LEADER 03944nam 2200733 450 001 9910798420603321 005 20200520144314.0 010 $a0-8232-6789-X 024 7 $a10.1515/9780823267897 035 $a(CKB)3710000000747370 035 $a(EBL)4545500 035 $a(DE-B1597)554918 035 $a(DE-B1597)9780823267897 035 $a(MiAaPQ)EBC4545500 035 $a(OCoLC)941700469 035 $a(Au-PeEL)EBL4545500 035 $a(CaPaEBR)ebr11237385 035 $a(EXLCZ)993710000000747370 100 $a20160812h20162016 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPracticing the city $eearly modern London on stage /$fNina Levine 205 $aFirst edition. 210 1$aNew York :$cFordham University Press,$d2016. 210 4$d2016 215 $a1 online resource (209 p.) 300 $aIncludes index. 311 0 $a0-8232-6787-3 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction: Presupposing the Stage --$t1. Extending Credit and the Henry IV Plays --$t2. Differentiating Collaboration: Protest and Playwriting and Sir Thomas More --$t3. Trading in Tongues: Language Lessons and Englishmen for My Money --$t4. The Place of the Present: Making Time and The Roaring Girl --$tEpilogue: The Place of the Spectator --$tNotes --$tIndex 330 $aIn late-sixteenth-century London, the commercial theaters undertook a novel experiment, fueling a fashion for plays that trafficked in the contemporary urban scene. But beyond the stage?s representing the everyday activities of the expanding metropolis, its unprecedented urban turn introduced a new dimension into theatrical experience, opening up a reflexive space within which an increasingly diverse population might begin to ?practice? the city. In this, the London stage began to operate as a medium as well as a model for urban understanding. Practicing the City traces a range of local engagements, onstage and off, in which the city?s population came to practice new forms of urban sociability and belonging. With this practice, Levine suggests, city residents became more self-conscious about their place within the expanding metropolis and, in the process, began to experiment in new forms of collective association. Reading an array of materials, from Shakespeare and Middleton to plague bills and French-language manuals, Levine explores urban practices that push against the exclusions of civic tradition and look instead to the more fluid relations playing out in the disruptive encounters of urban plurality. 606 $aEnglish drama$yEarly modern and Elizabethan, 1500-1600$xHistory and criticism 606 $aEnglish drama$y17th century$xHistory and criticism 606 $aCity and town life in literature 606 $aTheater and society$zEngland$zLondon$xHistory 606 $aTheater$zEngland$zLondon$xHistory$y16th century 606 $aTheater$zEngland$zLondon$xHistory$y17th century 607 $aLondon (England)$xIn literature 610 $a1 and 3 Henry IV. 610 $aEnglishmen for my Money. 610 $aLondon Stage. 610 $aSir Thomas More. 610 $aThe Roaring Girl. 610 $aearly modern London. 610 $atheater as medium. 610 $aurban networks. 610 $aurbanization. 615 0$aEnglish drama$xHistory and criticism. 615 0$aEnglish drama$xHistory and criticism. 615 0$aCity and town life in literature. 615 0$aTheater and society$xHistory. 615 0$aTheater$xHistory 615 0$aTheater$xHistory 676 $a822/.309358421 700 $aLevine$b Nina S.$f1950-$01200893 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910798420603321 996 $aPracticing the city$93018279 997 $aUNINA