De Shakespeare: Titus Andronicus Como Ejemplo
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Arxiv:1610.05670V2 [Cs.CL] 3 Aug 2017
Stylometric Analysis of Early Modern Period English Plays Mark Eisen1, Santiago Segarra2, Gabriel Egan3, and Alejandro Ribeiro1 1Dept. of Electrical and Systems Engineering, University of Pennsylvania, Philadelphia, USA 2Inst. for Data, Systems, and Society, Massachusetts Institute of Technology, Cambridge, USA 3School of Humanities, De Montfort University, Leicester, UK Editor: Abstract Function word adjacency networks (WANs) are used to study the authorship of plays from the Early Modern English period. In these networks, nodes are function words and directed edges between two nodes represent the relative frequency of directed co-appearance of the two words. For every analyzed play, a WAN is constructed and these are aggregated to generate author profile networks. We first study the similarity of writing styles between Early English playwrights by comparing the profile WANs. The accuracy of using WANs for authorship attribution is then demonstrated by attributing known plays among six popular play- wrights. Moreover, the WAN method is shown to outperform other frequency-based methods on attributing Early English plays. In addition, WANs are shown to be reliable classifiers even when attributing collaborative plays. For several plays of disputed co-authorship, a deeper analysis is performed by attributing every act and scene separately, in which we both corroborate existing breakdowns and provide evidence of new assignments. 1 Introduction Stylometry involves the quantitative analysis of a text’s linguistic features in order to gain further insight into its underlying elements, such as authorship or genre. Along with common uses in digital forensics (De Vel et al., 2001; Stamatatos, 2009) and plagiarism detection (Meuschke and Gipp, 2013), stylometry has also become the primary method for evaluating authorship disputes in historical texts, such as the Federalist papers arXiv:1610.05670v2 [cs.CL] 3 Aug 2017 (Mosteller and Wallace, 1964; Holmes and Forsyth, 1995) and the Mormon scripture (Holmes, 1992), in a field called authorship attribution. -
Departament De Filologia Anglesa I Alemanya
DEPARTAMENT DE FILOLOGIA ANGLESA I ALEMANYA PROPUESTA METODOLÓGICA PARA UNA EDICIÓN CRÍTICA EN FORMATO DIGITAL DE SHAKESPEARE: TITUS ANDRONICUS COMO EJEMPLO. JOSE FRANCISCO SAIZ MOLINA UNIVERSITAT DE VALÈNCIA Servei de Publicacions 2010 Aquesta Tesi Doctoral va ser presentada a València el dia 6 de juliol de 2010 davant un tribunal format per: - Dr. Miguel Ángel Conejero Tomás Dionís-Bayer - Dr. Cándido Pérez Gállego - Dra. Pilar Ezpeleta Piorno - Dra. Laura Monrós Gaspar - Dr. Juan Vicente Martínez Luciano Va ser dirigida per: Dr. Vicente Forés López ©Copyright: Servei de Publicacions Jose Francisco Saiz Molina Dipòsit legal: V-3433-2011 I.S.B.N.: 978-84-370-7980-6 Edita: Universitat de València Servei de Publicacions C/ Arts Gràfiques, 13 baix 46010 València Spain Telèfon:(0034)963864115 PROPUESTA METODOLÓGICA PARA UNA EDICIÓN CRÍTICA EN FORMATO DIGITAL DE Shakespeare: Titus Andronicus COMO EJEMPLO TESIS DOCTORAL Departamento de Filología Inglesa y Alemana Facultad de Filología, Traducción y Comunicación Presentada por: JOSÉ SAIZ MOLINA Dirigida por: DR.VICENTE FORÉS LÓPEZ Valencia, Mayo 2010 Copyright °c 2010, José Saiz Molina Valencia PROPUESTA METODOLÓGICA PARA UNA EDICIÓN CRÍTICA EN FORMATO DIGITAL DE Shakespeare: Titus Andronicus COMO EJEMPLO por José Saiz Molina Tesis Doctoral Presentada en el Departamento de Filología Inglesa de la Facultad de Filología, Traducción y Comunicación como parte de los requerimientos para la obtención del título de Doctor en Filología Universidad de Valencia Mayo 2010 iv El Dr. Vicente Forés López, como director del trabajo de investigación realizado por el doctorando Don José Saiz Molina, certifica que el presente documento es la versión última y definitiva de la tesis titulada: Propuesta metodológica para una edición crítica en formato digital de Shakespeare: Titus Andronicus como ejemplo. -
From the Publication of the First Volumes in the General Editor of The
Cambridge University Press 978-0-521-29404-1 — Timon of Athens William Shakespeare , Edited by Karl Klein Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE Brian Gibbons A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From to the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. TIMON OF ATHENS KarlKlein’seditionofTimonofAthensintroducesShakespeare’splayasacomplexexploration of a corrupt, moneyed society, and Klein sees the protagonist not as a failed tragic hero, but as a rich and philanthropic nobleman, surrounded by greed and sycophancy, who is forced to recognisetheinherentdestructivenessoftheAtheniansocietyfromwhichheretreatsindisgust and rage. Klein establishes Timon as one of Shakespeare’s late works, arguing, contrary to recent academic views, that evidence for other authors besides Shakespeare is inconclusive. The edition argues that the play is neither tragedy, satire nor comedy, but a subtle and complete drama whose main characters contain elements of all three genres. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-29404-1 — Timon of Athens William Shakespeare , Edited by Karl Klein Frontmatter More Information THE NEW CAMBRIDGE SHAKESPEARE All’s Well That Ends Well, edited by Russell Fraser Antony and Cleopatra, -
Printing Identities: Studies in Social Bibliography and Social
PRINTING IDENTITIES: STUDIES IN SOCIAL BIBLIOGRAPHY AND SOCIAL NETWORKS IN EARLY MODERN ENGLAND’S PRINT CULTURE by WARD RISVOLD (Under the Direction of Fredric Dolezal) ABSTRACT Over the last century scholars have privileged the “author” or have privileged the text, when trying to interpret the meaning of a literary artifact. Even more historically minded scholars have tended to focus on the context or the cultural milieu surrounding the author or a text, but scholars rarely consider the semiotic value of the printers and the booksellers listed on a title page. My dissertation addresses this absence in literary scholarship by examining the relationships or social networks that connect the printed artifacts to the people involved in their production. My argument asserts that early modern English writers, printers, and booksellers often shared ideological beliefs and that these shared beliefs can tell us something about the text they produced. My method combines traditional archival research with the technology used in Social Network Analysis. By running large databases, such as Early English Books Online, English Short Title Catalogue, and the Oxford Dictionary of National Biography, through social network software, my research was able to visualize large and small social networks that might otherwise go unnoticed when using traditional methods. My dissertation avers that the printer of a text matters to our understanding of the literary work. For instance, I argue that Edmund Spenser employs Hugh Singleton, a known radical Protestant and Marian exile, to print the Shepheardes Calender, because Spenser wants to align himself with the Protestant faction with whom Singleton is associated. Through an examination of Singleton’s network, a much more politically radical poem begins to emerge. -
Shakespeare Resources
Shakespeare Resources The Plays Sometimes it may seem that we are swimming in a veritable ocean of different versions of the works of William Shakespeare. Indeed, the proliferation of editions in the past fifty years has been staggering, and the general reader or actor may be baffled about which edition to purchase. Here’s my general recommendation: buy one of the more recent one-volume editions, such as The Riverside Shakespeare or The Norton Shakespeare, as a basic reference. Both of these editions have good notes, as well as strong supplementary material. You’re pretty safe with any of the editions listed below, though the Globe is obviously outdated at this point, and the one-volume Arden and Oxford editions – as opposed to the individual play editions in the Arden and Oxford series – have virtually no support material. Then, when you require more in-depth textual notes and associated scholarly material to supplement the reading or analysis of individual plays, consult individual volumes from the well-known series of individual plays listed below. My personal recommendations for actors and directors are the Everyman series, the Arden series (look for the Third Series when available), and the Oxford or Cambridge single-volume series, which have gotten much stronger and more competitive with the Arden series in recent years. One-Volume Editions of the Collected Works The Globe Shakespeare, edited by William George Clark and William Aldis Wright, 1864. This famous edition was itself a derivative of Clark and Wright’s multi-volume Cambridge edition published between 1863 and 1866. The publisher Macmillan repackaged Clark and Wright’s text, dispensing with their intricate textual collation notes, reducing the edition to a single volume, and repricing it for the mass market where for many years it stood as the standard compact Shakespeare, offering a plain text of all the works with a glossary at the end of the volume. -
Michael Drayton's Poly-Olbion
UNIVERSITÀ DEGLI STUDI DI PADOVA Dipartimento di Lingue e Letterature Anglo-Germaniche Scuola di Dottorato di Ricerca: Scienze Linguistiche, Filologiche e Letterarie Indirizzo: Anglistica Ciclo: XXII MICHAEL DRAYTON'S POLY-OLBION: A STUDY IN PERSPECTIVE Direttore della Scuola: Ch.ma Prof.ssa Paola Benincà Supervisore: Ch.mo Prof. Mario Melchionda Dottoranda: Sara Trevisan Abstract (English) This dissertation provides a study of Michael Drayton’s Poly-Olbion (1612; 1622), a loco-descriptive poem divided into two parts consisting of eigh- teen and twelve Songs, respectively, each one being prefaced by an engraved map. The verse describes the topography of the English and Welsh counties and the historical feats that took place in the locations in question: the ”narrators” are local landscape features, such as woodlands, forests, mountains and valleys, but mainly rivers. In the first part only, each Song closes with a learned prose commentary by the antiquarian John Selden. The study’s purpose is to highlight the position Poly-Olbion held in the network of seventeenth-century and subsequent English literature and culture. It aims to bring together the fragmentary criticism and literary influence of the poem into a coherent view leading to a joint analysis of its contents and the history of its reception. It thus reveals, on the basis of a large amount of information, the interaction of synchronic and diachronic perspectives in order to discuss the poem’s matter in the light of contemporary and later criticism, and vice versa. The reasons for the many ever-shifting opinions on Poly-Olbion are related both to the times and modes of composition and to its content. -
Stylometric Analysis of Early Modern Period English Plays
1 Stylometric Analysis of Early Modern Period English Plays Santiago Segarra,1, Mark Eisen1, Gabriel Egan2, and Alejandro Ribeiro1 1Dept. of Electrical and Systems Engineering,, University of Pennsylvania, Philadelphia, USA 2School of Humanities,, De Montfort University, Leicester, UK Abstract—Function word adjacency networks (WANs) are used common over the past few decades. The premier work done in to study the authorship of plays from the Early Modern English evaluating authorship in Early Modern era drama includes the period. In these networks, nodes are function words and directed work of MacDonald P. Jackson [11], [12], Brian Vickers [13], edges between two nodes represent the likelihood of ordered co-appearance of the two words. For every analyzed play a and Hugh Craig and Arthur Kinney [14], each of whom studied WAN is constructed and these are aggregated to generate author the works of Shakespeare and his contemporaries extensively profile networks. We first study the similarity of writing styles using computational stylometry techniques. between Early English playwrights by comparing the profile The techniques used in authorship attribution began almost WANs. The accuracy of using WANs for authorship attribution a century ago by examining sentence lengths in texts to is then demonstrated by attributing known plays among six popular playwrights. This high classification power is then used determine authorship [15]. In [4], stylometric analysis first to investigate the authorship of anonymous plays. Moreover, began to consider function words as important stylistic mark- WANs are shown to be reliable classifiers even when attributing ers, producing unprecedent results. As such, function words collaborative plays. For several plays of disputed co-authorship, a have continued to be common in analysis techniques [16], deeper analysis is performed by attributing every act and scene [17] due to their context independence and universal usage separately, in which we both corroborate existing breakdowns and provide evidence of new assignments. -
The Printed Lute Song: a Textual and Paratextual Study of Early Modern English Song Books
The Printed Lute Song: A Textual and Paratextual Study of Early Modern English Song Books Michelle Lynn Oswell A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music Chapel Hill 2009 Approved by: John Nádas Timothy Carter James Haar Anne MacNeil Severine Neff © 2009 Michelle Lynn Oswell All Rights Reserved ii Abstract Michelle Lynn Oswell: The Printed Lute Song: A Textual and Paratextual Study of Early Modern English Song Books (Under the direction of John Nádas) The English lute song book of the late sixteenth and early seventeenth centuries represents a short-lived but well-admired flowering of English printed music. Situated between the birth of music printing in Italy at the turn of the sixteenth century and the rise of music printer John Playford in England in the 1650s, the printed lute song book’s style quite closely resembles the poetic miscellanies of the time. They were printed in folio and table book format rather than quarto-sized and in part books, their title pages often used elaborately-carved borders, and their prefatory material included letters rich with symbolism. Basing my work on the analyses of paratexts done by Gérard Genette and Michael Saenger, I examine the English printed lute song book from 1597-1622 as a book in and of itself. While there has been a fair amount of research done on the lute song as a genre and on some individual composers, which I discuss in the introduction, comparably little discussion of the books’ paratexts exists. -
William Shakespeare E Il Senso Del Comico
Università degli studi di Napoli “L’Orientale” William Shakespeare e il senso del comico a cura di Simonetta de Filippis NAPOLI 2019 Volume pubblicato con il contributo del Dipartimento di Studi Lette- rari, Linguistici e Comparati e del Rettorato dell’Università degli studi di Napoli “L’Orientale” Il volume è pubblicato con licenza Creative Commons Attribution 4.0 In- ternational CC BY-NC-ND ISBN: 978-88-6719-180-2 Impaginazione e photo editing: Officine Grafico-Editoriali d’Ateneo “Il Torcoliere” Università degli studi di Napoli “L’Orientale” - Napoli 2019 A Fernando Ferrara indimenticato maestro esempio di rigore e di dedizione Indice Presentazione Letture del comico SIMONETTA DE FILIPPIS ............................................................................................................ 9 1. Il senso del comico Shakespeare e il senso del comico. La commedia come terreno di sperimentazione SIMONETTA DE FILIPPIS .......................................................................................................... 21 Il comico shakespeariano tra ambivalenza e mutevolezza LAURA DI MICHELE .................................................................................................................. 41 Il comico come controdiscorso del senso LORENZO MANGO ...................................................................................................................... 65 2. I modi del comico La commedia radicale The Merchant of Venice: la libbra di carne, l’anello di Leah e l’ideologia mercantile ANNA MARIA CIMITILE.......................................................................................................... -
Introduction to Scholarly Editing
INTRODUCTION TO SCHOLARLY EDITING Seminar Syllabus G. THOMAS TANSELLE ! Syllabus for English/Comparative Literature G4011 Columbia University ! Charlottesville B O O K A R T S P R E S S University of Virginia 2002 This page is from a document available in full at http://www.rarebookschool.org/tanselle/ Eighteenth revision, 2002 Copyright © 2002 by G. Thomas Tanselle Copies of this syllabus are available for $20 postpaid from: Book Arts Press Box 400103, University of Virginia Charlottesville, VA 22904-4103 Telephone 434-924-8851 C Fax 434-924-8824 Email <[email protected]> C Website <www.rarebookschool.org> Copies of a companion booklet, Introduction to Bibliography: Seminar Syllabus, are available for $25 from the same address. This page is from a document available in full at http://www.rarebookschool.org/tanselle/ CONTENTS Preface • 9-10 Part 1. Selected Introductory Readings • 11-22 Part 2. A Concise Selection from the Literature of Textual Criticism • 23-35 Part 3. Some Writings on Spelling, Punctuation, and Other Visual Aspects of Texts • 37-45 Part 4. Examples of Editions and Editorial Manuals • 47-51 Part 5. Some Noteworthy Reviews of Scholarly Editions • 53-59 APPENDIX: THE LITERATURE OF TEXTUAL CRITICISM AND SCHOLARLY EDITING Part 6. Writings on Editing Pre-Renaissance Texts • 61-88 Part 7. Writings on Editing Post-Medieval Texts • 89-142 Part 8. Writings on the Use of Computers in Editing • 143-53 Part 9. Writings on Analytical Bibliography • 155-254 Subject Index (Parts 1-5 and 9) • 255-57 A more detailed outline of the contents is provided on the next four pages. -
'An Ancient Tale New Told' Shakespeare's Use of Folk- AND
‘An ancient tale new told’ Shakespeare’s use of folk- and Fairy Tales as Sources for his Plays Submitted by Ciara Rawnsley BA (Hons) This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities The University of Western Australia Crawley, WA 6009 Australia August 2013 ABSTRACT hakespeare drew inspiration for his plays from a wealth of different sources, but the ones usually discussed are in written, literary forms which are still accessible: the chronicles of Holinshed and Plutarch’s The Lives of the Noble Greeks and Romans, Ovid’s Metamorphoses and popular romance, Italian novelle pre-eminently. What has long been neglected, however, is the abundance of traditional oral stories in circulation during Shakespeare’s youth: folk- and fairy tales in particular. This thesis aims to identify and explore Shakespeare’s reliance on this major, though largely unrecorded, well of inspiration, and argues that the playwright made frequent use of folktale plotlines, motifs, and figures in his plays, often superimposing several folk stories in one drama. This may partly explain why Shakespeare has so often been adapted for children, by writers from Charles and Mary Lamb to the present day. The thesis proposes, moreover, that Shakespeare not only drew on the narrative patterns and plots of folktales, but that he also utilised the powerful but latent emotional subtexts such tales encode. This is particularly evident in All’s Well That Ends Well and Cymbeline, the two plays discussed in detail, which have proved theatrically effective but have always puzzled critics, arguably because their links with folktales have not been investigated. -
Introduction to Bibliography
INTRODUCTION TO BIBLIOGRAPHY Seminar Syllabus G. THOMAS TANSELLE ! Syllabus for English/Comparative Literature G4010 Columbia University ! Charlottesville B O O K A R T S P R E S S University of Virginia 2002 This page is from a document available in full at http://www.rarebookschool.org/tanselle/ Nineteenth revision, 2002 Copyright © 2002 by G. Thomas Tanselle Copies of this syllabus are available for $25 postpaid from: Book Arts Press Box 400103, University of Virginia Charlottesville, VA 22904-4103 Telephone 434-924-8851 C Fax 434-924-8824 Email <[email protected]> C Website <www.rarebookschool.org> Copies of a companion booklet, Introduction to Scholarly Editing: Seminar Syllabus, are available for $20 from the same address. This page is from a document available in full at http://www.rarebookschool.org/tanselle/ CONTENTS Preface • 10 Part 1. The Scope and History of Bibliography and Allied Fields • 13-100 Part 2. Bibliographical Reference Works and Journals • 101-25 Part 3. Printing and Publishing History • 127-66 Part 4. Descriptive Bibliography • 167-80 Part 5. Paper • 181-93 Part 6. Typography, Ink, and Book Design • 195-224 Part 7. Illustration • 225-36 Part 8. Binding • 237-53 Part 9. Analytical Bibliography • 255-365 Subject Index • 367-70 A more detailed outline of the contents is provided on the next six pages. This page is from a document available in full at http://www.rarebookschool.org/tanselle/ 4 Tanselle: Introduction to Bibliography (2002) OUTLINE OF CONTENTS 1. The Scope and History of Bibliography and Allied Fields A. Selected Basic Readings (pages 13-14) B.