Cover des Buchs: Creating Playful First Encounters with the Pre-Modern Past
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Creating Playful First Encounters with the Pre-Modern Past

Herausgeber:innen:
Verlag:
 2023

Zusammenfassung

This collection explores playful ways of fostering creative engagements with the medieval and early modern past and its own literary and artistic products, especially among those new to their study.

As scholars and teachers of early English, the contributors cover literary and cultural material from a range of genres within the Old English, Middle English, Tudor, and Stuart periods and collectively delve into a shared interest in facilitating what we might loosely define as “newcomer” or “non-specialist” encounters with the past: initial, exploratory contact in which prior knowledge cannot be assumed, whether involving creative professionals, experts from other disciplines, undergraduate and school students, or members of the public. Considering artworks and installation, theatre and performance and curation practices, case studies offer practice-based examples of learning and engagement which proceed primarily through creative and playful approaches. The case studies are arranged into two broad groups: those which work through performance and theatrical play of various kinds, and those which work through playful practices of production and making. All share a perspective of irreverence, of vivid immersion, and of the possibilities of conjuring with the past.


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Bibliographische Angaben

Auflage
1/2023
Copyrightjahr
2023
ISBN-Print
978-1-64189-306-0
ISBN-Online
978-1-80270-142-5
Verlag
Arc Humanities Press, Yorkshire
Reihe
Teaching the Middle Ages
Sprache
Englisch
Seiten
148
Produkttyp
Sammelband

Inhaltsverzeichnis

KapitelSeiten
    1. Table of contents Kein Zugriff
    2. List of figures Kein Zugriff
    3. Acknowledgments Kein Zugriff
  1. Prologue: “Juniper and Mare’s Cheese” Kein Zugriff Seiten 1 - 6
    Autor:innen:
  2. Autor:innen:
    1. Bibliography Kein Zugriff
    1. Autor:innen:
      1. Play and Role-playing, Creativity and Gamification Kein Zugriff
          1. Course Plan: What I Prepared for the Students Kein Zugriff
            1. Initial Conditions: What I Had the Students Do to Develop Their RPG Pilgrims Kein Zugriff
            2. Expanding the Course: An RPG Canterbury Tales Kein Zugriff
      2. Conclusion: The Pedagogy of the Replay Kein Zugriff
      3. Bibliography Kein Zugriff
    2. Autor:innen:
      1. Love’s Labour’s Lost Kein Zugriff
      2. The Merchant of Venice Kein Zugriff
      3. The Benefits of Swiss Shakespeare Kein Zugriff
      4. Bibliography Kein Zugriff
    3. Autor:innen:
      1. Creating Medieval Drama and Student Learning: English Students Kein Zugriff
      2. Creating Medieval Drama and Student Learning: Students from Other Disciplines Kein Zugriff
      3. Students and Faith Kein Zugriff
      4. Audience Q and A Kein Zugriff
      5. Bibliography Kein Zugriff
    4. Autor:innen:
      1. 1. “I get to express myself” Kein Zugriff
      2. 2. “I felt brave and it gave me confidence” Kein Zugriff
      3. 3. “I liked learning new words” Kein Zugriff
      4. 4. “I felt proud at the end” Kein Zugriff
      5. 5. “It was fun to do this with my friends” Kein Zugriff
      6. 6. “I felt a connection” Kein Zugriff
      7. Bibliography Kein Zugriff
    1. Autor:innen:
      1. Opportunity and Transformation Kein Zugriff
      2. Interdisciplinarity and Mixed-Discipline Groups Kein Zugriff
      3. Collaboration and Co-creativity Kein Zugriff
      4. Conclusion Kein Zugriff
      5. Bibliography Kein Zugriff
    2. Autor:innen:
      1. Bibliography Kein Zugriff
    3. Autor:innen:
      1. Finding “Fragments” Kein Zugriff
      2. Blue, Black, and Red Kein Zugriff
      3. Participating in the Life of “the Fragment” Kein Zugriff
      4. “But is the Fragment Scottish?” Kein Zugriff
      5. “Play”: The Antithesis of Philology Kein Zugriff
      6. Learning from “the Fragment” Kein Zugriff
      7. Owning “the Fragment” Kein Zugriff
      8. Bibliography Kein Zugriff
    4. Autor:innen:
      1. Bibliography Kein Zugriff
  3. Afterword: “No Limits” Kein Zugriff Seiten 127 - 132
    Autor:innen:
  4. index Kein Zugriff Seiten 133 - 136

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