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The Shakespeare Herald--ISE

The Shakespeare Conference: SHK 25.495  Thursday, 11 December 2014

 

From:        Internet Shakespeare Editions < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         Tuesday, December 9, 2014 at 6:33 PM

Subject:    The Shakespeare Herald--ISE

 

http://internetshakespeare.uvic.ca/Foyer/herald/

 

 

The Shakespeare Herald

December 2014

 

Looking backward, and ahead

 

The close of the year is traditionally the time for looking back, and the new year for looking forward. Indeed, January is named after the god Janus, who was traditionally figured with two heads, one looking to the past, one to the future.

 

This issue of The Shakespeare Herald focuses mainly on the future but it also discusses the importance of the past by exploring  some challenges that face the creators of digital content, in ensuring that it is stable and effectively archived. The past is also well represented in the news, as we learn of the discovery of an especially interesting copy of that foundational publication for Shakespeareans, the First Folio (1623).

 

The future looks rosy indeed, as we welcome four distinguished scholars to our team of editors. Drs. Kate McPherson and Kate Moncrief will be spearheading the creation of a new version of our much-visited section of the site on Shakespeare’s Life and Times, and Dr. Kevin Quarmby will assume editorship of the ISE Chronicle—a hub for reviews of current productions of Shakespeare’s plays. Music was a popular component of early drama; we are recognizing its importance in the appointment of Dr. Paul Faber as our first Music Editor. You will also find some entertaining pieces on the omnipresence of Shakespeare in our culture, as we highlight some moments when he, and his works, made news.

 

The future of the ISE as a scholarly, open-access website depends on our Friends of the ISE — those libraries that are contributing to the development of an enduring endowment to ensure continued funding for the development and maintenance of our site. If you are already among our growing list of Friends, we thank you deeply. If you have not yet supported the site, please take a moment to follow some of the links below, and to visit the section of the site that explains the added research tools that our Friends can employ as they visit the site.

 

Check out all this, and more, on our website.

 

• Ruminating on time and the need for archives: a word from the Coordinating Editor

 

• Top scholars to revise the Life and Times section of the site

 

• Kevin Quarmby takes the helm at the ISE Chronicle

 

• Welcome to our regional editors

 

• Introducing Paul Faber, ISE Music Editor

 

 

• Shakespeare in the news:

• The discovery of a copy of the 1623 First Folio

 

• Shakespeare sparks flash mob

 

• An online Magna Carta?

 

• New plays to which Shakespeare may have contributed

• To weep or not to weep

 

• Shakespeare on film

 

• Shakespeare tweeteth

 

 

The Internet Shakespeare Editions is supported by the University of Victoria, the University of Victoria Libraries, Friends of the ISE, and the Social Sciences and Humanities Research Council of Canada.

  

 
 
Shakespeare Studies XLII

The Shakespeare Conference: SHK 25.493  Thursday, 11 December 2014

 

From:        Harry Keyishian < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         December 10, 2014 at 4:21:34 PM EST

Subject:    Shakespeare Studies XLII

 

Fairleigh Dickinson University Press announces the publication of Shakespeare Studies XLII, edited by James R. Siemon and Diana E. Henderson. The issue contains a Forum on Diet and Identity, three articles, two review-articles, and thirteen book reviews. 

 

Forum: Diet and Identity in Shakespeare’s England

 

Introduction, by Kimberly Ann Coles and Gitanjali Shahani

 

Robert Appelbaum,  “’Lawful as Eating’: Art, Life, and Magic in The Winter’s Tale.” 

 

Rebecca Laroche and Jennifer Monroe . “On a Bank of Rue: Or Material Ecofeminist Inquiry and the Garden of Richard II. 

 

Hillary Eklund, “Revolting Diets: Jack Cade’s “Sallet” and the Politics of Hunger in 2 Henry VI. 

 

Ken Albala . “Shakespeare’s Culinary Metaphors: A practical Approach,” 

 

Joan Fitzpatrick . “Diet and Identity in Early Modern Diataries and Shakespeare: The Inflections of Nationality, Gender, Social Rank, and Age.” 

 

Diane Purkiss .  “The Masque of Food: Staging and Banqueting in Shakespeare’s England.” 

 

Barbara Sebek . “’More natural to the nation’: Situating Shakespeare in the ‘Quarelle de Canary.’” 

 

Gitanjali Shahani. “The Spicèd Indian Air in Early Modern England,” 

 

 

Articles

 

Musa Gurnis, “’Most Ignorant of What He’s Most Assured’: The Hermeneutics of Predestination in Measure for Measure. 

 

Leah S. Marcus, “Anti-Conquest and As You Like It.” 

 

Edward Pechter.  “Character Criticism, the Cognitive Turn, and the Problem of Shakespeare Studies.” 

 

 

Review Articles

 

David J. Baker.  “Cash or Credit?”  

 

Karen L. Edwards. “Playing Their Parts: The Stake and Stakeholding Animals.” 

 

 

Book Reviews

 

Jean E. Feerick, Strangers in Blood: Relocating Race in the Renaissance.  Patricia Akhimie

 

Garrett A. Sullivan, Jr., Sleep, Romance, and human Embodiment: Vitality from Spenser to Milton.  Joseph Campana

 

Ronda Arab, Manly Mechanicals on the Early Modern English Stage. Mark Albert Johnston

 

Joseph M. Ortiz, Broken Harmony: Shakespeare and the Politics of Music. Katherine R. Larson

 

Christopher Martin, Constituting Old age in Early Modern English Literature from Queen Elizabeth to King Lear.  Naomi Conn Liebler

 

Katharine Eisaman Maus, Being and Having in Shakespeare. Sandra Logan

 

Rapael Lyne, Shakespeare, Rhetoric and Cognition. Jenny C. Mann

Amy L. Tigner, literature and the Renaissance Garden from Elizabeth I to Charles II: England’s Paradise. Vin Nardizzi

 

Roland Green, Five Words: Critical Semantics in the age of Shakespeare and Cervantes. Karen Newman

 

Sarah Beckwith, Shakespeare and the Grammar of Forgiveness. Matthew J. Smith

 

Sujata Iyengar, Shakespeare’s Medical Language: A Dictionary. Barbara H. Traister

 

Gary Waller, The Virgin Mary in Late Medieval and Early Modern English Literature.  Susan Zimmerman

 

Will Stockton, Playing Dirty: Sexuality and waste in Early Modern Comedy. Adam Zucker.

 

------------------------------

Shakespeare Studies, Vol XLII is $60.00 + $4.95 shipping in the U.S. It may be purchased through: 

 

Associated University Presses
10 Schalks Crossing Road
Suite 501-330
Plainsboro, NJ 08536
Phone - 609-269-8094
Fax - 609-269-8096
E-mail -   This e-mail address is being protected from spambots. You need JavaScript enabled to view it

 

To contact Fairleigh Dickinson University Press, write  This e-mail address is being protected from spambots. You need JavaScript enabled to view it  or visit www.fdupress.org

 

Harry Keyishian 

Director, Fairleigh Dickinson University Press

Professor Emeritus

Department of Literature, Language, Writing, and Philosophy 

Fairleigh Dickinson University

 
 
Gay Bard

The Shakespeare Conference: SHK 25.492  Tuesday, 9 December 2014

 

From:        Ian Steere < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         December 9, 2014 at 7:19:34 AM EST

Subject:    Gay Bard

 

Following my first post in this thread, Hardy offered some random speculations in relation to the Sonnets, then made the following comments (SHAKSPER December 5): 

 

The problem it seems to me is the obvious lack of empirical evidence.

To paraphrase Stephen Booth you are not going to prove any of the above by the sonnets themselves.

 

The second of these observations is in line with my thinking (and that of many). I assume that the comment was aimed at some of the contributors to the original exchange.

 

In response to the first, the principles of probability are well established by empirical evidence. We all apply and accept these principles, consciously or otherwise. For example, it is this concept which underpins some of the generally accepted theories as to Shakespeare’s education and literary sources (for which there is no direct evidence).

 

The way that the principles are applied is, of course, open to challenge. Hardy's SHAKSPER home page carries a replica of the the Cobbe portrait, suggested by some notables to be a depiction of Shakespeare. There is no direct evidence to support the characterization of the portrait. The argument is based on a thin string of inter-dependent probability assumptions (including the assessed likelihood that the portrait was associated with Henry Wriothesley). 

 

By contrast, the argument for the Sonnets as a form of Shakespeare-Wriothesley correspondence is supported by a mass of largely additive (rather than interdependent) associations. The quality of some is remarkable. For example, there survives an address of Wriothesley by Shakespeare which shows peculiar relationship issues and characteristics. These factors (collectively unique in history) are mirrored straightforwardly and with consistency in the poet's Sonnets. Moreover, the argument offers an elegant resolution of other problematic issues: a quality generally associated with successful theories.  

 

If no attention is paid to its substance and surrounds, Hardy's smoking gun will, of course, be difficult to spot. As an offshoot to this line of thought, I suggest that Bob Projansky (SHAKSPER December 6) would have a different perspective on his former girlfriend's poems, if he were aware of comparable evidence contradicting her assertions of their fiction.  

 

[Editor’s Note: Actually my comments were not directed at any of the postings. If so, I probably would have expressed my attitude toward allegorical readings.  –Hardy]

 
 
TLS: Clowning and Authorship

The Shakespeare Conference: SHK 25.491  Tuesday, 9 December 2014

 

From:        Hardy Cook < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:         November 22, 2014 at 10:22:34 AM EST

Subject:    Clowning and Authorship

 

[Editor’s Note:  The past few weeks TLS has had a number of Shakespeare and Early Modern reviews. I will provide excepts here; and if anyone wishes the entire article and does not have access to TLS, please contact me at This e-mail address is being protected from spambots. You need JavaScript enabled to view it . -Hardy]

 

in Early Modern Theatre 

Richard Preiss

295pp. Cambridge University Press. £60. 

978 1 107 03657 4 

 

Traditional accounts of the evolution of English theatre have held the terms “clowning” and “authorship” – the key terms Richard Preiss’s original, sophisticated and deeply researched book – in opposition: as the playwright grew in status (appearing more often on the title pages of printed plays and acquiring greater control over performance), the clown (by nature an extemporizing, uncontrollable figure) grew ever more marginal. The classic example is the split between Will Kemp and Shakespeare’s company around 1600. Hamlet’s advice to the players to “let those that play your clowns speak no more than is set down for them” is seen to mark the triumph of the author over the clown. Preiss’s book complicates this narrative. 

 

He begins by confronting a problem that might stymie his research at the outset: the fact that nearly all evidence of the clown’s activity is by necessity textual. In the printed play, “rebellion is foreclosed: whatever the clown says or does there has, of course, already been absorbed into a text”. Preiss’s solution is to read widely and with acute scepticism. He examines works written by and about famous comic performers (such as Kemp’s Nine Days Wonder, Robert Armin’s Fool upon Fool and Tarlton’s Jests) but also the plays and prose tracts (such as Richard Brome’s The Antipodes and Thomas Dekker’s The Guls Horne-Book) that helped to construct the playwrights’ story of the demise of the clown. Preiss shows that clowns in fact continued to be hugely popular well into the seventeenth century, with Shakespeare’s company itself adopting John Shanke (well known for his jigs) to replace Armin in 1613. The categories of “authorship” and “clowning”, he argues, are less easily separable than the old narrative suggests: comic performers such as Kemp, Armin and William Rowley used print with dexterity, and Jack Tarlton (as he survives to readers) is more a print character than a presence on the stage. 

 

[ . . . ] 

 

Bart van Es 

 
 
Shakespeare First Folio Fates

The Shakespeare Conference: SHK 25.490  Tuesday, 9 December 2014

 

From:         Hardy Cook < This e-mail address is being protected from spambots. You need JavaScript enabled to view it >

Date:          December 9, 2014 at 10:16:23 AM EST

Subject:    The Strange Fates of the Shakespeare First Folio

 

http://theconversation.com/the-strange-fates-of-the-shakespeare-first-folio-34908

 

December 8 2014, 5.59am EST

The strange fates of the Shakespeare First Folio

By Eric Rasmussen

 

The Shakespeare First Folio (1623), the first collected edition of his plays and the sole source for half of them (including Macbeth, Antony & Cleopatra, All’s Well, As You Like It, and The Tempest), is one of the most valuable books in the world: Paul Allen, co-founder of Microsoft, recently paid US$6 million for a copy.

 

The unexpected discovery of a Shakespeare First Folio in the public library of a northern French town has raised questions about how many were originally printed (estimated to be 750), how many still exist (now 233), and how often such books come to light. If recent history is any guide, the answer to the last question appears to be once every six years.

 

In 2002, Lilian Frances Cottle of Tottenham, North London died intestate and a tattered copy of the First Folio was found among her effects. In 2008, an unemployed, self-described ‘fantasist’ named Raymond Scott walked into Washington, D.C.’s Folger Shakespeare Library with a copy that he claimed to have acquired from one of Fidel Castro’s bodyguards. The First Folio in question turned out to have been stolen from Durham University, and the flamboyant Scott – who arrived at his trial in a horse-drawn carriage, dressed in all white, holding a cigar in one hand and a cup of instant noodles in the other, while reciting lines from Shakespeare’s Richard III – was convicted of the theft and imprisoned).

 

And in the most recent discovery, exactly six years later, Remy Cordonnier, a librarian in St. Omer, France, identified a mis-catalogued collection of Shakespeare’s plays as an original First Folio. The book had been housed in the library of the Jesuit College of St. Omer for centuries before being inherited by the town’s public library. But because it was lacking the title-page and had no identifying title on the binding, it had long been assumed that it was a relatively worthless reprint, until Cordonnier took an interest in the volume and called me in to authenticate it.

 

For more than a century, considerable effort has gone into determining how many copies of this rare book still exist. In 1902, the British scholar Sidney Lee published a book – Comedies, Histories, & Tragedies: A Census of Extant Copies – that rightly claimed to be the “first systematic endeavour to ascertain the number and whereabouts of extant original copies of the Shakespeare First Folio.” Lee located 152 copies and was later knighted for his efforts.

 

The tireless legwork of British folio-hunter Anthony James West in the 1990s led to the discovery of 80 more copies. In our 2012 census, The Shakespeare First Folios: A Descriptive Catalogue, West and I gave an extensive account of the 232 copies known at that time, relying whenever possible on firsthand inspections by ourselves or our research associates.

 

Curiously, though, several copies recorded by Lee have disappeared since 1902. During the Great Depression, a copy was filched from Williams College by a New York shoe salesman (who ultimately returned it in a drunken stupor because he was worried that it might fall into the hands of Adolf Hitler). Another copy stolen from Manchester University in 1972 has never been recovered.

 

Although the theft of institutional copies is generally well publicized, a few privately owned First Folios have quietly vanished. Despite two decades of searching, our research team could find no trace of the copy that had belonged to Major-General Frederick Edward Sotheby of Northamptonshire (which had been in the Sotheby family since 1700). The title-page from the copy owned by Ross R. Winans, Esq., of Baltimore somehow found its way into the First Folio now at Carnegie Mellon University, but the Ross folio itself has vanished.

 

The copy owned by Lord Zouche of Parham was sent to the British Museum for safekeeping in 1900, and the librarian confirmed to Sidney Lee that Zouche’s “folio Shakespeare is here with his books of which we are taking care.” They did not, it seems, keep a watchful eye over it: the copy has since gone missing.

 

And six years after Lee published his census, the novelist Thomas Hardy wrote to inform Lee that “Mr [Alfred Cart] de Lafontaine, my neighbour in Dorset, is the fortunate possessor of a 1st Folio Shakespeare, which he would like to show you. Your opinion upon it will be highly valued by him, & of great interest to me.”

 

In 1899, the same Alfred Cart de Lafontaine had given a talk about the recent restoration of his manor to the Dorset Natural History and Antiquarian Field Club. His audience, gathered “under the shade of a fine cedar,” heard Lafontaine detail the work he had done to the house and gardens; he described the long gallery or library, and singled out its two most precious items: “a pair of boots worn by King Charles I when a boy” and “also a very fine folio Shakespeare.”

 

Despite these written records, Lafontaine’s copy has never been traced.

 

So while the discovery of the St. Omer copy has added to the number of known copies, one can only regret that at least a half-dozen have somehow slipped through our fingers.

 

Then again, there’s always the chance that six years from now, one of them will turn up.

 
 
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