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For three decades, the Earl of Leicester's Men dominated the early Elizabethan stage and helped develop the main features of Shakespearean theatre. Leicester's Men and their Plays is the first book-length study of this foundational playing company, who toured more widely than any other company, performed more often for Queen Elizabeth's court than any other adult troupe, and established the first major playhouses near London. Building on decades of established scholarship, Laurie Johnson makes exciting new discoveries from primary sources and unearths the rich and fascinating life stories of the first Elizabethan players. His findings overturn fundamental assumptions of theatre history and provide new understandings of the players'circumstances and family origins. Through incisive research and engaging storytelling, Johnson shows how the players and their families adapted to life working under one of the most powerful nobles in the volatile Elizabethan court.

The playhouse at Newington Butts has long remained on the fringes of histories of Shakespeare's career and of the golden age of the theatre with which his name is associated. A mile outside London, and relatively disused by the time Shakespeare began his career in the theatre, this playhouse has been easy to forget. Yet for eleven days in June, 1594, it was home to the two companies that would come to dominate the London theatres. Thanks to the ledgers of theatre entrepreneur, Philip Henslowe, we have a record of this short venture. Shakespeare's Lost Playhouse is an exploration of a brief moment in time when the focus of the theatrical world in England was on this small playhouse. To write this history, Laurie Johnson draws on archival studies, archaeology, environmental studies, geography, social, political, and cultural studies as well as methods developed within literary and theatre history to expand the scope of our understanding of the theatres, the rise of the playing business, and the formations of the playing companies.

Planning the rebuilding of New Orleans after Hurricanes Katrina and Rita has been among the greatest urban planning challenges of our time. Since 2005, Robert B. Olshansky and Laurie A. Johnson, urban planners who specialize in disaster planning and recovery, have been working to understand, in real time, the difficult planning decisions in this unusual situation. As both observers of and participants in the difficult process of creating the Unified New Orleans Plan, Olshansky and Johnson bring unparalleled detail and insight to this complex story. The recovery process has been slow and frustrating, in part because New Orleans was so unprepared for the physical challenges of such a disaster, but also because it lacked sufficient planning mechanisms to manage community reconstruction in a viable way. New Orleans has had to rebuild its buildings and institutions, but it has also had to create a community planning structure that is seen as both equitable and effective, while also addressing the concerns and demands of state, federal, nonprofit, and private-sector stakeholders. In documenting how this unprecedented process occurred, Olshansky and Johnson spent years on the ground in New Orleans, interviewing leaders and citizens and abetting the design and execution of the Unified New Orleans Plan. Their insights will help cities across the globe recognize the challenges of rebuilding and recovering after disaster strikes.

Offers not only an analytical study of the films of Herzog, perhaps the most famous living German filmmaker, but also a new reading of Romanticism's impact beyond the nineteenth century and in the present.Werner Herzog (b. 1942) is perhaps the most famous living German filmmaker, but his films have never been read in the context of German cultural history. And while there is a surfeit of film reviews, interviews, and scholarly articles on Herzog and his work, there are very few books devoted to his films, and none addressing his entire career to date. Until now. Forgotten Dreams offers not only an analytical study of Herzog's films but also a new reading of Romanticism's impact beyond the nineteenth century. It argues that his films re-envision and help us better understand a critical stream in Romanticism, and places the films in conversation with other filmmakers, authors, and philosophers in order to illuminate that critical stream. The result is a lively reconnection with Romantic themes and convictions that have been partly forgotten in the midst of Germany's postwar rejection of much of Romantic thought, yet are still operative in German culture today. The film analyses will interest scholars of film, German Studies, and Romanticism as well as a broader public interested in Herzog's films and contemporary German cultural debates. The book will also appeal to those interested in the ongoing renegotiation - by Western and other cultures - of relationships between reason and passion, civilization and wild nature, knowledge and belief.Laurie Ruth Johnson is Professor of German, Comparative and World Literature, and Criticism and Interpretive Theory at the University of Illinois at Urbana-Champaign.

This collection considers issues that have emerged in Early Modern Studies in the past fifteen years relating to understandings of mind and body in Shakespeare's world. Informed by The Body in Parts, the essays in this book respond also to the notion of an early modern ‘body-mind'in which Shakespeare and his contemporaries are understood in terms of bodily parts and cognitive processes. What might the impact of such understandings be on our picture of Shakespeare's theatre or on our histories of the early modern period, broadly speaking? This book provides a wide range of approaches to this challenge, covering histories of cognition, studies of early modern stage practices, textual studies, and historical phenomenology, as well as new cultural histories by some of the key proponents of this approach at the present time. Because of the breadth of material covered, full weight is given to issues that are hotly debated at the present time within Shakespeare Studies: presentist scholarship is presented alongside more historically-focused studies, for example, and phenomenological studies of material culture are included along with close readings of texts. What the contributors have in common is a refusal to read the work of Shakespeare and his contemporaries either psychologically or materially; instead, these essays address a willingness to study early modern phenomena (like the Elizabethan stage) as manifesting an early modern belief in the embodiment of cognition.

Shakespeare's Hamlet is considered by many to be the cornerstone of the English literary canon, a play that remains universally relevant. Yet it seems likely that we have spent so long reading the play for its capacity to reflect ourselves that we have lost sight of the thing itself. The goal of this book is to look beyond the Hamlet that has bedazzled critics for centuries, to seek to apprehend the play in all of its historical distinctness. This is not simply the search for what the play meant to early modern audiences, less still the pursuit of the author's intention. Instead, the “tain” of Hamlet is offered as the historical, material evidence of how the play came to be, from its sources in Danish legend to the contemporary historical forces that shaped the business world of Elizabethan players and playwrights. Drawing on methods from textual studies and cultural history, this investigation into the origins of Shakespeare's most famous play unravels a number of longstanding myths about the players, the printers, the patrons, and other historical figures whose lives intersected with the making of Hamlet, including the Bard himself.

“Rapt in Secret Studies”: Emerging Shakespeares is a collection of new essays in Shakespeare Studies from a generation of scholars presently emerging out of Australia and New Zealand. These 18 essays respond in a myriad of ways to the challenge of Prospero's phrase from The Tempest, in which he tells his daughter Miranda that in his life before the island he had been “rapt in secret studies”-to an early modern audience, these words were likely to mean much more than a predilection for the black arts, as modern audiences tend to hear in them. Each of the key words used by Prospero evoked a range of meanings in early modern times, to which the emerging scholars represented in this collection responded by imagining new pathways in Shakespeare Studies, a field of study that has in recent times risked being marginalised even within the traditional liberal arts. The “secret studies” of which Prospero speaks are, in fact, more liberal than dark, and so the response by new scholars to a challenge issued by one of Shakespeare's characters more than four centuries ago has a renewed sense of relevance in the academy today.The essays are divided into three sections, each of which is oriented toward meanings that are specifically associated with one of the key terms in Prospero's phrase. The “rapt” section has essays concerned with excess in its various forms-jealousy, obsession, sex, violence, and even death-as well as with travel and its impact on ways of knowing about the world. In the “secret” section, the nature of things about which the early modern could scarcely speak are taken into consideration, with essays on prevailing early modern myths, infidelities, stillborn children, contagion, and the instruments of secrecy such as gossip and spies. Finally, in the “study” section, essays cover issues related both to early modern textual practice-the use of historical source materials in Shakespeare's writing, questions of multiple authorship, and the issue of early modern style and kinds of drama-and to more modern scholarly practice, such as the role of Shakespeare in the New Bibliography and the New Historicism.