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D.Quentin Miller

The acceleration of interest in Baldwin’s work and impact since 2010 shows no signs of diminishing. This resurgence has much to do with Baldwin—the richness and passionate intensity of his vision—and also something to do with the dedicated scholars who have pursued a variety of publication platforms to generate further interest in his work. The reach of Baldwin studies has grown outside the academy as well: Black Lives Matter demonstrations routinely feature quotations from Baldwin; Twitter includes a “Son of Baldwin” site; and Raoul Peck’s 2016 documentary, I Am Not Your Negro, has received considerable critical and popular interest. The years 2010–13 were a key period in moving past the tired old formula—that praised his early career and denigrated the works he wrote after 1963—into the new formula—positing Baldwin as a misunderstood visionary, a wide-reaching artist, and a social critic whose value we are only now beginning to appreciate. I would highlight four additional prominent trends that emerged between 2010 and 2013: a consideration of Baldwin in the contexts of film, drama, and music; understandings of Baldwin globally; Baldwin’s criticism of American institutions; and analyses of Baldwin’s work in conversation with other authors.

James Baldwin Review

This volume considers transnational and intercultural aspects of early modern theatre, drama and performance. Its twelve chapters, loosely cosmographically grouped into West, North and South, compose a complex image of early modern theatre connections as a socially, economically, politically and culturally realised tissue of links, networks, influences and paths of exchange. With particular attention to itinerant performers, court festival, and the significant black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of early performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. Their shared methodological approach examines transnational connections by linking abstract notions of wider theatre historical significance to concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence. Crucial to the volume is this systematic yoking of theories with surviving historical evidence for the performative event – whether as material object, text, performative routine, theatregrams, rituals, festivities, genres, archival evidence or visual documentation. This approach enables it to explore the infinite variety of early modern performance culture by expanding the discourse, questioning the received canon, and rethinking the national restrictions of conventional maps to reveal a theatre that truly is without borders.

Mannerism and mourning in Spanish heritage cinema
Sally Faulkner

after international acclaim (2006: 86). However, the Spanish heritage examples I discuss here, El perro del hortelano/​The Dog in the Manger (Pilar Miró, 1997) and Alatriste/​Captain Alatriste: The Spanish Musketeer (Agustín Díaz Yanes, 2006), show the reverse: they were popular domestically but failed abroad (Wheeler 2012: 173 on El perro del hortelano; Wheeler 2014: 220 on Alatriste; see also Smith [2006: 110] on the similar case of Vicente Aranda’s 2001 Juana la Loca/​ Mad Love). I explore the perplexing case of transnational performance in two films that succeeded

in Performance and Spanish film
Metamorphoses of early modern comedy in eighteenth-century bourgeois theatre
Friedemann Kreuder

theatrical traditions stemming from the older comedy of travelling companies and their composite, transnational performance genre of Haupt- und Staatsaktionen (literally ‘grand historical state events’). These were tragic plays, involving elevated plots of heroic pomp and circumstance performed in bombastic high baroque style, liberally larded and interspersed with comic business

in Transnational connections in early modern theatre