Re: Mannerist Measure for Measure

The Shakespeare Conference: SHK 12.0533  Wednesday, 7 March 2001

From:           David Wilson-Okamura <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 06 Mar 2001 09:56:44 -0600
Subject:        Re: Mannerist Measure for Measure

Jane Drake Brody wrote:

>I will be leading a discussion of Measure for Measure as a Mannerist
>play and am wondering if anyone one the list has any thoughts on the
>topic.  We are using "The Four Stages of Renaissance Style" by Wiley
>Sypher as our major text.

Have a look at G. K. Hunter, _English Drama 1586-1642: The Age of
Shakespeare_, pp. 309-18, 388-89. He doesn't use the term mannerist, but
he does set some of the play's stranger features into a larger dramatic

TOC: Japanese Shakespeare

The Shakespeare Conference: SHK 12.0532  Tuesday, 6 March 2001

From:           Frank Whigham <This email address is being protected from spambots. You need JavaScript enabled to view it.
Date:           Monday, 05 Mar 2001 17:18:36 -0600
Subject:        Japanese Shakespeare TOCs

Shakespeare Studies (Shakespeare Society of Japan):

Vol. 30 (1992):
Aya Mimura, The Absent Reader: Tension in Fulke Greville's Prose and
Tragedy. pp. 1-16
Shoichiro Kawai, John Lowin as Iago. pp. 17-34
John Reid, Double Heresy and Bourgeois Humours in Windsor. pp. 35-56
Peter Milward, Shakespeare's "Fatal Cleopatra". pp. 57-63

Vol. 31 (1993):
Fumio Yoshioka, Silence, Speech, and Spectacle in Hamlet. pp. 1-34
S. H. Clark, "Ancestral Englishness" in King Lear. pp. 35-63

Vol. 32 (1994):
Jonathan Bate, Shakespeare's Peculiarity. pp. 1-28
Lois Potter, Shakespeare and the Art of Revenge. pp. 29-54

Vol. 33 (1995):
Kazuhiko Murai, The Flower of Aaron: Metamorphoses of Human Activities
in Titus Andronicus. pp. 1-30
Naoko Komachiya, The Legitimation of Power and the Power of Legitimation
in King John. pp. 31-70
Kaori Ashizu, Kurosawa's Hamlet? pp. 71-99

Vol. 34 (1996):
John Lee, On Reading The Tempest Autobiographically: Ben Jonson's The
New Inn. 1-26
Ayako Kawanami, "Pleasing All": Thomas Heywood's Preservation of the
Bases of Elizabethan Theatre. pp. 27-48
Yukiko Takeoka, The "Letter" as a Device of Discommunication in Twelfth
Night. pp. 49-71

Vol. 35 (1997):
Stephen Greenblatt, The Mousetrap. pp. 1-32
Anthony Martin, Africans on the Elizabethan Stage. pp. 33-58
Kaori Kobayashi, Can a woman be liberated in a "chauvinist's dream"?:
Michael Bogdanov's Production of The Taming of the Shrew in 1978. pp.
Soji Iwasaki, The Political Discourse and the Iconography of
Commonwealth in The Tempest. pp. 103-127

Vol. 36 (1998):
Juliet Dusinberre, Boys Becoming Women in Shakespeare's Plays. pp. 1-28
Paul A. Kottman, Sharing Vision, Interrupting Speech: Hamlet's
Spectacular Community. pp. 29-57

Vol. 37 (1999):
Soji Iwasaki, Rough Music and Deer's Horn in The Merry Wives of Windsor.
pp. 1-20
K. Hilberdink-Sakamoto, "O God's Will, Much Better She Ne'er Had Known
Pomp": The Making of Queen Anne in Shakespeare's Henry VIII. pp. 21-44
Michio Tokumi, The Salic Law in Henry V. pp. 45-61


The Shakespeare Conference: SHK 12.0530  Tuesday, 6 March 2001

From:           Dorina Iancu <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 6 Mar 2001 13:11:30 +0200 ()
Subject:        Branagh

Could anyone perhaps repost the URL for the article published on
Branagh's relinquishing of further plans to film Shakespeare? I no
longer have the message containing that information.

Many thanks,
Dorina Iancu
Tel Aviv University

CUNY Renaissance Lecture: Mary Baine Campbell

The Shakespeare Conference: SHK 12.0531  Tuesday, 6 March 2001

From:           Martin Elsky <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 5 Mar 2001 22:46:34 -0500
Subject:        CUNY Renaissance Lecture: Mary Baine Campbell

                     [with apologies for cross-posting]

                            CUNY Graduate School
                      365 Fifth Avenue (34-35 Streets)
                                New York City

                           Friday, March 9, 2001
                           English Program Lounge
                                  Room 4406

                        The Ph.D. Program in English

                            Mary Baine Campbell
                              Brandeis University

                     "Dreaming, Motion, Meaning: Oneiric
                   Transport in the Seventeenth Century"

                  Admission is free and open to the public

Authorial Intention

The Shakespeare Conference: SHK 12.0529  Tuesday, 6 March 2001

From:           Clifford Stetner <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 5 Mar 2001 18:28:55 -0500
Subject:        Authorial Intention

R. A. Cantrell writes that what I referred to as the "taboo on reference
to authorial intention" has by now been "rendered vestigial."

Do you have a good source for this position that I can present to one of
the members of my orals committee?

Manuela Rossini points out that:

>the author need not have implicitly and
>consciously addressed incest. But a critic who reads symptomatically
>would be interested in digging this "absent presence" out as the text's
>problematic; that is, by making visible what is/has to stay invisible.

I perfectly understand, and I was really just looking for the Montrose
citation, but, at the risk of beating a dead horse, the issue has
recently come up in trying to revise my dissertation proposal to the
satisfaction of the literary theorist on my orals committee, and it's
forcing me to do a lot of dancing around what I really want to say,
which involves a positive statement about Shakespeare's literary
project.  Do you happen to know if there is anything analogous to the
"death of the author" in art criticism?  A course I took last semester
in Art of the Italian Renaissance spent a lot of time discussing the
artists' biographies, political affiliations, sexual proclivities, etc.
in an attempt to decode their works.

Just wondering:

Clifford Stetner

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