Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance features essays questioning the extent to which education, an activity pursued in the home, classroom, and the church, led to, mirrored, and was perhaps even transformed by moments of instruction on stage. This volume argues that along with the popular press, the early modern stage is also a key pedagogical site and that education”performed and performative”plays a central role in gender construction. The wealth of sixteenth- and seventeenth-century printed and manuscript documents devoted to education (parenting guides, conduct books, domestic manuals, catechisms, diaries, and autobiographical writings) encourages examination of how education contributed to the formation of gendered and hierarchical structures, as well as the production, reproduction, and performance of masculinity and femininity. In examining both dramatic and non-dramatic texts via aspects of performance theory, this collection explores the ways education instilled formal academic knowledge, but also elucidates how educational practices disciplined students as members of their social realm, citizens of a nation, and representatives of their gender.

Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance features essays questioning the extent to which education, an activity pursued in the home, classroom, and the church, led to, mirrored, and was perhaps even transformed by moments of instruction on stage. This volume argues that along with the popular press, the early modern stage is also a key pedagogical site and that education”performed and performative”plays a central role in gender construction. The wealth of sixteenth- and seventeenth-century printed and manuscript documents devoted to education (parenting guides, conduct books, domestic manuals, catechisms, diaries, and autobiographical writings) encourages examination of how education contributed to the formation of gendered and hierarchical structures, as well as the production, reproduction, and performance of masculinity and femininity. In examining both dramatic and non-dramatic texts via aspects of performance theory, this collection explores the ways education instilled formal academic knowledge, but also elucidates how educational practices disciplined students as members of their social realm, citizens of a nation, and representatives of their gender.

Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance features essays questioning the extent to which education, an activity pursued in the home, classroom, and the church, led to, mirrored, and was perhaps even transformed by moments of instruction on stage. This volume argues that along with the popular press, the early modern stage is also a key pedagogical site and that education—performed and performative—plays a central role in gender construction. The wealth of sixteenth- and seventeenth-century printed and manuscript documents devoted to education (parenting guides, conduct books, domestic manuals, catechisms, diaries, and autobiographical writings) encourages examination of how education contributed to the formation of gendered and hierarchical structures, as well as the production, reproduction, and performance of masculinity and femininity. In examining both dramatic and non-dramatic texts via aspects of performance theory, this collection explores the ways education instilled formal academic knowledge, but also elucidates how educational practices disciplined students as members of their social realm, citizens of a nation, and representatives of their gender.

Starting from the early modern presumption of the incorporation of role with authority, Jean Lambert explores male teachers as representing and engaging with types of authority in English plays and dramatic entertainments by Shakespeare and his contemporaries from the late sixteenth to the early seventeenth century. This book examines these theatricalized portraits in terms of how they inflect aspects of humanist educational culture and analyzes those ideas and practices of humanist pedagogy that carry implications for the traditional foundations of authority. Teachers in Early Modern English Drama is a fascinating study through two centuries of teaching Shakespeare and his contemporaries and will be a valuable resource for undergraduates, postgraduates, and scholars interested in sixteenth- and seventeenth-century drama, writing, and culture.

This wide-ranging volume explores relationships between drama and pedagogy in the medieval and early modern periods, with contributions from an international ?eld of scholars including a number of leading authorities. Across the medieval and early modern periods, drama is seen to be a way of dissemi-nating theological and philosophical ideas. In medieval England, when literacy was low and the liturgy in Latin, drama translated and transformed spiritual truths, embodying them for a wider audience than could be reached by books alone. In Tudor England, humanist belief in the validity and potential of drama as a pedagogical tool informs the interlude, and examples of dramatized instruction abound on early modern stages. Academic drama is a particularly preg -nant locus for the exploration of drama and peda-gogy: universities and the Inns of Court trained some of the leading playwrights of the early theatre, but also supplied methods and materials that shaped professional playhouse compositions.

Voices and Books in the English Renaissance offers a new history of reading that focuses on the oral reader and the voice- or performance-aware silent reader, rather than the historical reader, who is invariably male, silent, and alone. It recovers the vocality of education for boys and girls in Renaissance England, and the importance of training in pronuntiatio (delivery) for oral-aural literary culture. It offers the first attempt to recover the voice—and tones of voice especially—from textual sources. It explores what happens when we bring voice to text, how vocal tone realizes or changes textual meaning, and how the literary writers of the past tried to represent their own and others' voices, as well as manage and exploit their readers' voices. The volume offers fresh readings of key Tudor authors who anticipated oral readers including Anne Askew, William Baldwin, and Thomas Nashe. It rethinks what a printed book can be by searching the printed page for vocal cues and exploring the neglected role of the voice in the printing process. Renaissance printed books have often been misheard and a preoccupation with their materiality has led to a focus on them as objects. However, Renaissance printed books are alive with possible voices, but we will not understand this while we focus on the silent reader.

This book is notable for bringing together humanist schooling and familial instruction under the banner of emotions and for studying seminal works of early modern literature within this new analytical context. It thus furnishes unique ways to think about two closely interrelated moral imperatives: shaping boys into civil subjects; and fashioning heroic agency and selfhood in literature. In tracing the emotional dynamics of the humanist classroom, this book shows just how thoroughly school could accommodate resistance to authority and foster unruly boys. In gauging the emotional pressures at work in filial relationships, it shows how profoundly sons could experience patriarchal authority as provisional, negotiable, or damaging. In turning to Shakespeare’s Hamlet, Spenser’s Prince Arthur, and Sidney’s Arcadian heroes, Emotional Settings highlights the ways in which the respective emotional and moral imperatives of home and school could bring conflicting pressures to bear in the formation of heroic agency – and at what cost. Engaging and accessible, this book will appeal to scholars interested in early modern literature, pedagogy, histories of emotion, and histories of the family, as well as to graduate students and advanced undergraduate students in these fields.