Paul Werstine CURRICULUM VITAE Education UNIVERSITIES
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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
Othello, Colin Powell, and Post-Racial Anachronisms
Othello, Colin Powell, and Post-Racial Anachronisms KYLE G RADY If progressive people, most of whom were white, could so blindly reproduce a version of the status quo and not “see” it, the thought of how racial politics would be played out “outside” this arena was horrifying. — bell hooks1 NWRITINGO THELLO, SHAKESPEARE PROFOUNDLY COMPLICATES ITS I OSTENSIBLE SOURCE, CINTHIO’ S G LI H ECATOMMITHI.This complex- ity is crafted through various additions and, as Coleridge famously observed, key subtractions.2 Removing Iago’s obvious motives, for example, develops a more mercurial and complicated villain, while also amplifying the senselessness of the final tragedy. In Cinthio’s tale, there is a satisfying denouement in which we learn that “all these events were told” by one “who knew the facts.”3 Shakespeare replaces this certitude with loose ends. Iago, the key to better grasping the play’s outcome, is resolutely uncommunicative once implicated, telling his accusers “What you know, you know. / From this time forth I never will speak word.”4 And, in what reads as a final longing for the clarity denied to the play, Othello voices an intractable charge: “Speak of me as I am” (5.2.351). As the drama’s lively critical afterlife demonstrates, there is a three-dimension- ality to Othello that thwarts attempts to fully meet this request. For their insight, I am sincerely grateful to the participants of the 2015 Shakespeare Association of America seminar “Early Modern Race / Ethnic / Diaspora Studies,” especially the seminar leaders, Kim F. Hall and Peter Erickson. Many thanks are also due to Michael Schoenfeldt and Valerie Traub for their generous feedback on this essay. -
AN EXAMINATION of PLAYS in MANUSCRIPT ET ME Begin by Stating As Clearly As I Can the Purpose L.4 of This Exploratory Study
TEXTUAL DEGENERATION OF ELlZABETHAN AND STUART PLAYS: AN EXAMINATION OF PLAYS IN MANUSCRIPT ET ME begin by stating as clearly as I can the purpose l.4 of this exploratory study. It has seemed to me that in accounting for variation among Elizabethan and post-Eliza- bethan dramatic texts too little weight has been given to the activities of prompters and actors as compared with those of printers and copyists. According to R. B. McKerrow and Evelyn Albright,l the incompetence of printers has been greatly exaggerated, and the defense they offer seems sound and just, and, as for copyists, they seem, as a class, to have been the most efficient of those who worked on plays. On the other hand, the conditions of play production, now, in the Elizabethan age and in general, are such as not only to pro- voke alteration of texts but to necessitate it. The simplest in- vestigation of the history of Shakespeare on the stage (and on the screen) will reveal habitual and not infrequently vio- Ient modifications of his texts and even of his intentions. A visit to a production lot will convince any visitor that the pro- ducer feels free to alter the script without any reference to the author or what he has written. I remember a conversa- tion in 1908 with Eugene Walter, whose Paid in Full was then en uogue, and of hearing him describe without the least of- fense, indeed with pride, the great changes made in his play when it was produced on Broadway, Stage aIterations are and have been since the Elizabethan age and before the merest commonplace and by no means inconsiderable. -
The First Quarto of Othello Edited by Scott Mcmillin Excerpt More Information
Cambridge University Press 978-0-521-61594-5 - The First Quarto of Othello Edited by Scott McMillin Excerpt More information [] Introduction INTRODUCTION The textual problem Othello remains a textual mystery. Not published at all for nearly twenty years after its first recorded performance, then published twice within the space of approximately a year, the Quarto of and the Folio of ( and hereafter) present the same play in the same order of events, even the same order of speeches for the most part, yet the texts differ from one another on thousands of points. Some of these differences are prominent. Each text lacks some lines present in the other. Most noticeably, has about lines which does not, with some of the -only passages running ten or twenty lines. But it is the thousands of tiny differences which form the heart of the mystery. One can make reasonable surmises as to why does without parcels of dialogue present in , but why should use scores of commas and colons where uses periods, or dozens of contractions where uses uncontracted forms, or hundreds of perfectly good words where uses other perfectly good words? Here is Emilia in , refusing to hold her tongue at . –: Em. ’Twill out, ’twill: I hold my peace sir, no, I’le be in speaking, liberall as the ayre, Here is the version: Emil. ’Twill out, ’twill out. I peace? No, I will speake as liberall as the North; As Greg remarked, an essay could be written about these lines, but the first question about the two versions is why should they differ in such numerous and trifling ways. -
Performing Prayer in Shakespeare's Sonnets
Access Provided by Harvard University at 01/28/13 5:08PM GMT Love’s Rites: Performing Prayer in Shakespeare’s Sonnets R H - Iaddressed to the beloved in Shakespeare’s Sonnets, the poet defends what seems like a penchant for rewriting the same poem over and over. Against the implicit accusations of his beloved, the poet compares his apologia in Sonnet 108 to a kind of spoken prayer, a highly ritualized and publicly performed devo- tional gesture: like prayers diuine, I must each day say ore the very same, Counting no old thing old, thou mine, I thine Euen as when first I hallowed thy faire name. (108.5–8)1 Echoing the beloved’s doubts, he asks whether repeated words have the capacity to express the depth of his love: “What’s new to speake, what now to register, / 6at may expresse my loue, or thy deare merit?” (ll. 3–4). 6ese questions have bothered more than just the poet’s friend. Generations of critics of the Sonnets have shared the beloved’s concern over the repetitive nature of the sequence’s devotional tropes, finding that the blandness of senti- ment betrays a desire that expresses itself “monotheistically, monogamously, monosyllabically, and monotonously.”2 Moreover, the Sonnets’ references to litur- I thank my colleagues at the Renaissance Colloquium at Harvard University for their responses to an earlier version of this essay. In particular, Misha Teramura offered valuable insight about my historical treatment of the antitheatrical tradition. Stephen Greenblatt read a later version of the manuscript in its entirety and clarified and strengthened my argument. -
Hamlet on the Screen Prof
Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting. -
Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(S): Judiana Lawrence Source: Shakespeare Quarterly, Vol
George Washington University The Shakespeare Association of America, Inc. Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(s): Judiana Lawrence Source: Shakespeare Quarterly, Vol. 35, No. 4 (Winter, 1984), pp. 440-460 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2870163 Accessed: 11-08-2016 14:56 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. George Washington University, The Shakespeare Association of America, Inc., The Johns Hopkins University Press, Folger Shakespeare Library are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly This content downloaded from 66.171.203.97 on Thu, 11 Aug 2016 14:56:57 UTC All use subject to http://about.jstor.org/terms Natural Bonds and Artistic Coherence in the Ending of Cymbe line JUDIANA LAWRENCE YMBELINE, THOUGH ONE OF THE FINEST OF Shakespeare's later plays now on the stage, goes to pieces in the last act": thus George Bernard Shaw justifies his decision to provide a rewritten fifth act for the 1945 pro- duction of the play at the Shakespeare -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-71397-9 - How to Read a Shakespearean Play Text Eugene Giddens Index More information Index accidental, 32, 44, 47, 100, 101, 116, 144 Brown, Arthur, 105, 149 act and scene divisions, 77–80 Brown, John Russell, 148, 150 advertisements, 12, 97 Buc, Sir George, 17 Alcorn, Thomas, 35 Burbage, Richard, 27 Allde, Edward, 40, 134 Burre, Walter, 61 Arden Shakespeare, 4, 50, 102, 112, 117, 149, 154, Burt, Richard, 13, 18 159, 160, 161, 164, 165, 167 Butter, Nathaniel, 62 arguments, 75 Armin, Robert, 27 Cambises, 72 Aspley, William, 27, 61, 97 Cambridge School Shakespeare, 167 Cambridge University Library, 143 bad quartos, 23–5, 49 Campion, Thomas Barton, Anne, 163 Masque at Lord Hay’s Marriage, 72 Bate, Jonathan, 109, 112, 154, 163, 167 Capell, Edward, 161 Beaumont, Francis, 9, 12, 18, 23, 33, 35, 39, 41, capitalisation, 81, 85, 88, 93, 107, 140 66, 69, 147, 150, 152 Carson, Christie, 171 Beaumont, Francis and John Fletcher Carson, Neil, 8, 9, 10, 35 Wild Goose Chase, 18 casting off, 41, 42, 89, 90, 133, 134 Beaumont, Francis, John Fletcher, and Philip catchwords, 96, 124–5, 151 Massinger chainlines, 137–8 Beggar’s Bush, 62 Chamberlain’s Men, 27, 29, 58 Benson, John, 19 Chapman, George, 9, 65 Berger, Thomas L., 160 Chettle, Henry, 14, 18 Bertram, Paul, 102 Clare, Janet, 16, 17 Best, Michael, 170 collation, 121–3 beta radiography, 135 collation line, 151, 160–4 Bevington, David, 81, 151, 158, 162, 164 collation, stop-press correction, 142–5 Blackfriars Theatre, 27 colophons, 97 black-letter, 86 composing stick, 43, 133 Blayney, Peter W. -
Mucedorus and the Birth of Merlin at the Los Angeles Globe
368 SHAKESPEARE QUARTERLY with the attitudes of the other male characters in the production. The tribunes, Sicinius and Junius Brutus, were urban hustlers who confidently sported fashionable walking sticks, d la 1890s, when it seemed apparent that Marcius had lost his bid for power against them. In the final scene the envelope containing the terms for peace between Rome and the Volsces was refused and silently returned to the briefcase in which it was delivered. War would continue, as would the irrational forces that shape such conflicts, with or without proud and unresponsive leaders like Marcius. His life was given a wider perspective in this final, silent moment with the envelope, a perspective in which neither his guilt nor Downloaded from https://academic.oup.com/sq/article/41/3/368/5085016 by guest on 29 September 2021 our affection really figured. Peace is finally out of Marcius's hands, carried instead by the unseen and unspoken forces that have controlled people and events throughout history. Mucedorus and The Birth of Merlin at the Los Angeles Globe JOSEPH H. STODDER The plan of Globe Playhouse producers R. Thad Taylor and Jay Uhley to perform the fifteen most noteworthy of the apocryphal plays is continuing, but they are being offered at a slower pace than had originally been intended. After a promising beginning (Sir Thomas More in 1984, then seven plays between July 1985 and March 19871), the Globe was confronted by the restrictions imposed by the new Actors' Equity Association rules. The Los Angeles Theatre Plan of October 1988 removed the equity waiver (a release permitting low-budget houses to function without paying directors, actors, and crews) under which small theatres such as the Globe had been operating. -
Shakespeare Apocrypha” Peter Kirwan
The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C. -
An Introduction to William Shakespeare's First Folio
An Introduction to William Shakespeare’s First Folio By Ruth Hazel Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. 2 Brush up your Shakespeare The comic gangsters in Kiss Me Kate, Cole Porter’s 1948 musical based on Shakespeare’s The Taming of the Shrew, offer Shakespeare’s poetry – by which they actually mean his plays – as a guaranteed way to a woman’s heart: quoting Shakespeare will impress her and be a sure-fire aphrodisiac. Today, Shakespeare has become a supreme icon of Western European high culture, which is ironic since in his own day Shakespeare’s craft – jobbing playwright – was not a well-regarded one. Indeed, those who wrote plays to entertain the ‘groundlings’ (as the people who paid just one penny to stand in the open yard round the stage in public playhouses were called) were often considered little better than the actors themselves – who, in their turn, were only one level up, in the minds of Puritan moralists, from whores. Shakespeare himself did not seem eager to advertise authorship of his plays by seeing them into print, and when some of his plays were printed, in the handy quarto-sized editions for individual consumption, his name was not always on the title page. (The terms ‘folio’ and ‘quarto’ refer to the size of the pages in a book: in a Folio, each sheet of paper was folded just once, with a page height of approx. -
VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S.