Kirjahaku

The Materiality of Religion in Early Modern English Drama is the first book to present a detailed examination of early modern theatrical properties informed by the complexity of post-Reformation religious practice. Although English Protestant reformers set out to destroy all vestiges of Catholic idolatry, public theater companies frequently used stage properties to draw attention to the remnants of traditional religion as well as the persistent materiality of post-Reformation worship. The Materiality of Religion in Early Modern English Drama explores the relationship between popular culture and theatrical performance by considering the social history and dramatic function of these properties, addressing their role as objects of devotion, idolatry, and remembrance on the professional stage. Rather than being aligned with identifiably Catholic or Protestant values, the author reveals how religious stage properties functioned as fulcrums around which more subtle debates about the status of Christian worship played out. Given the relative lack of existing documentation on stage properties, The Materiality of Religion in Early Modern English Drama employs a wide range of source materials-including inventories published in the Records of Early English Drama (REED) volumes-to account for the material presence of these objects on the public stage. By combining historical research on popular religion with detailed readings of the scripts themselves, the book fills a gap in our knowledge about the physical qualities of the stage properties used in early modern productions. Tracing the theater's appropriation of highly charged religious properties, The Materiality of Religion in Early Modern English Drama provides a new framework for understanding the canonization of early modern plays, especially those of Shakespeare.

Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.

The Materiality of Religion in Early Modern English Drama is the first book to present a detailed examination of early modern theatrical properties informed by the complexity of post-Reformation religious practice. Although English Protestant reformers set out to destroy all vestiges of Catholic idolatry, public theater companies frequently used stage properties to draw attention to the remnants of traditional religion as well as the persistent materiality of post-Reformation worship. The Materiality of Religion in Early Modern English Drama explores the relationship between popular culture and theatrical performance by considering the social history and dramatic function of these properties, addressing their role as objects of devotion, idolatry, and remembrance on the professional stage. Rather than being aligned with identifiably Catholic or Protestant values, the author reveals how religious stage properties functioned as fulcrums around which more subtle debates about the status of Christian worship played out. Given the relative lack of existing documentation on stage properties, The Materiality of Religion in Early Modern English Drama employs a wide range of source materials-including inventories published in the Records of Early English Drama (REED) volumes-to account for the material presence of these objects on the public stage. By combining historical research on popular religion with detailed readings of the scripts themselves, the book fills a gap in our knowledge about the physical qualities of the stage properties used in early modern productions. Tracing the theater's appropriation of highly charged religious properties, The Materiality of Religion in Early Modern English Drama provides a new framework for understanding the canonization of early modern plays, especially those of Shakespeare.

Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.

Based on hundreds of hours of interviews and exclusive sources and access, Sandy Hook tells the story of a school shooting and its aftermath, when a group of parents fought to rescue the truth of what happened to their children from a frenzy of online denial and conspiracizing. On December 14, 2012, twenty-six people at Sandy Hook Elementary School in Newtown, Connecticut, including twenty children barely older than toddlers, were shot and killed. It felt like a line in the sand, on gun violence and safety. Instead, ten years on, Sandy Hook has become a foundational story, and a symbol: of how false conspiracy narratives have gained traction in our world. From a tragedy almost too terrible to fathom, the mass shooting at Sandy Hook emerged as an event some people truly believe never occurred, or was staged by the federal government as a pretext for seizing Americans' firearms. In the wake of the tragedy, relatives of the victims have been accosted on the street or at events honoring their loved ones. Some have been stalked and forced into hiding. Someone fired a gun into the home of one parent. Families were harassed online, challenged to prove the very existence of those they lost. At the center of conspiracy theorists' crusade is Alex Jones's Infowars, where hoaxers aired noxious theories and raised money for their quest to prove that the shooting didn't happen. Emboldened by online anonymity, the conspiracists' questions grew into suspicion, suspicion into demands for proof, unanswered demands into rage. This pattern of denial and attack would come to characterize some Americans' response to every major event, from mass shootings to the 2020 presidential election, in which the false belief that the election was stolen prompted the January 6, 2021, attack on the Capitol. The Sandy Hook families, their experiences as diverse as their numbers, refused to accept this. This is the story of their battle, led by the father of the youngest victim, to preserve their loved ones' legacies even in the face of threats to their own lives. Through exhaustive reporting, narrative storytelling, and intimate portraits, Sandy Hook will be the definitive book on one of the most shocking cultural ruptures of the internet age.