Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period''s stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin''s new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address ''categories of seeing'': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton''s A Game at Chess, to show how costumes signified across the categories of seeing to establish a play''s distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period''s stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin''s new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address ''categories of seeing'': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton''s A Game at Chess, to show how costumes signified across the categories of seeing to establish a play''s distinctive semiotics and visual aesthetic.

An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley’s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan’s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden’s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh’s Mary Shelley’s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.

An exploration of the treatment of Mary Shelley''s Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel''s myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley''s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley''s major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan''s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden''s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh''s Mary Shelley''s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley''s original.

An exploration of the treatment of Mary Shelley''s Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel''s myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley''s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley''s major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan''s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden''s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh''s Mary Shelley''s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley''s original.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period''s stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin''s new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address ''categories of seeing'': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton''s A Game at Chess, to show how costumes signified across the categories of seeing to establish a play''s distinctive semiotics and visual aesthetic.

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period''s stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin''s new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address ''categories of seeing'': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton''s A Game at Chess, to show how costumes signified across the categories of seeing to establish a play''s distinctive semiotics and visual aesthetic.

An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley’s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan’s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden’s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh’s Mary Shelley’s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.

An exploration of the treatment of Mary Shelley''s Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel''s myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley''s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley''s major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan''s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden''s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh''s Mary Shelley''s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley''s original.

An exploration of the treatment of Mary Shelley''s Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel''s myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley''s novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.Bringing together popular interventions that riff off Shelley''s major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan''s recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden''s The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh''s Mary Shelley''s Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley''s original.