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This article oers methods for implementing what Diane Jakacki and Katherine Faull identify as a digital humanities course at the assignment level, specically one using TEI in college and university literature classrooms. The author provides an overview of his in-class activities and lesson plans, which range from traditional instruction to in-class laboratory exercises, in order to demonstrate an approach to teaching TEI that anticipates students' anxieties and provides a gradual means of learning this new approach to literary texts. The article concludes by reecting on how TEI in the classroom complicates critiques of the digital humanities' proclivity to endorse neoliberal education models. By challenging simplistic renderings of the eld and its tools, and by oering interconnections between TEI and traditional humanities practices, the author aims to supply a conscientious approach to designing TEI assignments to those interested but hesitant to include such assignments. INDEX

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<p>Modern Shakespeare promptbooks do not fit comfortably into any of the conceptual models current in discourses around the role of text in performance. Promptbooks operate as cue lists; records of unexpected acts; and records of or efforts to approximate ideal enactments. While promptbooks are not necessarily limited to these three temporalities, their encapsulation of all three points to their polychronic resistance to a straightforward and easily codified archival record of performance. This article presents a new theoretical model of promptbooks as temporal actants that are neither text nor performance in the ways currently understood in textual studies. The promptbook is more usefully conceived of as an actant within different theatrical networks at different times in production processes. To make this claim, the authors first revisit previous criticism on as well as misunderstandings of the purposes of Shakespearean promptbooks before theorising how a promptbook operates in relation to the larger event that is a theatrical performance. The article uses the 2005 promptbook of <em>The Tempest</em> from the Canadian Stratford Festival Archives as a case study to illustrate the ways in which promptbooks initiate the three kinds of temporal action the authors theorise: anticipated acts, unanticipated acts, and idealised polychronic assemblages.</p>

<p>Modern Shakespeare promptbooks do not fit comfortably into any of the conceptual models current in discourses around the role of text in performance. Promptbooks operate as cue lists; records of unexpected acts; and records of or efforts to approximate ideal enactments. While promptbooks are not necessarily limited to these three temporalities, their encapsulation of all three points to their polychronic resistance to a straightforward and easily codified archival record of performance. This article presents a new theoretical model of promptbooks as temporal actants that are neither text nor performance in the ways currently understood in textual studies. The promptbook is more usefully conceived of as an actant within different theatrical networks at different times in production processes. To make this claim, the authors first revisit previous criticism on as well as misunderstandings of the purposes of Shakespearean promptbooks before theorising how a promptbook operates in relation to the larger event that is a theatrical performance. The article uses the 2005 promptbook of <em>The Tempest</em> from the Canadian Stratford Festival Archives as a case study to illustrate the ways in which promptbooks initiate the three kinds of temporal action the authors theorise: anticipated acts, unanticipated acts, and idealised polychronic assemblages.</p>