August
The Shakespeare Conference: SHK 11.1596 Monday, 28 August 2000. [1] From: Richard Burt <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 13:07:20 -0400 Subj: Re: SHK 11.1583 Romeo is Bleeding [2] From: Robert J. Matter <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 12:09:35 -0500 Subj: Re: SHK 11.1583 Romeo is Bleeding [3] From: Jimmy Jung <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 13:53:34 -0400 Subj: Re: SHK 11.1583 Romeo is Bleeding [4] From: Michael Harrawood <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 14:34:56 -0400 Subj: Re: SHK 11.1583 Romeo is Bleeding [5] From: Marcus Dahl <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 26 Aug 2000 18:45:53 EDT Subj: Re: SHK 11.1583 Romeo is Bleeding [1]----------------------------------------------------------------- From: Richard Burt <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 13:07:20 -0400 Subject: 11.1583 Romeo is Bleeding Comment: Re: SHK 11.1583 Romeo is Bleeding You got the plot right. There is no Shakespeare reference in the film. [2]------------------------------------------------------------- From: Robert J. Matter <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 12:09:35 -0500 Subject: 11.1583 Romeo is Bleeding Comment: Re: SHK 11.1583 Romeo is Bleeding No Shakespeare content but good noir nonetheless. Bob Matter Hammond, Indiana [3]------------------------------------------------------------- From: Jimmy Jung <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 13:53:34 -0400 Subject: 11.1583 Romeo is Bleeding Comment: Re: SHK 11.1583 Romeo is Bleeding Romeo is bleeding is either amazing or overwrought, depending on who you ask. It has nothing to do with Shakespeare and lots to do with film noir or attempted film nor (depending on who you ask). Gary Oldman plays a crooked cop exactly as you would expect him, but being from the group who thinks highly of the film, I believe its highlight is Lena Olin as Mona Demarkov, one of the greatest screen villains I can think of. No, I have no explanation for the title. As always www.imdb.com is a great source for more info. Jimmy I'm not asking you to kill him; I'm asking you to bury him. If he dies in the process, that's his problem. -Mona Demarkov [4]------------------------------------------------------------- From: Michael Harrawood <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 14:34:56 -0400 Subject: 11.1583 Romeo is Bleeding Comment: Re: SHK 11.1583 Romeo is Bleeding Jeff, The title Romeo is Bleeding is from a Tom Waits song. I thought the film was great, with Lena Olin in a particularly demonic role. Michael Harrawood [5]------------------------------------------------------------- From: Marcus Dahl <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 26 Aug 2000 18:45:53 EDT Subject: 11.1583 Romeo is Bleeding Comment: Re: SHK 11.1583 Romeo is Bleeding Dunno about the film but there's a damn brilliant Tom Waits song of the same name on his Blue Valentine album circa 1977...check it out the man is God. (Waits I mean).
The Shakespeare Conference: SHK 11.1595 Monday, 28 August 2000. From: Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 12:26:59 -0400 Subject: Cymbeline David Kathman is right. The fact that Sir Frank Kermode makes the same point immediately establishes its validity. Phew! For a moment there I thought I was in trouble. Edward Pixley, however, is not right. Ros King described the writing in 'Cymbeline' as 'wonderfully sharp' and 'polished'. Pixley seems to think he's defending her by admitting, oddly, that some of it (deliberately) isn't. This turns out to be a development of the stunning argument that whenever the language ISN'T sharp and polished, that's when it most subtly IS. (We presentists deftly term this 'having it both ways'). As an alternative, may I point out, subject to endorsement from on high of course, that it's perfectly evident that the main function of the 'Gentlemen' at the beginning of the play is exposition, not the characterisation of a court culture. Yet even their opening lines end up gnarled and contorted: You do not meet a man but frowns. Our bloods No more obey the heavens than our courtiers Still seem as does the King. (1. 1. 1-3) 'Wonderfully sharp'? 'Polished'? I know my place, but Sir Frank shall hear of this. T. Hawkes
The Shakespeare Conference: SHK 11.1594 Friday, 25 August 2000. From: Kezia Vanmeter Sproat <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 10:54:23 EDT Subject: 11.1578 Re: Elizabeth Rex Comment: Re: SHK 11.1578 Re: Elizabeth Rex It's booked for the season. I'm headed to Stratford and will have to settle for Shakespeare and Wilde. Now, there's a confrontation! Have they yet met onstage?
The Shakespeare Conference: SHK 11.1593 Friday, 25 August 2000. From: Yvonne Bruce <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 09:51:14 -0400 Subject: Brandon and the Stationer's Register Can anyone on the listserv tell me how to access the Stationer's Register online, if that's possible? All I've found to this point are links from various websites to Register entries I'm not interested in. Two more related questions: I'm doing research on various Tudor Roman plays, Shakespeare's and others. Right now I'm rereading Samuel Brandon's *The Virtuous Octavia*, in which Octavia remarks in great detail on her husband before Antony, Marcellus. I've found just one line in Plutarch that mentions her widowhood. Does Brandon perhaps have another source for this information? Then, at another point early in this closet drama, Octavia forestalls conflict between her brother and Antony at Tarentum by standing in between them on the battlefield. It seems clear that Brandon got some of the language of this scene from Plutarch's *Life of Antony*, but what about the action? Has anyone heard of Octavia's doing this? Thanks in advance to all, Yvonne Bruce
The Shakespeare Conference: SHK 11.1592 Friday, 25 August 2000. From: Michael Harrawood <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 25 Aug 2000 09:47:40 -0400 Subject: Electronic Sources Dear Shaksperists, My school, Florida Atlantic University, is about to acquire the EEBO database from Bell & Howell, I think on a trial basis. I am wondering whether anybody out there has used this or any of the other online databases (such as Chadwick Healy) in the classroom. I would be interested in any advice, war stories, or anything helpful regarding the use of these sources in teaching. With thanks in advance, Michael Harrawood Jupiter, FL