mellon, [[Folger Institute 2014-2015 long-term fellows|2014-2015]])</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=12786&oldid=prevMeaghanBrown at 15:18, 12 January 20152015-01-12T15:18:57Z<p></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;"><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>Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, [[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;">"</ins>Seasonal Festivity and Commercial Performance in Early Modern England<ins style="font-weight: bold; text-decoration: none;">" </ins>(Mellon, [[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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=11981&oldid=prevMeaghanBrown at 17:53, 3 December 20142014-12-03T17:53:51Z<p></p>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=8221&oldid=prevMeaghanBrown at 18:27, 27 August 20142014-08-27T18:27:15Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:27, 27 August 2014</td>
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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;"></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>Associate Professor of English, George Mason 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>Associate Professor of English, George Mason 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;"><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>Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, 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>Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, <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;"><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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=7967&oldid=prevMeaghanBrown at 19:08, 22 August 20142014-08-22T19:08:19Z<p></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;"><div>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</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>This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</div></td></tr>
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</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Erika_T._Lin&diff=7966&oldid=prevMeaghanBrown: Created page with "Associate Professor of English, George Mason University === Long-term fellowship === Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, 2014-2015) ..."2014-08-22T19:07:10Z<p>Created page with "Associate Professor of English, George Mason University === Long-term fellowship === Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, 2014-2015) ..."</p>
<p><b>New page</b></p><div>Associate Professor of English, George Mason University<br />
=== Long-term fellowship ===<br />
Seasonal Festivity and Commercial Performance in Early Modern England (Mellon, 2014-2015)<br />
<br />
This book-length project reconstructs the performance dynamics of May games, Robin Hood gatherings, morris dances, and other early modern seasonal practices and analyzes their impact on the drama of Shakespeare and his contemporaries. In sixteenth- and seventeenth-century England, holidays were often celebrated with dancing, music, athletic combat, informal roleplaying, and scripted drama. In the professional theatres, however, these same activities functioned not as communal rituals but as commodified entertainments. Drawing on early modern pamphlet literature, broadside ballads, churchwarden accounts, household records, diaries, letters, and many other archival sources, this project will trace how the commercialization of festive practices transformed performance from a ubiquitous mode of sociality that permeated communal life into the institutionalized representational mode that we think of today as “theatre.” The project is thus a kind of ur-history of the English stage as well as a broad-scale attempt to rethink how diverse cultural practices coalesce into seemingly unified aesthetic objects. Because festivity constituted a mode of embodied popular knowledge, physically enacting holiday customs onstage had important social and cultural consequences that derived not simply from drama as literary text but also from live performance. Building on—but also moving beyond—the concept of “performativity,” this project examines how cultural norms and beliefs come to be (re)produced through bodily acts and affective experiences. It thus serves not only as a detailed study of a historically-specific set of performance practices but also as a wider theoretical contribution to the humanities as a whole.</div>MeaghanBrown