Michael Meeuwis – författare

This volume brings together insights from leading scholars in the field of grammatical aspect to examine the multifaceted nature of this pivotal linguistic resource used to express temporal meaning. The contributors explore the many ways in which linguistic research can move beyond canonical semantic analyses of aspect, which still focus to a great extent on objective temporal features of what can be called ''situation models'', i.e. integrated cognitive representations of designated states of affairs. The chapters in this volume widen this outlook by concentrating on less typical contexts in which aspectual constructions are used, e.g. for affective purposes, to mark the epistemic status of situations, or to shape narrative structures. This focus on non-prototypicality is also reflected in the languages investigated, many of which are understudied with respect to their aspectual constructions, including several African languages and the sign language Kata Kolok. The volume adopts a multidisciplinary methodological approach, and introduces possible directions for future research based on experimental studies, fieldwork research, and translation mining.

This volume brings together insights from leading scholars in the field of grammatical aspect to examine the multifaceted nature of this pivotal linguistic resource used to express temporal meaning. The contributors explore the many ways in which linguistic research can move beyond canonical semantic analyses of aspect, which still focus to a great extent on objective temporal features of what can be called 'situation models', i.e. integrated cognitive representations of designated states of affairs. The chapters in this volume widen this outlook by concentrating on less typical contexts in which aspectual constructions are used, e.g. for affective purposes, to mark the epistemic status of situations, or to shape narrative structures. This focus on non-prototypicality is also reflected in the languages investigated, many of which are understudied with respect to their aspectual constructions, including several African languages and the sign language Kata Kolok. The volume adopts a multidisciplinary methodological approach, and introduces possible directions for future research based on experimental studies, fieldwork research, and translation mining.

A guide to the contemporary London stage as well as an argument about its future, the book walks readers through the city’s performance spaces following the Brexit vote.Austerity-era London theatre is suffused with the belief that private ownership defines full citizenship, its perspective narrowing to what an affluent audience might find relatable. From pub theatres to the National, Michael Meeuwis reveals how what gets put on in London interacts with the daily life of the neighbourhoods in which they are set.This study addresses global theatregoers, as well as students and scholars across theatre and performance studies—particularly those interested in UK culture after Brexit, urban geography, class, and theatrical economics.

A guide to the contemporary London stage as well as an argument about its future, the book walks readers through the city’s performance spaces following the Brexit vote.Austerity-era London theatre is suffused with the belief that private ownership defines full citizenship, its perspective narrowing to what an affluent audience might find relatable. From pub theatres to the National, Michael Meeuwis reveals how what gets put on in London interacts with the daily life of the neighbourhoods in which they are set.This study addresses global theatregoers, as well as students and scholars across theatre and performance studies—particularly those interested in UK culture after Brexit, urban geography, class, and theatrical economics.

Nearly all residents of England and its colonies between 1860 and 1914 were active theatergoers, and many participated in the amateur theatricals that defined late Victorian life. The Victorian theater was not an abstract figuration of the world as a stage, but a media system enmeshed in mass lived experience that fulfilled in actuality the concept of a theatergoing nation. Everyone’s Theater turns to local history, the words of everyday Victorians found in their diaries and production records, to recover this lost chapter of theater history in which amateur drama domesticates the stage. Professional actors and playwrights struggled to make their productions compatible with ideas and techniques that could be safely reproduced in the home—and in amateur performances from Canada to India. This became the first true English national theater: a society whose myriad classes found common ground in theatrical display. Everyone’s Theater provides new ways to extend Victorian literature into the dimension of voice, sound, and embodiment, and to appreciate the pleasures of Victorian theatricality.