Jennifer Linhart Wood – författare

Dynamic Matter investigates the life histories of Renaissance objects. Eschewing the critical tendency to study how objects relate to human needs and desires, this work foregrounds the objects themselves, demonstrating their potential to transform their environments as they travel across time and space.Integrating early modern material theories with recent critical approaches in Actor-Network Theory and object-oriented ontology, this volume extends Aristotle’s theory of dynameos—which conceptualizes matter as potentiality—and applies it to objects featured in early modern texts such as Edmund Spenser’s The Faerie Queene, Robert Hooke’s Micrographia, and William Shakespeare’s The Tempest. Individual chapters explore the dynameos of matter by examining its manifestations in particular forms: combs are inscribed with words and brushed through human hair; feathers are incorporated into garments and artwork; Prince Rupert’s glasswork drops explode; a whale becomes animated by the power of a magical bracelet; and books are drowned. These case studies highlight the potentiality matter itself possesses and that which it activates in other matter. A theorization of objects grounded in Renaissance materialist thought, Dynamic Matter examines the richness of things themselves; the larger, multiple, and changing networks in which things circulate; and the networks created by these transformative objects.In addition to the editor, the contributors to this volume include Anna Riehl Bertolet, Erika Mary Boeckeler, Naomi Howell, Emily E. F. Philbrick, Josie Schoel, Maria Shmygol, Edward McLean Test, Abbie Weinberg, and Sarah F. Williams.

The first major work to explore and analyse the popular 'extra-theatrical' performances in late medieval and Renaissance England. This wider heterogeneous category of early modern performance included puppetry, fireworks shows, rope dancing, minstrelsy, performing animals, games, civic drama, court masques, university drama, morris dances, and ceremonial rituals, all taking place in a variety of venues.The volume reveals how these extra-theatrical productions shaped urban and rural life and conveyed a sense of spectacular excess, of exceeding traditional genres, conventional modes of performance and the typical bounds of theatrical space. The spaces where medieval and early modern drama flourished include pageant carts, convents, private homes, universities, waterways, and the streets of both urban and rural communities. Much like public theatres, these performance spaces also played a pivotal role in articulating individual, communal, and national aspirations. Spanning the medieval period to the late 17th century, this volume engages with questions of spatiality, gender, religion, transcontinental exchanges, and colonialism, presenting the latest research from scholars across the globe.

Early Modern Performance Beyond the Public Stage is the first major work to explore and analyse the popular ''extra-theatrical'' performances in late medieval and Renaissance England. This wider heterogeneous category of early modern performance included puppetry, fireworks shows, rope dancing, minstrelsy, performing animals, games, civic drama, court masques, university drama, morris dances, and ceremonial rituals, all taking place in a variety of venues. The volume reveals how these extra-theatrical productions shaped urban and rural life and conveyed a sense of spectacular excess, of exceeding traditional genres, conventional modes of performance and the typical bounds of theatrical space. The spaces where medieval and early modern drama flourished include pageant carts, convents, private homes, universities, waterways, and the streets of both urban and rural communities. Much like public theatres, these performance spaces also played a pivotal role in articulating individual, communal, and national aspirations. Spanning the medieval period to the late 17th century, this volume engages with questions of spatiality, gender, religion, transcontinental exchanges, and colonialism, presenting the latest research from scholars across the globe.

Early Modern Performance Beyond the Public Stage is the first major work to explore and analyse the popular ''extra-theatrical'' performances in late medieval and Renaissance England. This wider heterogeneous category of early modern performance included puppetry, fireworks shows, rope dancing, minstrelsy, performing animals, games, civic drama, court masques, university drama, morris dances, and ceremonial rituals, all taking place in a variety of venues. The volume reveals how these extra-theatrical productions shaped urban and rural life and conveyed a sense of spectacular excess, of exceeding traditional genres, conventional modes of performance and the typical bounds of theatrical space. The spaces where medieval and early modern drama flourished include pageant carts, convents, private homes, universities, waterways, and the streets of both urban and rural communities. Much like public theatres, these performance spaces also played a pivotal role in articulating individual, communal, and national aspirations. Spanning the medieval period to the late 17th century, this volume engages with questions of spatiality, gender, religion, transcontinental exchanges, and colonialism, presenting the latest research from scholars across the globe.

Winner of the Medieval and Renaissance Drama Society's 2021 Bevington Award for Best New BookSounds are a vital dimension of transcultural encounters in the early modern period. Using the concept of the soundwave as a vibratory, uncanny, and transformative force, Jennifer Linhart Wood examines how sounds of foreign otherness are experienced and interpreted in cross-cultural interactions around the globe. Many of these same sounds are staged in the sonic laboratory of the English theater: rattles were shaken at Whitehall Palace and in Brazil; bells jingled in an English masque and in the New World; the Dallam organ resounded at Topkapı Palace in Istanbul and at King’s College, Cambridge; and the drum thundered across India and throughout London theaters. This book offers a new way to conceptualize intercultural contact by arguing that sounds of otherness enmesh bodies and objects in assemblages formed by sonic events, calibrating foreign otherness with thefamiliar self on the same frequency of vibration.

Winner of the Medieval and Renaissance Drama Society''s 2021 Bevington Award for Best New BookSounds are a vital dimension of transcultural encounters in the early modern period. Using the concept of the soundwave as a vibratory, uncanny, and transformative force, Jennifer Linhart Wood examines how sounds of foreign otherness are experienced and interpreted in cross-cultural interactions around the globe. Many of these same sounds are staged in the sonic laboratory of the English theater: rattles were shaken at Whitehall Palace and in Brazil; bells jingled in an English masque and in the New World; the Dallam organ resounded at Topkapı Palace in Istanbul and at King’s College, Cambridge; and the drum thundered across India and throughout London theaters. This book offers a new way to conceptualize intercultural contact by arguing that sounds of otherness enmesh bodies and objects in assemblages formed by sonic events, calibrating foreign otherness with thefamiliar self on the same frequency of vibration.