Subsequently, he attended the University of Wisconsin–Madison where he received a doctorate in physics in May 2001. In 1990, he was accepted as a Chancellor's Scholar at the University of California, Berkeley, and completed a bachelor's degree in Physics. Praha: Karolinum, forthcoming.Cosma Rohilla Shalizi (born February 28, 1974) is an associate professor in the Department of Statistics at Carnegie Mellon University in Pittsburgh.Ĭosma Rohilla Shalizi is of Indian Tamil, Afghan ( Rohilla) and Italian heritage and was born in Boston, where he lived for the first two years of his life. Translated by Pavel Drábek and Tomáš Kačer. Forthcoming as Aesthetics of the Dramatic Art: Theoretical Dramaturgy. Estetika dramatického umění: teoretická dramaturgie. ‘Foreign.’ In Early Modern Theatricality, edited by Henry S. Seventeenth-Century Opera and the Sound of the Commedia dell’Arte. The Italian Novella and Shakespeare’s Comic Heroines. Auto da Barca do Inferno, Exortação da Guerra, Auto da Índia. ‘Spreading the Word Through Performance.’ In Performance Culture and Athenian Democracy, ed. Volume 2 of A Cultural History of Theatre, edited by Christopher B. ‘Circulation.’ In A Cultural History of Theatre in the Middle Ages, ed. ‘Images of King Lear in Czechoslovak Folklore.’ In Images of Shakespeare: Proceedings of the Third World Shakespeare Congress, edited by Werner Habicht et al., 258–268. With additional chapters by John Hartley. Orality and Literacy: The Technologizing of the Word. ‘Ein Gottesgeschenk für die Bühne Dramatisierungen der Dorothea-Legende im deutschen Sprachraum.’ In Johann Georg Gettner und das barocke Theater zwischen Nikolsburg und Krumau, edited by Margita Havlíčková and Christian Neuhuber, 131–181. Philadelphia: University of Pennsylvania Press. Scripts of Blackness: Early Modern Performance Culture and the Making of Race. The Art of Commedia: The Study in the Commedia dell’Arte 1560–1620, With Special Reference to the Visual Records. Volume 1 of A Cultural History of Theatre, edited by Christopher B. ‘Circulation: Theatre as Mobile Political, Economic and Cultural Capital.’ In A Cultural History of Theatre in the Antiquity, ed. New Worlds, Ancient Texts: The Power of Tradition and the Shock of Discovery. Mimesis and Empire: The New World, Islam, and European Identities. The Travels of the Puppeteers Brat and Pratte Through Europe in the Eighteenth and Nineteenth Centuries. Manchester: Manchester University Press.ĭubská, Alice. ‘“Samson Figuru nese”: Biblical Plays Between Czech Drama and English Comedy in Early Modern Central Europe.’ In Enacting the Bible in Medieval and Early Modern Drama, edited by Eva con Contzen and Chanita Goodblatt, 211–231. ‘English Comedy and Central European Marinette Drama: A Study in Theater Etymology.’ In Transnational Mobilities in Early Modern Theater, edited by Robert Henke and Eric Nicholson, 177–196. Ann Arbor: University of Michigan Press.ĭrábek, Pavel. Uncle Tom’s Cabins: The Transnational History of America’s Most Mutable Book. Exeter: University of Exeter Press.ĭavis, Tracy C., and Stefka Mihaylova, eds. Singing Simpkin and Other Bawdy Jigs: Musical Comedy on the Shakespearean Stage. Manchester: Manchester University Press.Ĭlegg, Roger, and Lucie Skeaping. Doing Kyd: Essays on The Spanish Tragedy. ‘Armida.’ Grove Music Online.Ĭinpoeş, Nicoleta. Oxford: Oxford University Press.Ĭarter, Tim. ‘Mobility.’ In Early Modern Theatricality, edited by Henry S. London: Pickering & Chatto.īosman, Anston. Cosmopolitanism: Ethics in a World of Strangers. Case studies centre on late medieval and Early Modern plays from a variety of genres (morality plays, civic comedy, baroque opera). With a long historic purview, from classical Greece to modern times, the chapter argues for a different perspective on theatrical itinerancy and transnationality.

When practised fully, metaphysical transnationality is a genuine mode of curiosity in the dialogue-with other nations, cultures, people, identities, customs, behaviours, and viewpoints. An alternative version to geographic transnationality is offered: the transnational mindset that places the intercultural dialogue at the forefront of the meaning making-not necessarily material, literal transnationality but metaphysical transnationality. Drawing on a range of dramaturgies, it argues for a historiographic approach that foregrounds the transnational and intercultural encounter, or metaphysical dialogue, that takes place in theatres of curiosity. This chapter reflects on the long history of cultural dialogues in theatre, summed up in the concept of transnationality.

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