PIPA/SOPA

 

The Shakespeare Conference: SHK 23.045  Thursday, 2 February 2012

 

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

Date:         February 1, 2012 9:14:23 PM EST

Subject:     Re: SHAKSPER: PIPA/SOPA

 

Gabriel Egan says:

 

>Larry Weiss thinks that the judgement in “Bridgeman Art Library v. Corel

>Corp” (1999) only confirmed the existing doctrine about photography

>rather than changing anything. If that were true, all those libraries (like

>the Huntington) that asserted copyright on their microfilms of old books

>were mistaken or were knowingly lying. I suggest that in fact “Bridgeman

>Art Library v. Corel Corp” came as much as a surprise to them as to

>everyone else. 

 

At the time of the Bridgeman decision, I represented a photographic stock house that specialized in images of art works, so I had already studied the issue in detail well before the decision.  I can assure you that Kaplan’s decision came as no surprise to me.   Anyone in the U.S. who was shocked did not have very astute counseling.  In the U.K., on the other hand, the rule was to the contrary, and the plaintiff in Bridgeman placed its main reliance on an argument that the U.K. law applied to the transaction in question.  

 

>Because the Digital Millennium Copyright Act separates the

>circumvention of digital locks from infringement of the copyright of the

>material protected by the locks, makers of digital products have been

>able to lock away public domain materials, using the threat of

>prosecution under the DMCA’s anti-circumvention provisions rather than

>threat of prosecution for copyright infringement.

 

You can threaten anything, with or without justification; but that does not expand the scope of what the statute actually protects.  The act prohibits only circumventing locks that deny access to material that is not in the public domain, which I showed yesterday by quoting the pertinent language.

 

Rare Words in Shakespeare

 

The Shakespeare Conference: SHK 23.044  Thursday, 2 February 2012

 

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

Date:         February 1, 2012 7:51:13 PM EST

Subject:     Rare Words in Shakespeare

 

Does anyone know of an online resource for discovering all the “rare” words (by which I mean words Shakespeare used only once in all his works, such as “palliament” in Titus Andronicus and “aspersion” in The Tempest ) within a given play? My favorite site for checking on Shakespeare’s usage is Open Source, but those nifty programs will only tell me how often the particular word I’m searching was used within the canon.  As far as I know, none of the options will give you a list of all the rare words in any given play. 

 

Thanks!

 

Marie Merkel

 

PIPA/SOPA

 

The Shakespeare Conference: SHK 23.043  Wednesday, 1 February 2012

 

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

Date:         January 31, 2012 6:07:13 PM EST

Subject:     Re: PIPA/SOPA

 

Hardy wants us to keep the SOPA/PIPA stuff strictly relevant to SHAKSPER, so I’ll try to be brief.

 

Larry Weiss thinks that the judgement in “Bridgeman Art Library v. Corel Corp” (1999) only confirmed the existing doctrine about photography rather than changing anything. If that were true, all those libraries (like the Huntington) that asserted copyright on their microfilms of old books were mistaken or were knowingly lying. I suggest that in fact “Bridgeman Art Library v. Corel Corp” came as much as a surprise to them as to everyone else. This ruling is certainly the reason that Wikipedia is able to show images of works in Britain’s National Portrait Gallery even though the gallery objects, and that’s a good thing.

 

Because the Digital Millennium Copyright Act separates the circumvention of digital locks from infringement of the copyright of the material protected by the locks, makers of digital products have been able to lock away public domain materials, using the threat of prosecution under the DMCA’s anti-circumvention provisions rather than threat of prosecution for copyright infringement.

 

Another relevant example: the Henslowe-Alleyn Digitization Project took photographs of the papers at Dulwich College and mounted them on the web. The project claims that the photographs are subject to copyright. It even claims that the original manuscripts from the 16th and 17th centuries are in copyright, which is most odd. The access to the images is severely crippled by the website limiting the size of the ‘window’ one can have upon them. If you zoom in, you can see more detail but the words before and after the word you’re reading are hidden because they fall outside the window. Thus you cannot easily use a screen grab to take a copy of a manuscript image for your own use.

 

If this counts as a digital lock, legislation such as DMCA would criminalize me showing you how to circumvent it, or even telling you how to find out about how to circumvent it.

 

The Henslowe papers are national treasures in the public domain. Even if they were copyrightable, the fact that the Henslowe-Alleyn Digitization Project received public money to do the digitization makes locking up the resulting images a scandal.  The project partners should be ashamed of themselves.

 

I’ll happily tell anybody how to get around that stupid small window that the Henslowe-Alleyn Digitization Project website limits you to, so you’ll be able to see the whole manuscript and take a copy. I’m sticking my neck out here because I think we all need to fight the growing privatization of public goods.

 

Gabriel Egan

 

[Editor’s Note: Moderating is not an easy task. I should have or I could have occur to me all of the time. However, I did draw a line in the proverbial sand yesterday, and I intend to stick to it. Nevertheless, if anyone who care to read two submission to this thread that I have decided not to post, you may click the link below. I will add that I shall not continue to make blow-by-blow responses in the slugfest side available after this time. –Hardy]

 

Cardenio Performance and Conference

 

The Shakespeare Conference: SHK 23.042  Wednesday, 1 February 2012

 

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

Date:         January 31, 2012 5:52:39 PM EST

Subject:     Cardenio Performance and Conference

 

Gary Taylor’s reconstruction of “The History of Cardenio”, the lost play attributed to Fletcher and Shakespeare in 1653, will be performed in Indianapolis April 19-28. It will open IUPUI’s new, state of the art, 248-seat university theatre. I am directing the play, and the cast includes a mix of local professional actors and students. Though an earlier version of the script was performed by students in Wellington, NZ in 2009, and more recently it was given a reading at Shakespeare’s Globe in London in November 2011, the Indianapolis performances will be the first full-scale professional production of Taylor’s text, and the first based on an open audition call. (More information on the production is available here: http://liberalarts.iupui.edu/shakespeare/productions/). This production is part of a remarkable year for “Cardenio fever”: the four hundredth anniversary of the publication of Don Quixote in English has already seen the publication of Tiffany Stern’s provocative essay in Shakespeare Quarterly, which will be followed by the English translation of Roger Chartier’s Cardenio entre Cervantes et Shakespeare, by Barbara Fuchs’ book on Anglo-Spanish literary relationships in Shakespeare’s and Fletcher’s lifetimes, and by OUP’s  forthcoming “The Quest for Cardenio” (http://ukcatalogue.oup.com/product/9780199641819.do). 

 

IUPUI is also hosting an international academic colloquium, in conjunction with these performances, on April 28. Like other events associated with the production, the colloquium is designed to counter the focus on Shakespeare, which has hitherto monopolized most of the discussion. So, the public lecture that will precede the first performance, on 19 April, will be by Steven Wagschal, a Cervantes scholar at Indiana University in Bloomington. Professor Ayanna Thompson (Arizona State) is flying in to give the public lecture on “Shakespeare and Race” on Thursday April 26 (because race is a significant factor in the latest incarnation of Taylor’s reconstruction, and in the Indianapolis casting). The four sessions of the colloquium will be organized around Cervantes, Fletcher, Adaptation, and Performance, in that order. Confirmed participants now include Roger Chartier, Suzanne Gossett, Regina Buccola, Barbara Fuchs, Douglas Lanier, Eduardo Olid, Adam Hooks, Huw Griffiths, and Christopher Hicklin.

 

All colloquium participants will attend the performance on Friday evening, 27 April. Gary Taylor will give a plenary public lecture before that performance, called “Working Together”, which will talk about the way that the play brings together Cervantes, Shakespeare, and Fletcher, as well as himself and the actors and directors he has worked with. There will also be a graduate student conference (with open submissions) on the Friday afternoon—if you have any students working on any of the topics described here, please do encourage them to submit a proposal!

 

If you have questions about the performances, the colloquium, or the graduate student conference, please contact Dr. Sarah Neville (who is Conference Secretary, and an Assistant Editor on the New Oxford Shakespeare) at This email address is being protected from spambots. You need JavaScript enabled to view it.

 

Terri Bourus, Ph.D.

Director and General Editor:

Associate Professor of English Drama

Founding Director: Hoosier Bard Productions

334 N. Senate Ave. Suite GL-B

Indiana University Purdue University Indianapolis

Indianapolis, IN 46204

This email address is being protected from spambots. You need JavaScript enabled to view it.

www.liberalarts.iupui.edu/shakespeare

 

ESRA Shakespeare Conference: Shakespeare and Myth

 

The Shakespeare Conference: SHK 23.041  Wednesday, 1 February 2012

 

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

Date:         February 1, 2012 2:47:24 AM EST

Subject:     ESRA Shakespeare Conference: Shakespeare and Myth

 

ESRA SHAKESPEARE CONFERENCE

SHAKESPEARE AND MYTH

Montpellier (France)

Wednesday 26 - Saturday 29 June 2013

 

Organised by the Institut de Recherche sur la Renaissance, l’âge Classique et les Lumières

(UMR 5186 CNRS, University of Montpellier)

Under the auspices of the Société Française Shakespeare and the European Shakespeare Research Association (ESRA)

 

Conference announcement and call for seminar proposals

 

Conference announcement:

Shakespeare and Myth

 

A shaper of European identity, Greco-Roman mythology has been invoked down the centuries both to glorify and undermine rulers, to uphold or subvert political or social order, and to probe and question issues including those of gender, religion and history. Simultaneously, Europe has been the cradle of classical mythology, which has infused all modes of artistic creation and inspired influential theoretical and critical approaches well beyond the continent’s borders, in the fields of history, literature, psychology and anthropology. In this process, the legacy of Antiquity encountered other European myths (Nordic, Celtic, etc.). Over the past fifty years or so, Europe has increasingly acted as an area of exchanges between its own mythologies, ideas and representations and those of other continents. Today, the continent’s heritage is challenged, refashioned and reconsidered in the light of other cultural forms that reflect an increasing diversity, out of which a new European melting-pot of myths may be emerging that interacts with other cultures in an increasingly globalized world.

 

Within this process, Shakespeare enjoys a privileged position. Like myth, and through classical and other myths, his work “To whom all scenes of Europe homage owe”, is “not of an age, but for all time” and, indeed, places, and has contributed to the building of a continental identity, providing tools to apprehend and comprehend, endorse and critique European history and culture. However, this European Shakespeare is to be taken not as confined to a Eurocentric vision but rather as pushing back boundaries, challenging assumptions and inviting a criss-crossing of perspectives worldwide. Reception and appropriation of his work has also involved its processing through non-European mythological and cultural prisms, drawing attention to, and inviting research into, a plasticity that is akin to the flexibility of myth.

 

Following upon the exploration of Europe’s cultural landscapes and seascapes through Shakespeare’s works at previous conferences of the European Shakespeare Research Association (ESRA), the Montpellier conference proposes a journey into Shakespeare’s kaleidoscopic “Mythscape”.

 

This journey can take three main directions:

  • Myth in Shakespeare: classical mythology pervades the work of Shakespeare and his European contemporaries, like a kind of lingua franca or culturally bonding material; other mythological influences are also present in his work, or may be processed into it through stagings, adaptations or other forms of recreation.
  • Shakespeare as Myth-Maker: Shakespeare has contributed to raise to the status of myth Mediterranean and (other) European locations (including Bohemia, Cyprus, Elsinore, Navarre, Roussillon, Verona, Vienna, as well as Stratford-upon-Avon) and figures (Hamlet, Romeo and Juliet, Desdemona) that have found a place in the collective imagination, alongside classical and legendary places and characters.
  • Shakespeare as Myth: the paradox of his own elusive biography and the universality of his works have contributed to a process whereby Shakespeare himself is at the centre of a myth – his own, and that of all those who claim him as their own, through translation and other forms of appropriation.

Within these three directions, which are neither watertight nor mutually exclusive, the conference invites papers on a wide range of topics that include:

 

Theatre

  • (Re)presenting myth(s) on Shakespearean stages and screens
  • Shakespeare’s mythology as a common ground for, or an obstacle to, understanding and exchange
  • The (ir)relevance of Shakespeare’s mythological references on the contemporary and global stage and screen.
  • Processing Shakespearean performances and performers into “myths”

Translation

  • Shakespeare’s place in the transfer and circulation of classical mythology between Antiquity, the Middle Ages and Renaissance Europe
  • Shakespeare as “translator” of Ovid, Virgil and other classical authors for his time
  • The impact of translation on Shakespeare’s mythological subtext
  • Shakespeare’s “translating” of the politics of Olympus and Rome into a critique of the Elizabethan and Jacobean context
  • “Mythical” translations and/or translators of Shakespeare

Criticism

  • Shakespeare’s place in the transfer and circulation of classical mythology between Antiquity, the Middle Ages and Renaissance Europe
  • Mythography as a key to Shakespeare
  • Iconography in relation to myth, Shakespeare and the visual arts
  • The relevance of classicist scholarship to Shakespeare studies (Claude Calame, Marcel Détienne, Jean-Pierre Vernant, Charles Martindale)
  • Addressing 20th century critical approaches on the relation of Shakespeare and myth (Georges Dumézil, Mircéa Eliade, Claude Lévi-Strauss)
  • Shakespeare’s mythical figures in interdisciplinary studies

Afterlives

  • The “mythologizing” of Shakespeare’s world (characters, places, Stratford-upon-Avon)
  • Representing and receiving the Shakespeare icon in contemporary cultures
  • (Re)fashioning, perpetuating and/or subverting the Shakespearean myth through film, TV and the Internet
  • Shakespeare’s myths as an enduring form of (re)creation
  • Working on and with Shakespeare’s myths in the classroom

Call for seminar proposals ESRA 2013

 

From 26 June to 29 June 2013, the IRCL, under the Auspices of the Société Française Shakespeare, will organise the European Shakespeare Research Association (ESRA) Conference around the theme of “Shakespeare and Myth”

 

Members of ESRA are invited to propose a seminar that they would like to convene on “Shakespeare and Myth”.

 

Proposals of 300-500 words (stating topic, relevance, and approach) should be submitted by 2 or 3 potential convenors who agree to work together.

 

If you have ideas for a seminar, please submit your proposals to:

  • Clara Calvo, ESRA conference liaison officer: This email address is being protected from spambots. You need JavaScript enabled to view it.
  • and to the IRCL organizing committee (Jean-Christophe Mayer, Janice Valls-Russell, Nathalie Vienne-Guerrin) : This email address is being protected from spambots. You need JavaScript enabled to view it.

by 15 March 2012

 

The board of ESRA will make its final choice of seminars in April 2011. By this time, all the convenors will be personally informed of the choices made, and the list of seminars will be made available on the IRCL, the ESRA and the Société Française Shakespeare websites.

 

http://www.ircl.cnrs.fr/

http://www.societefrancaiseshakespeare.org/

http://www.um.es/shakespeare/esra/

 

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