Titlebook: Editing, Performance, Texts; New Practices in Med Jacqueline Jenkins (Associate Professor of English Book 2014 Palgrave Macmillan, a divisi

Flavouring

W. Roggendorf,J. Cervós-Navarrould be its research into the performance practices of communities. The chapter that follows, the product of work as a . editor, offers such a perspective. Like the rest of this volume’s second section, it asks what archival work can tell us about performance. Its particular focus is economic.

Saline

finale

Tonghan Zhao,Pengfei Duan,Minghua Liuh of the chapters grapples with the relationship of editorial practice to performance, and each author acknowledges the role of contemporary editions in critical understandings of a text’s embodied histories.

insolence

cylinder

細(xì)胞

Actors and Editors: A Feature of the Edition ,fessional actors. The nine editors were encouraged to share their work with project colleagues and open wider questions regarding ‘how to edit . texts’ with experienced actors. The project did not seek to define a set rubric for editing and workshopping as a team, but tested multiple ways of sharing and questioning our editorial instincts.

Genistein

緯線

What the , Says about Medieval Playsedieval drama. The basic facts about the . have been established. It is made up of 53 line drawings with brief accompanying comments describing each drawing, all part of a standalone work of 28 leaves (British Library MS Cotton Julius E. iv, reproduced in facsimile three times).. It dates to the rei

吹氣

Reading Images, Drawing Texts: The Illustrated , in British Library MS Stowe 39 ‘eeing has the extraordinary and transformative power of witnessing: to look on the beloved, to look on the grail, to see the elevation of the host, to stand face to face with God.’. Visual images were not simply signs or aesthetic objects, but, as Carolly Erikson has argued, they were believed

Ferritin