May
The Shakespeare Conference: SHK 8.0544. Wednesday, 7 May 1997. From: Gabriel Wasserman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 22:28:22 -0400 Subject: Stylometry and SHAXICON 1. What's the difference between 'stylometry' and SHAXICON? 2. Why do you need a computer to "do" 'stylometry' or SHAXICON? Why couldn't you just use statistics on paper?
The Shakespeare Conference: SHK 8.0543. Wednesday, 7 May 1997. [1] From: C. David Frankel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 6 May 1997 23:34:09 -0400 (EDT) Subj: Re: SHK 8.0537 Re: Subtext (Character) [2] From: Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 08:35:27 +0000 (HELP) Subj: Re: SHK 8.0537 Re: Subtext (Character) [3] From: Gabriel Wasserman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 21:59:34 -0400 Subj: Re: SHK 8.0537 Re: Subtext (Character) [1]----------------------------------------------------------------- From: C. David Frankel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 6 May 1997 23:34:09 -0400 (EDT) Subject: 8.0537 Re: Subtext (Character) Comment: Re: SHK 8.0537 Re: Subtext (Character) I'd like to add a comment to this thread, taking off now on the question of whether or not characters have minds and what it is that audiences experience in the presence of the actor. I agree with much of what Cary Mazer says in that regard: the audience experiences the character through the "personation" of the actor and, in that respect, probably attributes to the character (and actor) whatever notions of "person-ness" may be current in that audience member's mind (even if contradictory or contested). As far as the play goes (and now I'm primarily talking about how, as a theatre practitioner, I think about these things) I tend to talk about it in terms of three different "worlds": 1) the fictive world in which we pretend that the characters are human beings. Questions about this world might include things like "What will Nora do now that she's left the doll house?" "How did Hamlet feel when he sent R&G to their death?" and so on. 2) the dramaturgical world in which we can look at characters (and other aspects of the play) from a functional perspective. Questions about this world might include things like "Why does Romeo have two best friends with contrasting qualities?" "What is the scene between the 2 guys sent to the oracle in Winter's Tale doing in the play" and so on. 3) the theatrical world of specific productions. Questions here will overlap with the fictive and the dramaturgical worlds, but they will always be answered by reference to the choices made by directors, actors, designers and others in specific circumstances. Some questions might be "how does this particular spatial arrangement affect the reception of the play?" "What difference does it make if I play this part as a tired man?" and so on. I'm sure these distinctions have been made before, and probably better. They help me, though, and they provide a framework for my students to think about plays in a somewhat different way than they are used to. C. David Frankel University of South Florida [2]------------------------------------------------------------- From: Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 08:35:27 +0000 (HELP) Subject: 8.0537 Re: Subtext (Character) Comment: Re: SHK 8.0537 Re: Subtext (Character) Cary Mazer's infuriation can only be palliated at length, and perhaps best by a new paper coming out in *Performing Arts International* that I may not promulgate except privately. *`The Motion Of Our Human Blood Almost Suspended': The Desirable Consciousness of the Actor* is available to those interested, by e-mail at my address above. Harry Hill Montreal [3]------------------------------------------------------------- From: Gabriel Wasserman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 21:59:34 -0400 Subject: 8.0537 Re: Subtext (Character) Comment: Re: SHK 8.0537 Re: Subtext (Character) > David Jackson wrote: > >I want to emphasize that I was talking about what was going on > >in the mind of the CHARACTER, not the actor playing the character. As > >long as the actor is doing his or her job, there is always a delineation > >between the two. Are you sure? > I don't have a clue what's happening in the mind of a character; and I'm > quite prepared to join Terry Hawkes in questioning whether a character > has a mind at all. What do you think of this quote from Leonard Bernstein? "Doug Hofstadter ( http://www.cs.indiana.edu/people/d/dughof.html ) is rapidly becoming the Hamlet of our times: whatever he says is both exact and double-edged, reassuring but provocative, poetic and self-challenging. His scariest insights and most agonizing intellectual probings are graced like Hamlet's, with humour, affection, and a kind of mad musical charm." But remember--Hamlet doesn't have a mind, right? >I *only* know about a character-that character only > *exists* as a person-when that character is played by an actor. Would you say that that character is the *same* character when being played by two different actors? By the same actor under two different directors? What about when we read a play? Is Oberon just saying "Get me that flower" when we read, but talking about something else [Q.E.I, or perhaps something else?] when we see a performance?
The Shakespeare Conference: SHK 8.0542. Wednesday, 7 May 1997. [1] From: C. David Frankel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 6 May 1997 23:42:01 -0400 (EDT) Subj: Re: SHK 8.0540 Qs: Riverside Milton; Norton Shakespeare [2] From: Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 06:12:53 -0400 Subj: Re: SHK 8.0540 Qs: Riverside Milton; Norton Shakespeare [3] From: Christine Mack Gordon <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 7 May 1997 09:53:06 CST6CDT Subj: SHK 8.0540 Qs: Norton Shakespeare [4] From: James Marino <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 09:31:40 -0600 Subj: Re: SHK 8.0540 Q:Norton Shakespeare [5] From: Mary Jane Miller <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 7 May 1997 15:26:40 -0400 Subj: Norton Shakespeare [1]----------------------------------------------------------------- From: C. David Frankel <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 6 May 1997 23:42:01 -0400 (EDT) Subject: 8.0540 Qs: Riverside Milton; Norton Shakespeare Comment: Re: SHK 8.0540 Qs: Riverside Milton; Norton Shakespeare I've received a copy of the Norton Shakespeare. Although it looks very impressive, I think it suffers (as do the other Norton Anthologies) from the very thin paper that reveals the print on the page underneath and makes every not one writes in the margin visible from the obverse. I haven't played with the CD-ROM yet, but I'm looking forward to it. cdf [2]------------------------------------------------------------- From: Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 06:12:53 -0400 Subject: 8.0540 Qs: Riverside Milton; Norton Shakespeare Comment: Re: SHK 8.0540 Qs: Riverside Milton; Norton Shakespeare I am sure many people will answer the question about the Norton Shakespeare: it is out (mine was still shrink-wrapped but it is now out of its wrap and in my lap, so I know it exists). It comes with a CD-ROM demo disc of the Mark Rose Shakespeare Workshop; it is about the size of the Norton Anthology of English Lit, vol. 1; it is illustrated with many B/W cuts; and it has a Shakespeare Genealogy (kings and queens) in its endpapers. As for the Riverside Milton, it is due out for MLA this year. I know, because I am its editor, frantically trying to get a draft done by late July so that pages can be counted and an index generated between July and October. The book will be roughly the size of the Riverside Chaucer, about 1200-1300 pages, and it will be designed to be as useful as Merritt Hughes's old Odyssey Press edition, with wide margins for notes. Texts will be old-spelling texts, mimicking the look of the original printed and manuscript versions, when that is possible within the modern page format. There will be marginal definitions and footnotes; annotation will acknowledge the huge mass of scholarship done in the last thirty years (as well as all previous scholarship) in head-notes and footnotes. A chronology will be provided in the endpapers, and there should be a color cover and a number of B/W illustrations. For general methodology and appearance, take a look at my <italic>Paradise Lost</italic>, edited originally for Macmillan and now published by Prentice-Hall. I would be happy to try to answer any quick questions about the edition. Best wishes, Roy Flannagan Ohio University [3]------------------------------------------------------------- From: Christine Mack Gordon <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 7 May 1997 09:53:06 CST6CDT Subject: Qs: Norton Shakespeare Comment: SHK 8.0540 Qs: Norton Shakespeare Desk copies of the Norton Shakespeare arrived at the University of Minnesota English Department in early April; I have not seen it in any bookstores yet. And regarding the subtext/character discussion: thanks to Cary Mazer for his eloquent description of the personation of character, something I had the opportunity to experience during a workshop and which I encourage all scholars to try; it will be harder after such an experience to imagine characters as merely rhetorical constructs, even if your name is Terry Hawkes. --Chris Gordon [4]------------------------------------------------------------- From: James Marino <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 07 May 1997 09:31:40 -0600 Subject: 8.0540 Q:Norton Shakespeare Comment: Re: SHK 8.0540 Q:Norton Shakespeare The Norton may not be in bookstores yet, but I've had an examination copy for about a month, had students evaluate it, and have ordered it. Aside from the pedagogical apparatus, which is painstaking and user-friendly, the students liked the price; it is not only electronic media which price themselves outside a student's budget. I like the interleaved Q1 and F1 editing of Lear, and the inclusion of a conflated edition following. I also have the demo of Mark Rose's Workshop CD but have not looked at it. Is there a review of the complete CD somewhere? Regards James [Editor's Note: I plan to review the CD for SHAKSPER and *The Shakespeare Newsletter* as soon as it is available. -HMC] [5]------------------------------------------------------------- From: Mary Jane Miller <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 7 May 1997 15:26:40 -0400 Subject: Norton Shakespeare I have a desk copy and the sampler for the CD which is quite impressive. Given price and the potential of the CD - and the fact that Riverside didn't tell me they had a new edition going ( I found out by accident after the book order went in), along with my colleagues in English I've switched to the Norton. The paper is lighter, the print pretty small,( but not for young eyes of undergrads) and the apparatus, inclusions and articles are very useful. Mary Jane Miller Dept. of Film Studies, Dramatic and Visual Arts Brock University
The Shakespeare Conference: SHK 8.0541. Wednesday, 7 May 1997. From: Michael C LoMonico <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 21:03:32 EDT Subject: Shakespeare Magazine - Spring '97 Shakespeare Magazine announces the publication of its Spring Issue. Here are a sampling of the articles: *The Opening of the Globe* In an exclusive interview with Shakespeare editors, Artistic Director Mark Rylance talks about the struggles to get the Globe open, and about the thrill of performing Shakespeare's plays as they might have been performed on Bankside in the late 1500's. *The Dark Pleasure of Trevor Nunn's Twelfth Night* In all the hoopla over Baz Luhrmann's Romeo and Kenneth Branagh's Hamlet, it's easy for the new Twelfth Night to get lost. But don't miss it, says Peter Holland, for this film does what other comedies on film have failed to do-it shows the delicious dark humor that Shakespeare does so well. *Shakespeare with Tears* In a brilliant and moving essay, noted scholar Russ McDonald talks about why at the end of comedies, with joyful reunions taking place all over the stage, he feels like crying. *Rely on What You See* Teacher William Hill talks to University of Iowa professor Miriam Gilbert about the art of performance criticism, which "compels an individual to talk about the production values-the acting, directing, and designing choices-of a given performance." *Teacher Favorites: Comedies in the Classroom* Expert teachers Ann Boone (California), Jan Pope (Kansas), Lynne Rainwater (Oregon) , Ellen Doss (Michigan), Siobhan Berry and Mary Pittman (France), and Mary Ellen Dakin (Boston) give step-by-step instructions and offer reflections on teaching the classroom hits Twelfth Night, Much Ado about Nothing, As You Like It, A Midsummer Night's Dream, Measure for Measure, Taming of the Shrew, and Merchant of Venice. *Coriolanus: Shakespeare's Primer for Political Rhetoric* Oregon Shakespeare Festival actors Derrick Lee Weeden, Karl Backus, and Aldo Billingslea connect what they learned from doing a long run of Coriolanus with what they hear on the nightly news. *Review: The Bedford Companion to Shakespeare-A Classroom Necessity* We're not exaggerating. This is the best book about Shakespeare to come along in years. Janet Field Pickering, head of education at the Folger Shakespeare Library, describes its splendors. *Broadsheet* The take-it-to-the copier feature for this issue is an exercise in which participants use exit lines from the comedies to do a 30-second performance. Fast and funny Shakespeare warm-ups. *News on the Rialto* This issue contains information about 21 Shakespeare festivals for the summer of 1997 featuring the Stratford, Ontario and Kentucky Shakespeare Festivals. In addition we review the video of Richard Burton's Hamlet and "The Great Hamlets" compilation video. For information about submissions or subscriptions writeThis email address is being protected from spambots. You need JavaScript enabled to view it. or htttp://www.shakespearemag.com
The Shakespeare Conference: SHK 8.0540. Tuesday, 6 May 1997. [1] From: Simon Malloch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 05 May 1997 21:48:59 +0800 Subj: Q: Riverside Milton [2] From: Tad Davis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 13:33:29 -0400 Subj: Norton Shakespeare? [1]----------------------------------------------------------------- From: Simon Malloch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Monday, 05 May 1997 21:48:59 +0800 Subject: Q: Riverside Milton Speaking of the Riverside Shakespeare, does anyone know when the new Riverside Milton is to be published? Last year I heard on the Milton Listserver, which I am no longer subscribed to, that it was due out this year. Does anyone have anymore news (or could provide me with the Milton list's subscription address, so I can check)? Thanks in advance, Simon Malloch [2]------------------------------------------------------------- From: Tad Davis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 06 May 1997 13:33:29 -0400 Subject: Norton Shakespeare? Does anyone have inside word on when the Norton Shakespeare will appear? I've actually started having dreams about it. (This has never happened to me before.) In one dream, I found it in a local Barnes & Noble and sat in the coffee bar, happily thumbing through the pages and checking out the format. In another, I found a volume that looked like it, but it turned out to be another Norton book about Shakespeare. (The expense of spirit in a waste of shame ... ?) Tad Davis