2001

Re: Julius Caesar & Psychoanalysis

The Shakespeare Conference: SHK 12.0947  Thursday, 26 April 2001

From:           Jim Harner <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 10:33:58 -0500
Subject: 12.0937 Re: Julius Caesar & Psychoanalysis
Comment:        Re: SHK 12.0937 Re: Julius Caesar & Psychoanalysis

The World Shakespeare Bibliography Online includes a substantial number
of records involving psychoanalytic criticism of Shakespeare.

Jim Harner
Editor, World Shakespeare Bibliography Online

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Re: The Renaissance Game of "Bo-peep"

The Shakespeare Conference: SHK 12.0946  Thursday, 26 April 2001

[1]     From:   Tony Burton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 11:25:55 -0400
        Subj:   Re: SHK 12.0934 The Renaissance Game of "Bo-peep"

[2]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 10:12:01 -0700
        Subj:   Re: SHK 12.0934 The Renaissance Game of "Bo-peep"

[3]     From:   Richard O. Shaw <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 26 Apr 2001 07:48:43 -0400
        Subj:   Re: SHK 12.0934 The Renaissance Game of "Bo-peep"


[1]-----------------------------------------------------------------
From:           Tony Burton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 11:25:55 -0400
Subject: 12.0934 The Renaissance Game of "Bo-peep"
Comment:        Re: SHK 12.0934 The Renaissance Game of "Bo-peep"

According to Ion and Peter Opie's "The Oxford Dictionary of Nursery
Rhymes" (1951) at page 93, bo-peep goes back to at least 1364, was
mentioned by Herrick in 1646, and defined by Johnson in 1755 as "The act
of looking out and then drawing back as if frightened, or with the
purpose to fright some other."  There is a somewhat fuller discussion
than this.

Tony B

[2]-------------------------------------------------------------
From:           Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 10:12:01 -0700
Subject: 12.0934 The Renaissance Game of "Bo-peep"
Comment:        Re: SHK 12.0934 The Renaissance Game of "Bo-peep"

>I'd be grateful if anyone could point me toward a source that explains
>the Renaissance game of bo-peep.  Its modern counterpart is
>"peek-a-boo," but the two games are somewhat different.  I do have a
>19th-century source: T.S. Thiselton-Dyer, _Folk-Lore of Shakespeare_
>(New York: Harper's,  1884):  pp. 399-400.  But it is in French.  A more
>modern, English source would be helpful.
>Ed Taft

"The Annotated Mother Goose" with notes by William S. Baring-Gould and
Ceil Baring-Gould, pb, Meridian Books, 1967, p. 96, has a couple of
paragraphs on the game. There is probably an earlier hardback edition in
most libraries. It seems to have been a form of "peek-a-boo," where the
mother or nurse hides from the child and then reveals herself suddenly.

Stephanie Hughes

[3]-------------------------------------------------------------
From:           Richard O. Shaw <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 26 Apr 2001 07:48:43 -0400
Subject: 12.0934 The Renaissance Game of "Bo-peep"
Comment:        Re: SHK 12.0934 The Renaissance Game of "Bo-peep"

#65
Bo-peep, Little Bo-peep,
Now's the time for hide and seek.

JOH (1849) give these as the words repeated by children when playing
bo-peep. Whether the game was once a form of hide-and-seek, or never
more than a baby amusement of covering the head and peeping out, as the
early quotations suggest, is uncertain. Johnson (1755) defined bo-peep
as "The act of looking out and then drawing back as if frightened, or
with the purpose to fright some other', and Herrick (1648) used it in
the same sense:

Her pretty feet
Like snailes did creep
     A little out, and then,
As if they started at Bo-Peep,
     Did soon draw in agen.

The earliest reference tot he game appears to be in 1364 when Alice
Causton had to 'play bo-pepe thorowe a pillory' forr giving short
measure of ale p.93. The Oxford Dictionary of Nursery Rhymes .Edited by
Iona and Peter Opie. Oxford University Press. 1951.

There is more on the version with the sheep that go to school, if that
is relevant to your quest.

Richard Shaw

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Re: World Shakespeare Bibliography

The Shakespeare Conference: SHK 12.0943  Thursday, 26 April 2001

From:           Jim Harner <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 09:34:25 -0500
Subject: 12.0898 Re: World Shakespeare Bibliography
Comment:        Re: SHK 12.0898 Re: World Shakespeare Bibliography

Actually, searching for an author is quite simple: typing 'harrison
peter' in the Search screen box or in the Author Name field in the
Advanced Search screen will quickly pull up all documents authored by
Peter Harrison. (This is a process common to searching so many databases
that I assumed even a novice would know this.)

The World Shakespeare Bibliography is still very much alive. (While the
WSB Online is published by Arden Shakespeare, it was never a part of
Ardononline.) Indeed, we are nearly ready to move the first revision
(covering 1974 to mid-2000 and offering improvements to the search
engine) to the public server.

There have, quite honestly, been problems with Arden Shakespeare's
servicing of subscriptions. I have been promised that Sue Young, Arden
Shakespeare's marketing director, will clear up these problems
immediately.  If anyone has not been successful in obtaining a
subscription, please email me directly (This email address is being protected from spambots. You need JavaScript enabled to view it.).

Jim Harner
Editor, World Shakespeare Bibliography Online

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Webpage <http://ws.bowiestate.edu>

Re: PAL Format

The Shakespeare Conference: SHK 12.0944  Thursday, 26 April 2001

From:           Andrew Walker White <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 11:12:00 -0400 (EDT)
Subject: 12.0930 Re: Filmic Lears
Comment:        Re: SHK 12.0930 Re: Filmic Lears

Gabriel Egan writes:

>The good news is that there's no
>longer a need to worry about this: all UK video players made in the last
>4 years play US tapes (encoded in NTSC) as well as UK ones (encoded in
>PAL).

Which leads me to ask, for those of us 'States-side;' are VCR's
available in the US that play in PAL mode?  I have a number of videos I
bought in the UK, before realizing my machine couldn't play them on my
machine...

Related to that, it is my understanding that the resolution of image in
PAL format is different, and can result in some fuzzy play-back on some
machines.  Anybody have experience with this?

Thanks,
Andy White

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Re: Tragic Hero

The Shakespeare Conference: SHK 12.0942  Thursday, 26 April 2001

[1]     From:   Karen Peterson-Kranz <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 07:15:27 -0700 (PDT)
        Subj:   Re: SHK 12.0917 Re: Tragic Hero

[2]     From:   David Knauer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 11:20:39 -0500
        Subj:   Re: SHK 12.0917 Re: Tragic Hero

[3]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 10:22:16 -0700
        Subj:   Re: SHK 12.0928 Re: Tragic Hero

[4]     From:   Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 13:13:36 +0100
        Subj:   Re: SHK 12.0917 Re: Tragic Hero

[5]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 13:49:01 -0700
        Subj:   Re: SHK 12.0841 Re: Tragic Hero

[6]     From:   Judith M. Craig <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 17:17:27 -0400
        Subj:   Re: SHK 12.0928 Re: Tragic Hero

[7]     From:   Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 25 Apr 2001 21:55:33 -0700
        Subj:   Re: SHK 12.0841 Re: Tragic Hero

[8]     From:   Stevie Gamble <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 26 Apr 2001 05:35:18 EDT
        Subj:   SHK 12.0917 Re: Tragic Hero


[1]-----------------------------------------------------------------
From:           Karen Peterson-Kranz <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 07:15:27 -0700 (PDT)
Subject: 12.0917 Re: Tragic Hero
Comment:        Re: SHK 12.0917 Re: Tragic Hero

Brian Haylett writes,

>Some 18 months ago - and evoking deathly silence, as
>I remember it - I
>suggested that the reason for Antonio's sadness was
>his failure to 'know
>himself', that the play was about his unconscious
>discontent with his
>mercenary life, and his subsequent climb to
>fulfillment. ....

This is an intriguing idea.  Before launching into full-fledged debate,
Brian, could you provide us with some specific line citations that
support this interpretation?  (Again, I'm not being argumentative; just
looking for help in the interests of maintaining a focused and
productive discussion on this topic.)

Judith Craig writes:

>Frankly, Sean, I don't know where you've been during
>the sexual revolution.

Sean Lawrence is certainly more than able to defend himself on this
issue (if he thinks it is worth bothering to comment), but I fail to see
the relevance of this  comment.

Ms. Craig continues:

>I am still unconvinced that my reading is less
>plausible than the currently fashionable one that
>makes Antonio homosexual. I have never been a rabid
>feminist, but I am not too naive to know how
>heterosexual men do talk and think.

I take it this means that Antonio is manifestly a heterosexual man
because of how he "talks and thinks." Without treading into the swampy
territory of whether we can with any certainty know how a dramatic
character -- much less another actual human being -- "thinks," I am
curious about Ms. Craig's assertion that "heterosexual men" talk in a
particular, identifiable manner.  This seems potentially as offensive as
asserting that homosexual men talk in a particular, identifiable manner.

If it is indeed true that heterosexual men may be identified by their
speech patterns, intonations, rhythms, syntax or content, I must hasten
to inform my many gay male friends.  This "knowledge" will save them
many embarrassing moments in which they have attempted to chat up
straight males in the mistaken interpretation that they might, perhaps,
be gay.

Cheers,
Karen Peterson

[2]-------------------------------------------------------------
From:           David Knauer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 11:20:39 -0500
Subject: 12.0917 Re: Tragic Hero
Comment:        Re: SHK 12.0917 Re: Tragic Hero

Judy Craig writes of Shylock:

"His 'pound of flesh' demand not only symbolizes his desire to torture
'Christians' in return, but also symbolizes the way these have gotten
where they are -- 'pounding' women who are no more to them than pounds
of 'flesh' to give them energy to keep their money-making schemes
fueled."

I don't know what source you 're consulting for early modern ideas about
the effects of sex on male physiology, but all the ones I've seen
clearly suggest that sex depletes vital energy, not increases it. Hence
all the fun with words like "dying," "spending," etc.

Dave Knauer

[3]-------------------------------------------------------------
From:           Stephanie Hughes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 25 Apr 2001 10:22:16 -0700
Subject: 12.0928 Re: Tragic Hero
Comment:        Re: SHK 12.0928 Re: Tragic Hero

>One needn't think that contemporary events were beneath Shakespeare to
>imagine him as more interested in the philosophy of usury than in
>jurisprudential innovation.  Stevie's effort, if I've read him
>correctly, is to move away from strictly limiting Shakespeare's meanings
>by contemporary events (a sort of historicism gone mad) towards wider
>philosophical issues.
>
>Cheers,
>Se


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