Becoming Criminal: Transversal Performance and Cultural Dissidence in Early Modern England
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Critical and Historical Studies in Literature, Medieval through Contemporary
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Return to Book Page. This study expands on Reynolds' 'transversal poetics' - the theory, methodology, and aesthetics developed in response to the need for an approach that fosters agency, creativity and conscientious scholarship and pedagogy. It offers new readings of plays by, amongst others, Shakespeare, Marlowe, Middleton, Webster and Greene.
Get A Copy. He traces the effect of criminal culture to its emergence in the 16th century, when this community related daily with dominant aspects of English ideology and culture and modeled its own cultural characteristics in response to the conventions of the time.
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According to Reynolds, their behavior and thought is most evident in the period's commercial literature, such as in pamphlet literature and the works of Shakespeare, Jonson , Fletcher , and Brome , and in its material and symbolic relationships to the public theatre. Reynolds' transversal poetics project, expanded from his early works, is used in Performing Transversally to discuss historical and contemporary examples.
He discusses the applicability of the critical concept, ranging from the sociology of Erving Goffman to the feminism and psychoanalytics of Julia Kristeva to the dramatic and theatrical criticism of Antonin Artaud and Herbert Blau. Performing Transversally navigates the ever-increasing cultural cartography of Shakespace, a term invented by Reynolds and Donald Hedrick in Shakespeare Without Class: Misappropriations of Cultural Capital, to designate past, present, and future Shakespeare influenced spaces of text, performance, and culture.
“IN COUNTERFEIT PASSION”: CROSS-DRESSING, TRANSGRESSION, AND FRAUD IN SHAKESPEARE AND MIDDLETON
Throughout the book, Reynolds emphasizes the importance of accountability, whether in the classroom, in academic research, on the stage or screen, or in everyday lives. In Transversal Enterprises, with a number of collaborators, Reynolds analyzes plays by early modern English dramatists in the context of shifts in English history. He relates transversal poetics to other academic disciplines, including science and theology, to explore a transformation in views on space and place in relation to subjectivity and consciousness.
Witches, werewolves, occultists, academicians, transvestites, baboons, moors, and gypsies, among other creatures, all reflect, for Reynolds, a metamorphic and intersubjective phenomenology for which art or artifice is requisite. In so doing, Reynolds makes the case that subjectivity is an emergent, shifting, and mobile phenomenon that is transversal to the subject. This allows access to affecters and enablers of transversal processes that work to empower individuals and groups in their comprehension and experience of themselves, others, and the world.
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Barish, Jonas. The Antitheatrical Prejudice. Berkeley: University of California Press, Google Scholar.
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