scholarly journals Film and the Uncanny, Shakespeare Making Possible Things Not so Held, Communicating with Dreams

Sederi ◽  
2011 ◽  
pp. 49-70
Author(s):  
Martin Orkin
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Literary Text ◽  
Pedro Almodovar ◽  
The Uncanny ◽  
Art Form ◽  
Cinematic Experience ◽  
Film Texts ◽  
Point Of Departure

This essay supports the view that present day cinema as an art form in its own right – rather than film always as adaptation of a literary text – provides an additional pedagogic and comparative opportunity for the analysis of aspects of Shakespeare’s early modern texts. The essay takes as point of departure aspects of the uncanny as evoked in the cinematic experience. It then focuses upon aspects of experience and growth, as well as upon problems attached to language and narrativity as these are explored both in film-texts by Pedro Almodóvar and by Eytan Fox, and also in plays by William Shakespeare.

Scribal Repertoires in Egypt from the New Kingdom to the Early Islamic Period

2018 ◽  
Keyword(s):  
Early Modern ◽  
Point Of View ◽  
Late Antique ◽  
Historical Sociolinguistics ◽  
Islamic Period ◽  
The People ◽  
Modern Egypt ◽  
Early Islamic Period ◽  
Early Islamic ◽  
Point Of Departure

This volume deals with the possibility of glimpsing pre-modern and early modern Egyptian scribes, the people who actually produced ancient documents, through the ways in which they organized and wrote those documents. Breaking with the traditional conception of variation in scribal texts as ‘free’ or indicative of ‘corruption’, this volume reconceptualizes scribal variation in pre-modern Egypt from the point of view of contemporary historical sociolinguistics, seeing scribes as agents embedded in particular geographical, temporal, and sociocultural environments. This volume comprises a set of studies of scribal variation, beginning from the well-established domain of scribal variation in pre-modern English as a methodological point of departure, and proceeding to studies of scribal variation spanning thousands of years, from Pharaonic to Late Antique and Islamic Egypt. This volume introduces to Egyptology concepts such as scribal communities, networks, and repertoires, and applies them to a variety of phenomena, including features of lexicon, grammar, orthography, palaeography, layout, and format.

Doubtful Readers

2020 ◽  
Author(s):  
Erin A. McCarthy
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
English Literature ◽  
John Donne ◽  
Early Modern England ◽  
Aemilia Lanyer ◽  
Quantitative Evidence ◽  
Early Modern Poetry ◽  
Literary Histories ◽  
Over Time

Doubtful Readers: Print, Poetry, and the Reading Public in Early Modern England focuses on early modern publishers’ efforts to identify and accommodate new readers of verse that had previously been restricted to particular social networks in manuscript. Focusing on the period between the maturing of the market for printed English literature in the 1590s and the emergence of the professional poet following the Restoration, this study shows that poetry was shaped by—and itself shaped—strong print publication traditions. By reading printed editions of poems by William Shakespeare, Aemilia Lanyer, John Donne, and others, this book shows how publishers negotiated genre, gender, social access, reputation, literary knowledge, and the value of English literature itself. It uses literary, historical, bibliographical, and quantitative evidence to show how publishers’ strategies changed over time. Ultimately, Doubtful Readers argues that although—or perhaps because—publishers’ interpretive and editorial efforts are often elided in studies of early modern poetry, their interventions have had an enduring impact on our canons, texts, and literary histories.

The Oxford Handbook of Shakespeare and Dance

2019 ◽  
Keyword(s):  
Seventeenth Century ◽  
William Shakespeare ◽  
Early Modern ◽  
Reference Point ◽  
The Body ◽  
Single Source ◽  
Dance Studies ◽  
Disciplinary Field ◽  
The Relationship ◽  
Integral Feature

The Oxford Handbook of Shakespeare and Dance is the first collection of essays to examine the relationship between William Shakespeare and dance. Despite recent academic interest in movement, materiality, and the body—and the growth of dance studies as a disciplinary field—Shakespeare’s employment of dance as both a theatrical device and thematic reference point remains under-studied. The reimagining of his writing as dance works is also neglected as a subject for research. Alan Brissenden’s 1981 Shakespeare and the Dance remains the seminal text for those interested in early modern dancing and its appearances within Shakespearean drama, but this new volume provides a single source of reference for dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement.

Seeking the historical listener

Early Music ◽  
2020 ◽  
Author(s):  
Steven Plank
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Performance Practice ◽  
Affective Response ◽  
Source Material ◽  
Elizabeth I ◽  
Male Gaze ◽  
Queen Elizabeth I ◽  
Focus Questions ◽  
Robert Herrick

Abstract This article considers questions relating to the performance practice of listening to music in early modern contexts. The evidence of paintings by Pieter Lastman, Gerard ter Borch and Hendrik Sorgh, poetry by Robert Herrick, William Shakespeare and Edmund Waller, and accounts of performances by Francesco da Milano, Nicola Matteis and Queen Elizabeth I all help to bring into focus questions of attentiveness, affective response and analogical understanding. The source material also interestingly raises the possibility of occasionally understanding the act of listening within a frame of erotic relationship modelled on Laura Mulvey’s well-known concept of the ‘male gaze’.

Et fast greb i rebet – om Claras levede erfaringer som nycirkus artistelev

2012 ◽  
Vol 3 (2) ◽  
pp. 24-37
Author(s):  
Stine Degerbøl
Keyword(s):  
Lived Experiences ◽  
Learning Processes ◽  
Pedagogical Practice ◽  
Educational Settings ◽  
Youth Education ◽  
Art Form ◽  
Point Of Departure

Abstract The article concerns the lived experiences of Clara practicing to become a contemporary circus artist. Clara’s narratives reflect contemporary circus as a movement pedagogical practice in relation to theories about aesthetic learning and in relation to the aims of a circus performer education in Copenhagen, Denmark. Furthermore her narratives provide a discussion of educational settings on the fringe of ordinary youth education. Firstly contemporary circus is presented as a counterculture to the traditional circus and secondly it describes how the development of contemporary circus as an art form influenced the establishment of contemporary circus schools. Body phenomenology and narrativity are the main theoretical and methodological inspirations for reflections about aesthetic learning processes taking point of departure in Clara as a case.

scholarly journals Cinematic Equivalence in Subtitling: A Case Study of the Biographical Drama Forever Enthralled

2020 ◽  
Vol 4 (2) ◽  
pp. p1
Author(s):  
Kenny Wang ◽  
Chong Han
Keyword(s):  
Conceptual Model ◽  
Target Language ◽  
Dynamic Equivalence ◽  
Source Language ◽  
Cinematic Experience ◽  
Biographical Film ◽  
Point Of Departure

We propose in this paper a conceptual model of how equivalence may be achieved in subtitling to allow the target language viewers the opportunity to enjoy a comparable cinematic experience as that enjoyed by the source language viewers. We follow Brock’s (2015) adaptation of Goffman’s (1981) participation framework in communication and take Nida’s (1964) Dynamic Equivalence as the point of departure to propose Cinematic Equivalence as the conceptual model as well as the aim of film subtitling. This model is illustrated by examining the English subtitles of a Chinese biographical film called Forever Enthralled (?????). Based on our conceptual model, we make suggestions for subtitling training and practice.

Last Acts

2019 ◽  
Author(s):  
Maggie Vinter
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Recent Work ◽  
Ben Jonson ◽  
Christopher Marlowe ◽  
The Political ◽  
Giorgio Agamben ◽  
Economic Management ◽  
Life And Death ◽  
Art Of Dying

Last Acts: The Art of Dying on the Early Modern Stage argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grieving than as an action to be performed, well or badly. Active deaths belie the narratives of helplessness and loss most often used to analyze representations of mortality and instead suggest ways that marginalized and constrained subjects might participate in the political, social, and economic management of life. Some of these strategies for dying resonate with ecclesiastical forms or with descriptions of biopolitics within the recent work of Giorgio Agamben and Roberto Esposito. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by writers including Christopher Marlowe, William Shakespeare, and Ben Jonson alongside both devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

Survivors of Witch Trials and the Quest for Justice in Early Modern Germany

2020 ◽  
Vol 50 (2) ◽  
pp. 349-375
Author(s):  
Daniel Jütte
Keyword(s):  
Early Modern ◽  
Left Behind ◽  
Modern Germany ◽  
Court Of Justice ◽  
Witch Trials ◽  
The Social ◽  
Death Sentences ◽  
Witch Hunts ◽  
Witchcraft Trials ◽  
Point Of Departure

This article explores the trauma that early modern witchcraft trials inflicted on survivors and their communities. The point of departure is the case of Margareth Los, a widow accused of witchcraft in 1520s Württemberg. Subjected to brutal torture, Los was acquitted provisionally after three years in jail. Remarkably, she had the strength to produce an account of her ordeal and to bring her case before the highest court of justice in the Empire. The historical literature on witch trials has long been polarized by the quest for the most “accurate” death tolls. However, the social cost of witch hunts cannot be assessed by the number of death sentences alone. As Los’s case illustrates, witch hunts often had inconclusive outcomes, leaving the accused in a legal limbo that could last for years or even decades. Only one outcome was always the same: witch trials left behind a population of uprooted, dispossessed, and traumatized individuals.

On the relation between types and tokens in literary text

1972 ◽  
Vol 9 (3) ◽  
pp. 507-518 ◽  
Author(s):  
Barron Brainerd
Keyword(s):  
William Shakespeare ◽  
Markov Process ◽  
Stochastic Models ◽  
Present Note ◽  
Transition Probabilities ◽  
Literary Text ◽  
Birth Type

The ratio of the number Xn of different words (types) in a text of length n (token) words to n has received considerable attention in the literature of statistical linguistics. The present note contains two stochastic models for Xn based on an inhomogeneous discrete Markov process of the pure birth type where the transition probabilities take certain forms depending only upon n. These models are then tested against data obtained from the plays of William Shakespeare.

I. Portraits

2004 ◽  
Vol 34 ◽  
pp. 5-28
Keyword(s):  
Art History ◽  
Classical Antiquity ◽  
Roman Art ◽  
Roman World ◽  
Art Form ◽  
Roman Coins ◽  
Country Houses ◽  
The Subject ◽  
Point Of Departure ◽  
As If

Portraiture is among the most obvious legacies of classical antiquity. Roman busts of rulers and private individuals, sculpted in marble or occasionally cast in bronze, are the frequent inhabitants of museums and country houses. Imposing portrait-statues survive in great numbers, albeit frequently missing some of their extremities. We also have many smaller and more subtle images like those carved in gems and semiprecious stones, and, of course, the heads on Roman coins whose influence on the design of modern money is still obvious. The very custom of modern portraiture itself is, broadly speaking, derived from Rome, though it is easy to take it for granted as if it were an obvious or universal art-form. The Roman world was truly crowded with portraits. They are the subject of intense study and interesting debate. As such they present a useful point of departure for this survey of Roman art history.

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