LEADER 03336nam 2200661Ia 450 001 9910813872003321 005 20200520144314.0 010 $a0-7914-8771-7 010 $a1-4175-3599-7 035 $a(CKB)1000000000447619 035 $a(OCoLC)61367768 035 $a(CaPaEBR)ebrary10587284 035 $a(SSID)ssj0000173620 035 $a(PQKBManifestationID)11176933 035 $a(PQKBTitleCode)TC0000173620 035 $a(PQKBWorkID)10164885 035 $a(PQKB)11650573 035 $a(MiAaPQ)EBC3408085 035 $a(OCoLC)56406332 035 $a(MdBmJHUP)muse5937 035 $a(Au-PeEL)EBL3408085 035 $a(CaPaEBR)ebr10587284 035 $a(DE-B1597)683923 035 $a(DE-B1597)9780791487716 035 $a(EXLCZ)991000000000447619 100 $a20020529d2003 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHow the world became a stage $epresence, theatricality, and the question of modernity /$fWilliam Egginton 205 $a1st ed. 210 $aAlbany, NY $cState University of New York Press$dc2003 215 $a1 online resource (217 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7914-5545-9 320 $aIncludes bibliographical references and index. 327 $tFront Matter -- $tContents -- $tAcknowledgments -- $tIntroduction: The Legend of Saint Genesius -- $tActors, Agents, and Avatars -- $tReal Presence, Sympathetic Magic, and the Power of Gesture -- $tSaint Genesius on the Stage of the World -- $tA Tale of Two Cities: The Evolution of Renaissance Stage Practices in Madrid and Paris -- $tTheatricality versus Subjectivity -- $tEpilogue: A Future without Screens? -- $tNotes -- $tIndex 330 $aWhat is special, distinct, modern about modernity? In How the World Became a Stage, William Egginton argues that the experience of modernity is fundamentally spatial rather than subjective and proposes replacing the vocabulary of subjectivity with the concepts of presence and theatricality. Following a Heideggerian injunctive to search for the roots of epochal change not in philosophies so much as in basic skills and practices, he describes the spatiality of modernity on the basis of a close historical analysis of the practices of spectacle from the late Middle Ages to the early modern period, paying particular attention to stage practices in France and Spain. He recounts how the space in which the world is disclosed changed from the full, magically charged space of presence to the empty, fungible, and theatrical space of the stage. 606 $aTheater$zEurope$xHistory$y16th century 606 $aTheater$zEurope$xHistory$y17th century 606 $aTheater and society$zEurope$xHistory$y16th century 606 $aTheater and society$zEurope$xHistory$y17th century 615 0$aTheater$xHistory 615 0$aTheater$xHistory 615 0$aTheater and society$xHistory 615 0$aTheater and society$xHistory 676 $a792/.094/09031 686 $aCB 5170$qBVB$2rvk 700 $aEgginton$b William$f1969-$0695833 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910813872003321 996 $aHow the world became a stage$94034419 997 $aUNINA