The study explores the significance of the Elizabethan audience in understanding Shakespeare's work, asserting that their cultural context is crucial for interpreting his plays. It examines how perceptions of early modern theatergoers influence contemporary criticism and appreciation of Shakespeare, highlighting the interconnectedness between the playwright and his audience in shaping cultural meaning.
D. Jancsó / S. Laqué: Introduction: Enter Crime – I Mapping Crime – B. Cummings: Adultery in the Theatre – E. Fernie: Lighten our Darkness? Höfele, Moriarty and Hughes on Shakespeare and the Question of the Human – R. Wilson: Moonlight Sonata: Larkin, Shakespeare and the Criminal State – C. Bode: The Birth of Modern Drama from the Spirit of Detection – II Making Criminals – W. von Koppenfels: Enter the Elizabethan Contract Killer: Murder by Proxy and the Tragic Emotions – A. Nünning / V. Nünning: “For greedie gaine hee thrust the weake to wall”: Extortion and the Negotiation of Values in Philip Massinger’s A New Way to Pay Old Debts and the Scandal of Sir Giles Mompesson – N. Greiner: Crime and Recompense: The Ontology of Criminal Acts in the Henriad – R. Morse: Girlhoods of Shakespeare’s Anti-Heroine: Gruoch, Lady Macbeth – III Modes of Punishment – D. Schulz: Deed and Consequence: Retribution and the Theatre of Crime in Macbeth – C. Balme: Blood Witness and “exquisite torture”: William Prynne’s Martyrdom and the Early Modern Public Sphere in England – L. Cowen Orlin: John Shakespeare, Jew – C. Olk: “The time of mercy is past” - Hamlet and Medieval Eschatology
