LEADER 03513nam 22005055 450 001 9910792583503321 005 20211021211957.0 024 7 $a10.9783/9780812293555 035 $a(CKB)3710000000964572 035 $a(MiAaPQ)EBC4756398 035 $a(DE-B1597)483672 035 $a(OCoLC)965722916 035 $a(OCoLC)992507446 035 $a(DE-B1597)9780812293555 035 $a(EXLCZ)993710000000964572 100 $a20170607d2016 fg 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aAntitheatricality and the Body Public /$fLisa A. Freeman 210 1$aPhiladelphia, Pa. :$cUniversity of Pennsylvania Press,$d[2016] 210 4$dİ2017 215 $a1 online resource (372 pages) 225 0 $aHaney Foundation Series 300 $aDescription based on print version of record 311 0 $a0-8122-4873-2 311 0 $a0-8122-9355-X 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIntroduction. Antitheatricality and the Body Public --$tChapter 1. In the "Publike" Theater of William Prynne's Histrio-Mastix --$tChapter 2. Political Allegiances and Bodies Public: Jeremy Collier's A Short View of the Immorality and Profaneness of the English Stage --$tChapter 3. The Political Economy of Bodies Public Scotland's Douglas Controversy --$tChapter 4. Cultivating a Christian Body Public: The Richmond Theater Fire --$tChapter 5. Adjudicating Bodies Public: in NEA v. Finley --$tNotes --$tWorks Cited --$tIndex --$tAcknowledgments 330 $aSituating the theater as a site of broad cultural movements and conflicts, Lisa A. Freeman asserts that antitheatrical incidents from the English Renaissance to present-day America provide us with occasions to trace major struggles over the nature and balance of power and political authority. In studies of William Prynne's Histrio-mastix (1633), Jeremy Collier's A Short View of the Immorality and Profaneness of the English Stage (1698), John Home's Douglas (1757), the burning of the theater at Richmond (1811), and the U.S. Supreme Court's decision in National Endowment for the Arts v. Finley (1998) Freeman engages in a careful examination of the political, religious, philosophical, literary, and dramatic contexts in which challenges to theatricality unfold. In so doing, she demonstrates that however differently "the public" might be defined in each epoch, what lies at the heart of antitheatrical disputes is a struggle over the character of the body politic that governs a nation and the bodies public that could be said to represent that nation. By situating antitheatrical incidents as rich and interpretable cultural performances, Freeman seeks to account fully for the significance of these particular historical conflicts. She delineates when, why, and how anxieties about representation manifest themselves, and traces the actual politics that govern such ostensibly aesthetic and moral debates even today. 410 0$aHaney Foundation series. 606 $aTheater$xMoral and ethical aspects 610 $aCultural Studies. 610 $aLiterature. 615 0$aTheater$xMoral and ethical aspects. 676 $a792.013 700 $aFreeman$b Lisa A.$01039980 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910792583503321 996 $aAntitheatricality and the Body Public$93697315 997 $aUNINA