ࡱ> vxu @ Cbjbj5*5* 4`W@W@;!!!!$"LSX"X"X"X"X"X"X"X"tSvSvSvSvSvSvS$TR3W>S-X"X"--SX"X"S444-X"X"tS4-tS446PRX"L" 7%0!y/NPtSS0SPqW3qW8RqWRX"@&4 )<F+yX"X"X"SSxd4 x1. Music (T/ A. Knight, W/ N. Wanless) Practically, what instruments are used on Shakespeares stage? What is the (cultural) function of music? Philosophically, how do the Elizabethans understand music? Think about harmony, the music of the spheres, cacophony, arithmetic How is music scored, remembered? Who are the big composers? Where is music set in the plays? What theatrical work does it perform? Singing? Favourite tunes? Dancing? Steps? Forms? Function? What about signature sounds? How do you know Antony is approaching? And noise: how big a sound is possible? Where does Shakespeare use noise? How does a language of music feature poetically/imagistically in theatre speech? 2. Fashion: Clothes/Costumes (T/ G. Edewor-Thorley, W/ F. Burke) What can you derive about the stage business of costume from Philip Henslowes theatre accounts for the Admirals Men? What are the sumptuary laws and how do they, theoretically at least, code Elizabethan/Jacobean dress? How do the players transfer this code to the stage? What is royal dress? Yeoman/artisan dress? Phantasicke dress? How does a scholar dress? A merchant? A virgin? A wife? How does colour work in clothing? How does a man dress for war? How is otherness coded in dress fairies? Venetians? The Egyptian queen? What are the elements of dress? (whats a doublet, hose, codpiece, farthingale, bodice, sleeves, hats, weapons, laces, points etc?) How does the stage do nudity? Insanity? Invisibility? How is fashion changing across Shakespeares theatrical career? New styles? New fabrics/colours? What theatrical statements does Shakespeare make with costumes? How does a language of clothing feature poetically/imagistically in theatre speech? 3. Medicine: Science/The Body (T/ S. Pournori, W/ P. Pollard-Davey) How do the Elizabethans/Jacobeans theorise the human body, the little world of man? How do they understand the difference between the body and the soul, and what difference to human physiology did the Fall of Man make? Who is Galen and why is he important? What are the humours and how do they operate? Where do feeling and thought reside (cf. liver, heart, reins, gall)? What advances are being made in: anatomy; gynaecology; surgery; homeopathy? How do early moderns understand disease where does it come from? What cures, what remedies are available? Drugs? Poison? How do they understand sexuality and the gendered appetite? How do these function in Shakespeares plays (and culture) and what are their physical signs: the plague; the pox (syphilis, the French disease); lunacy; hysterica passio; gout; tisick; the wound. What are the expectations of pregnancy, birth, and post-natal care? What scientific instruments are being developed for the physician? What happens to bodies post-mortem? Where does Shakespeare put disease (and cure) on stage? How does a language of medicine feature poetically/imagistically in theatre speech including a language of diagnosis and cure? 4. Cosmography (T/ R. Marks, W/ O. Turner) How do the Elizabethans/Jacobeans understand the relationship between the microcosm and the macrocosm, the world of man and the universe, the sub-lunar creation and the heavens? What is the Great Chain of Being and how does it work to establish degree, priority and place? What physical models exist for the universe? What are the spheres And how do they affect human life? What role do the stars have in human life? Astronomy? Astrology? The zodiac? The elements? Who is Ptolemy and what is the Ptolemaic system? How does Christianity map on to classical schemes of understanding (or not)? How does the Elizabethan/Jacobean square Humanism with the medieval inheritance of religious knowledge? Who is Galileo? How does he change how we look at the universe, and why does the new philosophy cast all in doubt? What do the following mean: fate; destiny; fortune; eternity; the heavens? Where is hell? What scientific instruments are being developed to help the cosmographer optics? Perspectives? Burning glass? Telescope? Where does Shakespeare put cosmology directly in play on stage? How does a language of the cosmos feature poetically/imagistically in theatre speech? Religion: The Bible, The Book of Common Prayer (T/ D. Dean W/) Where, and when, do these books appear and in response to what pressures? How do these texts impact on everyday early modern life? Who is Tyndale? Who is Cranmer? What is original sin? What is election or predestination? What is justification by faith vs. justification by works? What is the function of Confession? Taking the sacrament? Redemption? Grace? What is the Reformation and what are the changes that we need to be aware of (for Shakespeares plays) post- Reformation? How, briefly, is religion connected to Tudor politics? To Stuart politics? What is a Puritan? An Anglican? A Catholic? A recusant? A heretic? Blasphemy? What is the Oath of Supremacy and how does it impact on ordinary Englishmen? How does the theatre deal with the performance of religious ideas, practices and rites, i.e., prayer, sacraments (cf. baptism, marriage, funeral), purgatory? What Biblical stories/histories circulate in Shakespeare (i.e., Eden and the fall of man; Jacob and the Sheep; the Prodigal Son; the Nativity and Crucifixion)? What religious others appear in Shakespeare and to what effect (the Jew, the Turk)? How does Christianity accommodate Humanism (the recovery of the ancient classical past: God vs. Apollo; Genesis vs. Ovid; Hell vs. Elysium)? From the point of view of re-formed Anglicansim, what a piece of work is a man? how are body and soul connected, and what happens to a person after death? How does Shakespeare stage the religious including challenges to orthodoxy? How does a language of religion feature poetically/imagistically in theatre speech? 6. Poetry (T/ A. Bogdonova W/ R Abderabbani) What is poetry, the poetical? What cultural function does it perform? What is the status of poetry vs playwriting? Who are the cultures poets? What are the poems / poets feeding in to Shakespeare? Sidney? Spenser? Marlowe? Jonson? What genres are available? What do the Elizabethan poets learn from their Latin classical models? Technically: what tools does the poet have in his bag and how does he use them (i.e., antithesis, anadiplosis, chiasmus, synecdoche, alliteration, trope, metaphor, etc.)? What poetry is Shakespeare publishing? What is the role of the patron (so how is poetry culturally produced and how does it circulate)? How does Shakespeare stage poetry that is, where does poetry as poetry perform in the plays? How does theatre poetry work? What is the relationship between the I of the sonnets and the voice of the speaker? How does a language of poetry feature poetically/imagistically in theatre speech? 7. Maps Geography, the New World, the East (T/ V. Truslow W/ Joanna Woods) For the early modern, what kind of object is a map? What is its function? What kind of information does it contain? Is a map a document of geography or of history? That is the Mappa Mundi? What are its features? How does it understand the known world? Is it possible to map a spiritual geography as well as a temporal one? What effect do the voyages of trade and discovery have on the early modern imagination? Where are the Indies, the Orient, the East and what sites do they occupy in the English imaginary? What about the new world? And the classical world: Rome, Alexandria, Athens, Damascus, Troy, Carthage, Ephesus. What do these places mean? What is a wonder? Closer to home: how do Shakespeares plays stage Europe? Venice, Paris, Elsinore, London, Verona, Vienna? What, theatrically, is the usefulness of the foreign stereotype and how does he/she get staged? What about other global types: the stranger, the merchant, the moor, the cannibal, the vagabond, the world conqueror? How does Shakespeare use the voyage as a theatrical trope? How does he stage the voyage? What is the wilderness? What spaces cant be mapped? Where do maps appear in his plays and to what effect? For the average Elizabethan, how big is the world? How long does it take to get from Stratford or ý to London? How do people travel? What is the relationship between space and time: how do people count time in early modern England? What calendar do they use? How does Shakespeare stage time? How does a language of space and time feature poetically/imagistically in theatre speech? 8. Books (T/ E. Turney W/ N. Hodgson) How new a technology is printing? How is printing connected to Humanism and the scientific revolution? How many people in early modern England are literate? Who are they? Men? Women? Children? What is the relationship between reading and writing? What sort of writing gets into print? What formats are there for books? Who administers printing? What is the Stationers Register and how does it work? What do books cost? Paper? Who sells books? Who owns copyright? What do title pages tell us? How does Shakespeares writing get into print? Where do books appear on Shakespeares (and Marlowes stage)? What cultural / theatrical work do they do? What is the movement from playbook (the manuscript of the play) from scribal copy to actors parts to plot (all of these, the book inside the playhouse) to printed quarto? How does a language of the book (printing, imprinting, copy, line, edition, bastard, bear) feature poetically/imagistically in theatre speech? 9. Government (T/ C. Brown, W/ S.Chapman) What are the degrees of men inside the Elizabethan commonwealth? How is social hierarchy arranged? Who is the servant? What does duty mean? How is the government structured? Who does what? Where is the government located? How many nobles are there in England? How many commoners? What is an absolutist monarchy? What is a commonwealth? What is the ideology of the kings two bodies and how does it appear in Shakespeares plays? What is the political theory of the divine right of kings? how does it operate? How does the kingdom deal with the bad king conundrum? What political theories are available for thinking through government (Machiavelli, Buchanan)? What alternatives are there to monarchy (cf. models offered by Rome and in Greek political philosophy, Aristotle, Plato). What acts are treasonable? What language attaches to treason? How is treason punished? How do governments talk to each other: Denmark to England; England to France; Wales to Northunberland? What is the role of the ambassador? The Messenger? The letter? The cipher? How does the prince talk to the people? How do the people talk to the prince? What do the speeches of Elizabeth I and James I tell us about the monarchs self-representation? How is macro-government reflected in micro-government: the household? What metaphors are available to image government (the body politic; the hive)? How does government, the king, the commons play on Shakespeares stage? What is visibly recognised? What is interrogated, contested? What is the apparatus of monarchy? How does Shakespeare stage power? How does a language of government and rule feature poetically/imagistically in theatre speech? Plays and Players (T/ E. Reid W/ L. King) What do we know about the size, shape, layout, construction and physical apparatus of the early modern playhouse; the stage; the auditorium; backstage (the Rose; the Globe)? Where were the playhouses located in London geographically; culturally; politically? What is the connection of playing to the queen? Who were the players? How was the Elizabethan playing company organised? How many players? Company structure? Sharers? Hired Men? Boys? Literary manager? Director? What other jobs need to be done in a playing company and who does them? What is patronage and how does it work for the players? What does Henslowes Diary tell us about the daily working life of the London playhouse? About repertoire? About the economics of playing? How does a play get written and how does it pass into and through the playhouse? What are the stages of theatre writing: how does a manuscript move into performance? How do the players learn the play? What happens to the playbook subsequently? Who is the audience? How many? Popular? Elite? Other audiences? Who in London is pro-theatre? Who is anti-theatre? What defence can be made of the theatre? What do the anti-theatricalists allege? Who are the playwrights? What is their relationship to the playing company? How do they manage their work? What are they writing about? Who are they writing for? Where do plays, players, and audiences appear in Shakespeares plays? How does he write meta-theatrically? How does a language of playing feature poetically/imagistically in theatre speech? 11. Ovid (T/ Z. Juma W/ E. Walpole) Who was Ovid? When did he live? Who translated Ovid, and when? Where did Shakespeare encounter Ovid? What did Ovid write that fuelled Shakespeares imagination? Where do Ovids stories appear in the plays? Where do Ovidian references appear? What is metamorphosis and how does it function as a constituting trope, fiction, idea in Shakespeare? How are the following significant: Hecuba, Dido, Thisbe, Philomela, Daphne, Icarus, Ariadne, Achilles, Theseus, Morpheus, Diana, Ajax, Ulysses? What account does Ovid offer for the beginning of the world? How does it contest the account given in, for example, Genesis? What account does Ovid offer of the Trojan War? What models of human relationship are on offer in Ovid? Parent/child; husbands/wives; ruler/ruled; lover/warrior; rapist/raped; seducer/seduced; poet/administrator? What other big source materials does Shakespeare draw upon classical and English / European? How does a language of Ovid feature poetically/imagistically in theatre speech? 12. Rhetoric/Schools (T/ S. Denison W/ When were the grammar schools founded, where and why? Who attended? What do we know about the grammar school curriculum? What exercises does the child perform? Reading? Writing? Speaking? Remembering? How do these exercises equip the child for life? What is the role of role play in education (see Erasmus, for example)? What do we know about pedagogic philosophy as it was expressed by the humanists (Erasmus, More, Elyot) and the protestant reformers (Bishop Latimer, Cranmer)? What is the point of study? Where are graduates going? How do we understand rhetoric? How does rhetoric fashion a formal man? How does rhetoric fashion social dialogue? Where do we see rhetoric in Shakespeares writing? Oration? Lament? Plotting? Persuasion? Soliloquy? What constitutes conversation, informal dialogue, chat? What happens when rhetorical structures fail? Meanwhile, what are girls doing? How are they educated? What is the womans part? Who is permitted to talk in Elizabethan/Jacobean culture and on Shakespeares stage? What is the function of silence? Where do schools, schoolboys, scholars, orators feature on Shakespeares stage? How does a language of the rhetorical feature poetically/imagistically in theatre speech?   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