Latest Issue of Cahiers Elisabethains

 

 

The Shakespeare Conference: SHK 23.051  Monday, 6 February 2012

 

From:         Jean-Christophe Mayer <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 5, 2012 11:21:24 AM EST

Subject:     Latest Issue of Cahiers Elisabethains

 

THE LATEST ISSUE OF CAHIERS ELISABETHAINS IS NOW AVAILABLE: N° 80 (2011)

 

* This issue includes an exclusive interview of Professor Roger Chartier on his latest book: Cardenio, from Cervantes to Shakespeare and Beyond

 

To access table of contents please click on the following link:

 

<http://www.ircl.cnrs.fr/pdf/Cahiers/Cahiers_CE80_i-x_web.pdf>

 

To order issues:  <This email address is being protected from spambots. You need JavaScript enabled to view it.>

 

* Please note also that article submissions are now open for the next issues of the journal. 

 

Submissions can be send to either of Cahiers's assistant editors: <This email address is being protected from spambots. You need JavaScript enabled to view it.> or <This email address is being protected from spambots. You need JavaScript enabled to view it.>

 

More information: <http://recherche.univ-montp3.fr/cahiers/>

David Kastan, Zoe Caldwell, Stacy Keach, John Ford’s “The Broken Heart”

 

 

The Shakespeare Conference: SHK 23.050  Monday, 6 February 2012

 

From:         John F Andrews <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Friday, 3 Feb 2012 12:39:03 -0700

Subject:     David Kastan, Zoe Caldwell, Stacy Keach, John Ford’s “The Broken Heart” 

 

The Shakespeare Guild is pleased to invite you to three programs in Manhattan’s beautiful Gramercy Park, two at the National Arts Club and one next door at The Players, where you’ll have an opportunity to meet and talk with one of today’s most eminent Shakespeare scholars, DAVID SCOTT KASTAN of Yale University, and with two of our era’s most distinguished actors, ZOE CALDWELL and STACY KEACH. We’re also delighted to offer you a discount on tickets for Theatre for a New Audience’s staging of John Ford’s THE BROKEN HEART at the Duke Theatre.

 

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SPECIAL DISCOUNT FOR ‘THE BROKEN HEART’

FEBRUARY 4 THROUGH MARCH 4 

THE DUKE THEATRE, 229 West 42nd Street, Manhattan

 

Guild Constituents $52.50 (Regularly $75.00)

 

If you saw Alexis Soloski’s New York Times article, “Extreme Theater: Wake-Up Calls from the 1600s” 

 

(www.nytimes.com/2012/01/29/theater/john-fords-broken-heart-and-tis-pity-shes-a-whore.html),

 

you’re aware that playgoers in Manhattan and Brooklyn are looking forward to attending two rarely-produced tragedies by 17th-century dramatist John Ford. One, THE BROKEN HEART, figured prominently in a fascinating National Arts Club discussion on January 11. JEFFREY HOROWITZ, whose visionary leadership has enabled such pioneering artists as Mark Rylance and Julie Taymor to do seminal work at Theatre for a New Audience, introduced SELINA CARTMELL, a brilliant new Irish director, to an NAC gathering that was eager to hear about her first production in New York. She and Mr. Horowitz spoke with the Shakespeare Guild’s John Andrews about what makes Ford plays like ‘TIS PITY TO BE A WHORE (soon to be revived at BAM) resonate with renewed intensity. Ms. Cartmell and a distinguished cast are now putting the finishing touches on a show that opens tomorrow, and constituents of the Guild are eligible to obtain $75 tickets for only $52.50. To take advantage of this generous discount, simply log on to www.dukeon42.org or call 646-223-3010, using code SHG2760 when you place your order. For details about the show, visit www.tfana.org

 

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A CHAT WITH YALE’S DAVID SCOTT KASTAN

MONDAY, FEBRUARY 27, at 8:00 p.m.  

NATIONAL ARTS CLUB, 15 Gramercy Park South, Manhattan

 

Guild Constituents $25

 

DAVID KASTAN is the first American scholar to serve as a General Editor of The Arden Shakespeare, a prestigious collection of the complete works that has been Britain’s standard-bearer for more than a century. A distinguished professor of English at Yale University, Mr. Kastan has also earned plaudits for his work at Dartmouth and Columbia. His many publications include Shakespeare and the Shapes of Time (1982), Shakespeare After Theory (1999), and Shakespeare and the Book (2001). Mr. Kastan co-edited Staging the Renaissance: Essays on Elizabethan and Jacobean Drama (1991) and The New History of Early English Drama (1997), and he is the sole editor of Critical Essays on Shakespeare’s “Hamlet” (1995), A Companion to Shakespeare (1999), The Oxford Encyclopedia of British Literature (2006), and other volumes. This spring he’ll be overseeing a major celebration of “Shakespeare at Yale,” a festival that will highlight such resources as the library’s outstanding collection of early quarto and folio printings and the university’s highly regarded repertory theater.

 

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A CONVERSATION WITH ZOE CALDWELL

TUESDAY, FEBRUARY 28, at 7:00 p.m.  

THE PLAYERS, 16 Gramercy Park South, Manhattan

 

Guild Constituents $25

 

In her latest triumph ZOE CALDWELL has been riveting audiences, and garnering critical praise, as a cold-hearted Upper East Side matron in David Adjmi’s intimidatingly intimate Elective Affinitives. Meanwhile she has been moving filmgoers as an affectionate grandmother in Extremely Loud & Incredibly Close, one of this year’s Academy Award nominees for Best Picture. Long admired for her commanding stage presence, Ms. Caldwell has earned four Tony Awards, most recently as Maria Callas in Terrence McNally’s Master Class. She has portrayed such heroines as Lady Macbeth and Medea, not to mention Lillian Hellman and Miss Jean Brodie, and she has worked with such legends as Dame Judith Anderson, Dame Edith Evans, Sir Tyrone Guthrie, Charles Laughton, and Paul Robeson. She has also directed some of the greatest stars in the profession, among them Eileen Atkins, Glenda Jackson, James Earl Jones, Christopher Plummer, and Vanessa Redgrave. Ms. Caldwell is now writing a sequel to I Will Be Cleopatra, a charming memoir about her early years in Australia, and she’ll share a few delightful passages about her most memorable encounters with Shakespeare.

 

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A CONVERSATION WITH STACY KEACH

TUESDAY, MARCH 20, at 8:00 p.m.  

NATIONAL ARTS CLUB, 15 Gramercy Park South, Manhattan

 

Guild Constituents $25

 

STACY KEACH is currently starring in Broadway’s acclaimed Other Desert Cities. Best known to many of his television fans as Mickey Spillane detective Mike Hammer, Mr. Keach is also familiar for such popular films as Brewster McCloudDocJudge Roy BeanThat Championship Season, and The New Centurians. But what he finds most satisfying is the Shakespearean acting he has done in such classic roles as Falstaff, Henry V, Macbeth, Mercutio, and Richard III. Clive Barnes, who observed a number of superb Hamlets during his many years as drama critic for the New York Times, has commented that the best ever “was Keach, whose neurotic passion and fierce poetry were quite wonderful.” Described by one reviewer as “the finest American classical actor since John Barrymore,” Mr. Keach has received a Best Actor Golden Globe, three Obies, three Vernon Rice Awards, three Helen Hayes Awards (among them for his portrayal of Richard Nixon in the national touring production of Frost/Nixon and for his King Lear at the Shakespeare Theatre Company), and multiple nominations for Emmy and Tony awards. 

Folger: The Gaming Table, Shakespeare’s Sisters, and More

 

 

 

The Shakespeare Conference: SHK 23.049  Monday, 6 February 2012

 

From:         Folger Shakespeare Library <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         Thursday, 02 Feb 2012 15:24:54 -0500

Subject:     Folger: The Gaming Table, Shakespeare’s Sisters, and More

 

 

What’s on at the Folger

 

Be a Friend to the Folger in February! February is Membership Month at the Folger and the perfect time to join—not only do Friends receive discounts on tickets to performances and other exclusive benefits, but Friends who join in February have the chance to win tickets to one of the following events: 

 

Folger Consort’s “Songbird” performance on Friday, March 16 OR the Opening Night performance of Folger Theatre’s “The Taming of the Shrew” on Monday, May 7. 

 

To join, visit www.folger.edu/friends or contact Winnie Harrington Robinson at (202) 675-0359. 

 

 

Winning Ticket

 

Folger Theatre: The Gaming Table

 

Stylishly entertaining, Folger Theatre’s The Gaming Table explores the world of high-stakes gambling, where the players wager money as well as their hearts. Washington Post critic Peter Marks praises the show for its “buoyant air and a bouquet of ripe performances.” 

 

Join the show’s director Eleanor Holdridge and Georgianna Ziegler, Folger Shakespeare Library’s head of reference and curator of the exhibition Shakespeare’s Sisters: Voices of English and European Women Writers,1500-1700 for a special talk on playwright Susannah Centlivre and her hit comedy, The Gaming Table. The free lecture will be held at 2pm on Feb 5 at the National Museum of Women in the Arts.

 

On stage through March 4

Tues-Thurs, 7:30pm 

Fri at 8pm 

Sat at 2pm & 8pm 

Sun at 2pm & 7pm

 

Part of the Folger’s 1,000 Years of Women Writers program series.

 

Buy Tickets

 

 

So Much to Say

 

Folger Exhibitions: Shakespeare’s Sisters

 

In A Room of One’s Own, Virginia Woolf imagined a sister for Shakespeare, his equal in talent and ambition, but prevented from achieving success because of her gender. A new exhibition at the Folger, Shakespeare’s Sisters: Voices of English and European Women, 1500-1700, showcases writing by Shakespeare’s female contemporaries, many of whose works remained unknown for centuries. From religious writing to translations to love poetry and yes, plays, Shakespeare’s Sisters brings together a chorus of previously unheard voices and introduces these remarkable women to a wider public.

 

Feb 3 to May 20

Mon—Sat, 10am to 5pm 

Sun, 12noon to 5pm

 

Part of the Folger’s 1,000 Years of Women Writers program series.

 

 

Speaking Out

 

O.B. Hardison Poetry Series: Shakespeare’s Sisters

 

Rita Dove, Linda Gregerson, Elizabeth Nunez, Jacqueline Osherow, Linda Pastan, and Jane Smiley read from new works published in the Shakespeare’s Sisters chapbook, a companion publication to the exhibition of the same name. In their poems and essays, the writers respond to the writings of 16th and 17th-century women. An after-hours viewing of the Shakespeare’s Sisters exhibition precedes the reading.

 

Special Offer! Folger Friends and students can purchase half-price tickets to this event! Call (202)544-7077 to receive the discount.

 

Part of the Folger’s 1,000 Years of Women Writers program series.

 

Thurs, Feb 16 

7pm 

 

 

Isle of Wonders

 

In the News: Shakespeare Theme in London Olympics

 

A line from Shakespeare’s The Tempest will kick off the opening ceremony for the Olympics in London this summer: “Be not afeard, the isle is full of noises.”

“Cultural Translations: Medieval / Early Modern / Postmodern”

 

 

The Shakespeare Conference: SHK 23.048  Monday, 6 February 2012

 

From:         Alexander Huang <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 5, 2012 2:56:01 PM EST

Subject:     “Cultural Translations: Medieval / Early Modern / Postmodern” 

 

Going to the Renaissance Society of America (RSA) annual meeting in Washington, D.C. (Mar 22-24)? You are cordially invited to stay one more day to catch the one-day symposium “Cultural Translations: Medieval / Early Modern / Postmodern” to be held at George Washington University in D.C., 9:30 am - 4:00 pm, Sunday, March 25, 2012. 

 

Free and open to the public. Please stay tuned for updates on the venue and lunch. 

 

Website: http://www.gwu.edu/~acyhuang/culturaltranslations.html

 

ABOUT           

 

Empires are lost and won, and stories are marred and rediscovered through cultural translations—the transformation of genres, manipulation of ideas, and linguistic translation. Cultural translation is one of the most significant modes of textual and cultural transmission from medieval to modern times. Estrangement and transnational cultural flows continue to define the afterlife of narratives. Translation, or translatio, signifying “the figure of transport,” was a common rhetorical trope in early modern Europe that referred to the conveyance of ideas from one geo-cultural location to another, from one historical period to another, and from one artistic form to another.

 

Over the past decade “translation” as an expansive critical concept has greatly enriched literary and cultural studies. In response to these exciting new developments, this one-day symposium brings together leading scholars from the fields of medieval and early modern studies, history, film, English, Spanish and Portuguese, Arabic and comparative literary studies to engage in transhistorical and interdisciplinary explorations of post/colonial travel, globalization, and the transformation of texts, ideas, and genres.

 

The presentations are designed with both general and specialist audiences in mind. Following in the wake of several recent events in town, namely the Folger’s exhibitions on “Imagining China: The View from Europe, 1550-1700” and “Manifold Greatness: The Creation and Afterlife of the King James Bible” and conferences on “Contact and Exchange: China and the West” and “Early Modern Translation: Theory, History, Practice,” and the 58th Annual Meeting of the Renaissance Society of America (RSA) in Washington, DC, 22–24 March, 2012, the Symposium at GW continues and expands these thought-provoking dialogues. 

 

 

PRESENTATIONS

 

Medieval

 

Suzanne Conklin Akbari (Toronto, English and Medieval Studies): Translating the Past: World Literature in the Medieval Mediterranean

 

Marcia Norton (GW, History): topic to be announced

 

 

Early Modern

 

Barbara Fuchs (UCLA, English and Spanish & Portuguese): Return to Sender: "Hispanicizing" Cardenio

 

Christina Lee (Princeton, Spanish & Portuguese): Imagining China in a Golden Age Spanish Epic

 

 

Postmodern

 

Peter Donaldson (MIT, Literature): The King’s Speech: Shakespeare, Empire and Global Media

 

Margaret Litvin (Boston, Arabic and Comparative Literature): topic to be announced

 

The event is co-sponsored by the George Washington University Department of English and Medieval and Early Modern Studies Institute (MEMSI), and co-organized by Alexander Huang, Jonathan Hsy, and Lowell Duckert. 

Rare Words in Shakespeare

 

The Shakespeare Conference: SHK 23.047  Friday, 3 February 2012

 

From:         Gabriel Egan <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         February 3, 2012 8:48:05 AM EST

Subject:     Re: SHAKSPER: O Rare

 

Marie Merkel asks

 

> Does anyone know of an online resource for discovering

> all the "rare" words . . . within a given play?

 

About 10 years ago SHAKSPERian Steve Roth did some refinements to a project I started called SHAXICAN.  (The name was a gibe at Donald Foster’s supposed SHAXICON database, which was the subject of several articles but never appeared.) The idea was to count rare words in Shakespeare by play and by actor’s part, looking for correlations. Specifically, we wanted to test the hypothesis that the rare words in a particular part acted by Shakespeare himself would appear disproportionately often in the next play he wrote, since those rare words he’d recently spoken on stage would be at the forefront of his mind. That was Foster’s claim but SHAXICAN was unable to verify it.

 

The files from SHAXICAN are still available at

 

 http://gabrielegan.com/shaxican

 

and the one you want is “correlations.txt” in the “Roth’s refinements” section.

 

Save it to your own computer, then open it in a spreadsheet program such as Microsoft Excel. (Excel will take you through a ‘Text import wizard’ for handling ‘Delimited data’ files: just accept all the defaults.)

 

Sort the whole table on the second column, which contains the play names. That’ll give you a table with plays listed alphabetically from 1H4 (=1 Henry 4) to WT (=The Winter’s Tale) in the second column and the rare words in the first column.  The third column identifies an actor’s part in another play, which part also contains this row’s rare word. The fourth column gives the number of times this row’s rare word appears in the play identified in the second column and the fifth column gives the number of times this rare word appears in the part identified in the third column. (I’m making it sound more complicated than it is: Roth explains the table with an extract on the website.)

 

Here, a word is rare if it occurs 1-12 times in the Shakespeare canon. Sorry if that’s too broad a filter for your purposes.  For each rare word you can see what part in another play it also occurs in, so the word ‘abundance’ that appears once in 1H4 is listed 9 times at that point in the table, once each for its appearances in 2H4 (twice), AWW (once), COR (twice), JN (once), MV (once), PER (once), and TMP (once).  Of course ‘abundance’ appears later in the table too, for each of its occurences in those other plays.

 

If you want to find words that appear fewer times than 12 in the canon, look for words that appear fewer times overall in the table. You can do this by eye (as you would a printed concordance) or better still someone good at Excel might write you a formula that finds words appearing only once (or any arbitrary number of times) in the table. If there’s a SHAKSPERian who can do that, I’d be interested to share the formula. I teach an undergraduate course on this sort of thing (“The Art of Distant Reading”*) and am somewhat hampered by the fact that good students are better than me at Excel but entirely unfamiliar with real programming.  (There is a vigorous debate in the UK about whether the teaching of computers in schools fails to encourage real programming and instead promotes clever uses of Microsoft Office; in my experience it does.)

 

Gabriel Egan

 

* My proposed title for the course was “The Art of Not Reading” but this was rejected by my university as likely to bring a department of literature into disrepute.  The course titles are indebted to Franco Moretti and Martin Mueller, respectively.

 

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