The Shakespeare Conference: SHK 8.0447. Friday, 11 April 1997.
[1] From: Kathryn M. Moncrief <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 17:06:42 -0500 (CDT)
Subj: Religious Biases
[2] From: James Marino <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 11:38:56 -0600
Subj: Re: SHK 8.0437 Qs: Elizabethan Currency
[3] From: Annalisa Castaldo <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 14:55:00 -0400 (EDT)
Subj: Re: SHK 8.0436 Questions with Editor's Notes Attached
[4] From: Pervez Rizvi <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Friday, 11 Apr 1997 09:41:39 +0100
Subj: Monkeys
[1]-----------------------------------------------------------------
From: Kathryn M. Moncrief <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 17:06:42 -0500 (CDT)
Subject: Religious Biases
In reply to Hilary Zunin's question about Shakespeare and religion, I
urge you to check out Huston Diehl's terrific new book *Staging Reform,
Reforming the Stage: Protestantism and Popular Theater in Early Modern
England* that is just available from Cornell UP. Diehl analyzes
tragedies by Kyd, Marlowe, Middleton, Webster, and Shakespeare and
argues that Elizabethan and Jacobean drama is "both a product of the
Protestant Reformation-a reformed drama-and a producer of Protestant
habits of thought-a reforming drama." I especially like her careful
examination of the religious controversies and what relationship they
have to the stage. She makes clear the differences, conflicts and
ruptures within Protestantism; how the dramas appropriate the rhetoric
of Protestantism; and how they rehearse the stresses and changes wrought
by the Reformation. You mentioned a particular interest in *Hamlet*:
Check out chapter 5, "Censoring the Imaginary: The Wittenberg
Tragedies."
Kathryn M. Moncrief
Dept. of English
U of Iowa
[2]-----------------------------------------------------------------
From: James Marino <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 11:38:56 -0600
Subject: 8.0437 Qs: Elizabethan Currency
Comment: Re: SHK 8.0437 Qs: Elizabethan Currency
Alfred Harbage, Shakespeare's Audience, contains a conversion table on
p. 59. if that's not near to hand, Andrew Gurr supplies some
equivalents on pp. 197-199 of the handy text The Shakespearean Stage,
1574-1642.
[3]-----------------------------------------------------------------
From: Annalisa Castaldo <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Thursday, 10 Apr 1997 14:55:00 -0400 (EDT)
Subject: 8.0436 Questions with Editor's Notes Attached
Comment: Re: SHK 8.0436 Questions with Editor's Notes Attached
I saw a production of Pericles in London which did exactly what you are
proposing; kept Glower "onstage" but in the first row of the audience.
Thus his later comments seemed to emerge from the spectators themselves.
I recall it as being very effective (however, it was a very intimate
theater).
Annalisa Castaldo
Temple University
[4]----------------------------------------------------------------
From: Pervez Rizvi <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Friday, 11 Apr 1997 09:41:39 +0100
Subject: Monkeys
I'd like to share the following observation, attributed to Prof. Robert
Wilensky of the University of California at Berkeley:
"We've all heard that a million monkeys banging on a million typewriters
will eventually reproduce the works of Shakespeare. Now, thanks to the
Internet, we know this is not true."