========================================================================= Date: Sat, 1 Jan 1994 12:14:04 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0001 New Year's Greetings Shakespeare Electronic Conference, Vol. 5, No. 0001. January, 1, 1994. From: Hardy M. Cook Date: Saturday, January 1, 1994 Subject: New Year's Greetings Dear SHAKSPEReans, I wish you all the best for this New Year. Much has happened on this conference in 1993, and we have much to look forward to in 1994. SHAKSPER was founded on July 16, 1990, by Ken Steele and a group of thirteen or so interested Shakespeareans (including myself), many of whom had met at the 1990 Annual Meeting of the Shakespeare Association of America in Philadelphia. I became SHAKSPER's coeditor in February 1992 and editor in June of 1992. Despite the July founding date, our year begins with January 1, so we are now entering our fifth year as the above header indicates. One of the things that has happened to SHAKSPER this past year is that it has grown. We currently have 462 members from Australia, Brazil, Denmark, France, Germany, Great Britain, Ireland, Israel, Italy, Japan, Korea, New Zealand, South Africa, Switzerland, Taiwan, Canada and the United States. The SHAKSPER FileServer contains a file -- SHAKSPER MEMBERS -- that lists all of SHAKSPER's member in alphabetical order by node. I will send in a moment that file out to all our members. It is essentially a directory of the membership and can be used to search for the e-mail address of any of SHAKSPER's members. If you are interested in learning more about our members, you can examine the Biography files. If you would like to get copies of all the SHAKSPER Member Biographies, you should send a one-line mail message (without a subject line) to LISTSERV@utoronto.bitnet, reading "GET BIOGRAFY PACKAGE SHAKSPER." The second major SHAKSPERean happening of 1993 was the quality and the amount of the discussions. In 1993, there were 978 digests, and these digests generally contained contributions of many members. To give you an idea of how much was discussed this year, here are the numbers for our past three years: in 1990, there were 142 digests; in 1991, 336; in 1992, 407. Something is clearly happening here. The FileSever also contains files recounting our past discussions. Yesterday, I brought the 1994 Index up-to-date. If you would be interested in obtaining a copy, send a one-line mail message to LISTSERV@utoronto.bitnet, reading "GET DISCUSS INDEX_4 SHAKSPER." I have been delighted with SHAKSPER in 1993, and I look with great anticipation to our discussions of 1994. I know full well that it is the membership that makes SHAKSPER the interesting community it is. Currently, we are Shakespearean textual scholars and bibliographers, editors and critics, but we are also professors and high school teachers, undergraduate and graduate students, actors, poets, playwrights, theatre professionals, librarians, computer scientists, and interested bystanders. This variety is essential to the success of this conference. Again, best wishes for the New Year to you all. Hardy M. Cook Editor of SHAKSPER ========================================================================= Date: Sat, 1 Jan 1994 12:18:39 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0002 The SHAKSPER Membership List Shakespeare Electronic Conference, Vol. 5, No. 0002. Saturday, 1 January 1994. From: Hardy M. Cook Date: Saturday, January 1, 1994 Subject: The SHAKSPER Membership List Shakespeare Electronic Conference -- Members 1/1/94 SOLLER.LARRY@a1.pc.maricopa.edu Larry S. Soller EGAX0020@AC.DAL.CA Julie Traves EGAX0021@AC.DAL.CA Christine Stoddard ilion@AC.DAL.CA Joanne Merriam lilith@AC.DAL.CA Debra Power mafeking@AC.DAL.CA Sean Lawrence pcone@AC.DAL.CA Michael Steven Kohn aaziz@ACAD.BRYANT.EDU Afdhel Aziz jtjbm@ACAD1.ALASKA.EDU Jan Maas ftlss@ACAD3.ALASKA.EDU Linda Shenk alan.young@ACADIAU.CA Alan R. Young banks@ACFCLUSTER.NYU.EDU Andrew Banks lupo@ACFCLUSTER.NYU.EDU Grady Matthew Lupo nqb1621@ACFCLUSTER.NYU.EDU Nava Bromberger PEACOCK@ACFCLUSTER.NYU.EDU Kenneth J. Peacock wongr@ACFCLUSTER.NYU.EDU Raphael Wong sbennett@ACS.UCALGARY.CA Susan Bennett riggio@ADS.TRINCOLL.EDU Milla Riggio bfkelly@AFTERLIFE.NCSC.MIL Blair Kelly R1AMF@AKRONVM Antonia Forster R1NR@AKRONVM Nicholas Ranson FFJL@ALASKA Janis Lull CCRUPI@ALBION Charles Crupi PJL02@ALBANYDH2 Patrick J. Lawlor srwelch@ALEX.STKATE.EDU Susan Welch OTTENHOFF@ALMA.EDU John Ottenhoff M_WILLIAMS@am.atd.cra.com.au Mark Williams HDCHICKERING@AMHERST Howell D. Chickering gziegler@AMHERST.EDU Georgianna Ziegler jerager@AMHERST.EDU John Rager BERSON@anagram.com Thomas A. Berson kmccoy@ANDY.BGSU.EDU Kenneth McCoy nmyers@ANDY.BGSU.EDU Norman J. Myers rshield@ANDY.BGSU.EDU Ronald E. Shields strophius@AOL.COM Rick Jones LIEBLER@APOLLO.MONTCLAIR.EDU Naomi Liebler traherne@ARIEL.UCS.UNIMELB.EDU.AU Richard D. Jordan ATJXB@ASUVM.INRE.ASU.EDU Jean R. Brink psdlit@ATHENA.MIT.EDU Peter S. Donaldson koelke@ATSS.CALSTATELA.EDU Kent Oelke RELIHAN@AUDUCVAX Constance C. Relihan green@AUGSBURG.EDU Douglas Green ENYOUNGBERG@AUGUSTANA.EDU Karin Youngberg cohen@AUVAX1.ADELPHI.EDU Lance Cohen lpotter@BACH.UDEL.EDU Lois D. Potter UDLE031@BAY.CC.KCL.AC.UK Stephen Roy Miller BB07873@BINGVAXA Christopher T. Dill SOLON@BEACH.CSULB.EDU Todd Allaria SCHALK@beattie.uct.ac.za David Schalkwyk bennett@BINAH.CC.BRANDEIS.EDU Alexandra G. Bennett lav@BINAH.CC.BRANDEIS.EDU John Lavagnino HMCook@BOE00.MINC.UMD.EDU Hardy M. Cook civic@BOSSHOG.ARTS.UWO.CA Chris Ivic ekelemen@BRAHMS.UDEL.EDU Erick R. Kelemen jhalio@BRAHMS.UDEL.EDU Jay L. Halio PVASILE@BRAHMS.UDEL.EDU Pamela A. Vasile ELAINE@BROWNVM.BROWN.EDU Elaine Brennan JPETER@BUCKNELL.EDU Jean Peterson QUARK@BUCSF.BU.EDU Paul Fu, Jr. cdaly@CA.DCU.IE Charlie Daly campionj@CAB.MRS.UMN.EDU Jeremiah Campion EMER@CALVIN.EDU Cheryl Forbes wderoche@CAP.GWU.EDU William DeRoche ckendall@CARL.ORG Chris Kendall cfrey@CARSON.U.WASHINGTON.EDU Charles H. Frey IDA@CASBAH.ACNS.NWU.EDU Michael P. Ida mwarren@CATS.UCSC.EDU Michael Warren s148880@CC.GETTYSBURG.EDU Mary S. Johnson tblackb1@CC.SWARTHMORE.EDU Tom Blackburn bonniem@CC1.UCA.EDU Bonnie Melchior jlynch@CCAT.SAS.UPENN.EDU John Lynch PRACKIN@CCAT.SAS.UPENN.EDU Phyllis Rackin SABINSON@CCVAX.UNICAMP.BR Eric M. Sabinson cannonw@CENTRAL.EDU Walter W. Cannon RMOYER@charlie.usd.edu Ronald L. Moyer ejc@CHEM.UCLA.EDU Eddie Carrington IAN_B@chemcrys.ca.ac.uk Ian Bruno whiter@CITADEL.EDU Robert A. White du821@CLEVELAND.FREENET.EDU George Diez tcbowden@CLOVIS.FELTON.CA.US Tim Bowden rmburns@CMS.CC.WAYNE.EDU Robert M. Burns JWHITE@CMSUVMB D. Jerry White leosborn@COLBY.EDU Laurie E. Osborne 100013.1162@COMPUSERVE.COM Philip Ormond 71222.472@COMPUSERVE.COM Douglas Rutledge 74166.3213@COMPUSERVE.COM Edna Zwick Boris 76645.3610@COMPUSERVE.COM Beverly Jacobson gchew@CONGO.NCSA.UIUC.EDU Gregory Chew LHT@CORNELLA.CIT.CORNELL.EDU Nate Johnson JOSEPH_R_SCOTESES@cpsnet2.cps.edu Joseph Scoteses jrichard@CS-ACAD-LAN.LAKEHEADU.CA John Michael Richardson BOLSEN@CS.UMR.EDU Brian Olsen dunne-bob@CS.YALE.EDU Bob Dunne 94dota@CUA.EDU Gabrielle Lynne Dota MCCARTHY@CUAVAXA William J. McCarthy EHPEARLMAN@CUDENVER E.H. Pearlman ldf2@CUNIXA.CC.COLUMBIA.EDU Leah D. Frank SURCC@CUNYVM Steven Urkowitz BOSS@CWIS.UNOMAHA.EDU Judith E. Boss Michael.Clark@CYBER.WIDENER.EDU Michael Clark r1rmz@dax.cc.uakron.edu Ra'eda Zietoon denning@DECUS.ORG Bill Denning HAYNESR@delphi.com Robert Haynes TERRYPUNDIAK@delphi.com Terry Pundiak MUNKELT@DMSWWU1A Marga Munkelt JAE@DRYCAS Jae Walker hardin_aasand@DSU1.DSU.NODAK.EDU Hardin Aasand D.C.Greer@DURHAM.AC.UK David C. Greer ocoreng@DURRAS.ANU.EDU.AU Robert F. O'Connor milleraa@DUVM.OCS.DREXEL.EDU Amy Miller cinnamon@EAGLE.MIT.EDU Sharon Cinnamon drummond@EAGLE.SANGAMON.EDU Shelli Drummond mcfad@ELEARN.EDU.YORKU.CA David W. McFadden katy@ENG.SUN.COM Katy Dickinson ian@EPAS.UTORONTO.CA Ian Lancashire jgerstel@EPAS.UTORONTO.CA Jena Gerstel KWEST@EPAS.UTORONTO.CA Katherine West lthomson@EPAS.UTORONTO.CA Leslie Thomson pcolling@EPAS.UTORONTO.CA Philip Collington pseary@EPAS.UTORONTO.CA Peter Seary WARKENT@EPAS.UTORONTO.CA Germaine Warkentin rose@ESKIMO.COM Rose McManus jpollard@EWU.EDU Jacqueline Anne Pollard asponberg@EXODUS.VALPO.EDU Arvid F. Sponberg jpaul@EXODUS.VALPO.EDU John Steven Paul gaojeng@FAC.ANU.EDU.AU Jie Gao DLG8X@FARADAY.CLAS.VIRGINIA.EDU David L. Gants ifm5u@FARADAY.CLAS.VIRGINIA.EDU Ian F. Macinnes jll6f@FARADAY.CLAS.VIRGINIA.EDU Joseph Lawrence Lyle LHB6V@FARADAY.CLAS.VIRGINIA.EDU Laura Hayes Burchard WIT_AKH@flo.org Anthony Korotko Hatch stevem@FMCD27.NSC.COM Steve Metsker jd1@FORTH.STIRLING.AC.UK John Drakakis ELI16@FRMOP22 Centre d'Etudes Elisabethaines jaym@SED.STEL.COM Jay Minnix eliason@GACVX1.GAC.EDU Eric Eliason fister@GACVX1.GAC.EDU Barbara Fister RASTLEY@GALLUA Russell Astley dudaj%union.decnet@GAR.UNION.EDU Jean Graca NYHOFF@GARNET.BERKELEY.EDU Jeffrey L. Nyhoff e.palmer@GENIE.GEIS.COM Emily Palmer scharris@GIBBS.OIT.UNC.EDU Susan Harris srquick@GIBBS.OIT.UNC.EDU Sterling Quick john.c.mucci@GTE.SPRINT.COM John C. Mucci gale0011@GOLD.TC.UMN.EDU Richard Gale owen0041@GOLD.TC.UMN.EDU Norman Owens enriquezj@GUVAX Jon Enriquez schaefej@GUVAX James F. Schaefer NEUMAN@GUVAX.GEORGETOWN.EDU Michael Neuman WILDER@GUVAX.GEORGETOWN.EDU Jim Wilderotter LIDH@GUVM Todd M. Lidh dweller@GVSU.EDU Ronald Dwelle DAGRIER@GWUVM.GWU.EDU David Alan Grier JORDAN@HARVARDA.HARVARD.EDU Nancy S. Reinhardt M.CONRICK@hbs.gu.edu.au Michael Conrick cranem/en@HERMES.BC.EDU Mary Thomas Crane DORENKAMP@HLYCROSS John H. Dorenkamp HWHALL@HLYCROSS Helen Whall jbc4m@HOLMES.ACC.VIRGINIA.EDU John B. Carr COX@HOPE John D. Cox rrCJ511695@HOPE James Calahan EMERSON@HOPE.CIT.HOPE.EDU Derek Emerson merians@HP800.LASALLE.EDU Linda E. Merians ENGMIK@HUM.AAU.DK Michael Skovmand 21798RAR@IBM.CL.MSU.EDU Randal Robinson rww@IBUKI.COM Richard Weyhrauch bont@IEEEPUB.ORG Tom Bontrager mavx@IF1.UFRGS.ANRS.BR Marta Ramos Oliveria S3CALLAH@ILSTU James Callahan MATROJN@INDSVAX1.INDSTATE.EDU Brian L. Fane ARASLEY@INDYVAX Alicia Rasley IWKI500@INDYVAX.IUPUI.EDU Dawn Wilhite whitel@IRIS.UNCG.EDU Laurie White edelnantj@ISCSVAX.UNI.EDU Jay Edelnant FRIEDMANM1@jaguar.uofs.edu Michael Friedman LOUGHLIN@jane.cs.fredonia.edu Tom Loughlin ZAROBILA@JCVAXA.JCU.EDU Charles Zarobila scottp@JESTER.USASK.CA Peter Scott maura@JHUNIX.HCF.JHU.EDU Maura LoMonico FAC_AMIL@JMUVAX Ann E. Miller STU_PALO@JMUVAX1 Paul A. Lord alc@JOE.ALB.EDU Al Cacicedo payers@KEAN.UCS.MUN.CA Peter Ayers DKOVACS@KENTVM.KENT.EDU Diane Kovacs sreid@KENTVM.KENT.EDU S. Reid g.beattie@KILO.UWS.EDU.AU Gordon Beattie JONGSOOK@KRSNUCC1 Jongsook Lee ANTHONY@KRSOGANG Anthony Teague ENGXW878@KSUVXA.KENT.EDU Cassandra Whittington enjg@KUDU.RU.AC.ZA John Gouws jbangham@KUDZU.WIN.NET Jerald Bangham NEURINGER@KUHUB.CC.UKANS.EDU Charles Neuringer LJ#4@LAFAYACS James Lusardi SI#0@LAFAYACS Ian Smith SJ#3@LAFAYACS June Schlueter WS#1@LAFAYACS Suzanne R. Westfall SCHNEIDB@LAWRENCE Ben Ross Schneider, Jr. dh05@LEHIGH.EDU David Hawkes orgel@LELAND.STANFORD.EDU Stephen Orgel NOVELLI@LEMOYNE Cornelius Novelli celineg@LIB.RPSLMC.EDU Celine T. Gura swearingen@LIBLAN.UAMS.EDU David Swearingen pgallagh@LIFE.JSC.NASA.GOV Patricia E. Gallagher STDNCOGA@LMUACAD Steven S. Vrooman STDNTVQA@LMUACAD Danielle Stagg nwalker@LYNX.DAC.NORTHEASTERN.EDU Nina Walker jason.stokes@M.CC.UTAH.EDU Jason Stokes Thomas.H.Luxon@MAC.DARTMOUTH.EDU Tom Luxon tmartin@MACE.CC.PURDUE.EDU Thomas L. Martin geuridge@MAGNUS.ACS.OHIO-STATE.EDU Gareth Euridge jrogers@MAGNUS.ACS.OHIO-STATE.EDU Judith K. Rogers ncouch@MAGUS.ACS.OHIO-STATE.EDU Nena Couch nmiller@MAGNUS.ACD.OHIO-STATE.EDU Nancy W. Miller achapman@MAIL.SAS.UPENN.EDU Alison Chapman dpacheco@MATH.MACALSTR.EDU David Pacheco carnegie@matai.vuw.ac.nz David Carnegie MC9628@MCLINK.IT Franceso Sforza 0003786240@MCIMAIL.COM Vinton G. Cerf 0003963467@MCIMAIL.COM Edward Dotson 0006155953@MCIMAIL.COM Eric Baum 0006382926@MCIMAIL.COM Jeff Zinn ifcj211@MCL.CC.UTEXAS.EDU William Gelber HAMMOND@MCMAIL.CIS.MCMASTER.CA Anthony Hammond moylek@MCMAIL.CIS.MCMASTER.CA Kenneth Moyle OSTOVICH@MCMAIL.CIS.MCMASTER.CA Helen Ostovich davist@MERCURY.UMIS.UPENN.EDU Tad Davis CENG@merlin.hood.edu Cora Louise Eng 924lindsey@MERLIN.NLU.EDU Mary-Katie Lindsey dcollins@MICRO.WCMO.EDU David G. Collins DIANAH@MIDD Dianah E. Henderson sethg@MIKI.LCS.MIT.EDU Seth Gordon callum@MINERVA.CIS.YALE.EDU Robert Callum smithsb@MINERVA.CIS.YALE.EDU Shawn Smith C562611@MIZZOU1 Woody Hood C619263@MIZZOU1.MISSOURI.EDU Grover Smittle JOHNST67@MMC Donald Johnson krothwel@MOOSE.UVM.EDU Kenneth S. Rothwell lschnell@MOOSE.UVM.EDU Lisa Schnell pneal@MOOSE.UVM.EDU Patrick Neal coline@MORGAN.UCS.MUN.CA John M. Edgecombe gjones@MORGAN.UCS.MUN.CA Gordon Jones lvecchi@MORGAN.UCS.MUN.CA Linda Vecchi katetens@MSU.EDU Kristan Tetens LEWIS@MSUS1.MSUS.EDU Piers Lewis urwmullin@MSUVX1.MEMST.EDU Robert W. Mullin kay.stockholder@MTSG.UBC.CA Kay Stockholder LSEAMANS@mu2.millersv.edu Lynne Seamans B7HL@MUSICB.MCGILL.CA Marc Plamondon BB7M@MUSICB.MCGILL.CA Hirsh Schipper BHFF@MUSICB.MCGILL.CA Stacy Derezinski IN45@MUSICB.MCGILL.CA Ann M. Cox mlomonico@NASSTRACT.NYUED.FRED.ORG Mike LoMonico DIVHMF1@NCCVAX.WVNET.EDU Terry Ann Craig H594@NEMOMUS Tonya Kreuger LL61@NEMOMUS Arnold Preussner ijkern@NETCOM.COM Iver Kern IZZYOM8@mvs.oac.ucla.edu Tom Davey sandona@NIMUE.HOOD.EDU Mark Sandona TB0DJK9@NIU David J. Knauer TB0WPW1@NIU William Proctor Williams TJ0AJS1@NIU Anne J. Spencer JURBAN@NORDEN1.COM Joseph Urban MarinMueller@NWU.EDU Martin Mueller neuhaus@NWZ.UNI-MUENSTER.DE H. J. Neuhaus dkodmur@OCF.BERKELEY.EDU Daniel Kodmur FGORFAIN@OCVAXA.CC.OBERLIN.EDU Phyllis Gorfain mr_ca_cbu@OHIO.GOV Charleton B. Underwood s.a.rae@OPEN.AC.UK Simon Rae JFORSE@opie.bgsu.edu James H. Forse CEDELMAN@orca.saas.ac.cowan.edu.au Charles Edelman kychin@OREAD.CC.UKANS.EDU Kung-yu Chin jch@OREGON.UOREGON.EDU John Harrison flail@OWLNET.RICE.EDU John Salisbury FLANNAGA@OUACCVMB Roy Flannagan lsfoll@PCAD-ML.ACTX.EDU Scott Foll tehodges@PCAD-ML.ACTX.EDU Thomas E. Hodges sinowitz@PILOT.NJIN.NET Jonah Sinowitz BXP7@PO.CWRU.EDU Brain Pedaci PDJ2@PO.CWRU.EDU Peter D. Junger TGB2@PO.CWRU.EDU Thomas G. Bishop traister@POBOX.UPENN.EDU Daniel Traister ZKELLOGG@PORTLAND Zip Kellogg rabrams@PORTLAND.MAINE.EDU Rick Abrams EN02@PRIMEB.DUNDEE.AC.UK R.J.C. Watt p00968@PSILINK.COM Martin Green BCJ@PSUVM Kevin Berland SAS14@PSUVM.PSU.EDU Stephen A. Schrum SHERSHOW@PUB2.BU.EDU Scott Shershow GODOT@PURCCVM Shawn Smith 3NDS3@QUCDN.QUEENSU.CA David Slonosky BURKE@RCKHRST1 Robert R. Burke abuttery@RCNVMS.RCN.MASS.EDU Amy Buttery rebecca@REALITY.SAS.UPENN.EDU Rebecca W. Bushnell Knapp@REED.EDU Robert S. Knapp SKURA@RICEVM1.RICE.EDU Meredith Anne Skura AXNNCE@RITVAX.ISC.RIT.EDU Tony Naturale SDMGLA@RITVAX.ISC.RIT.EDU Stanley D. McKenzie MOH@RNB.DTC.HP.COM David Moh EJMASO@ROOT.INDSTATE.EDU Tom Derrick rlstrick@RS6000.CMP.ILSTU.EDU Ronald Strickland TOM@SAILFISH.CSE.FAU.EDU Thomas Horton cmazer@SAS.UPENN.EDU Cary M. Mazer jodonnel@SAS.UPENN.EDU James O'Donnell jsaeger@SAS.UPENN.EDU James P. Saeger swerner@SAS.UPENN.EDU Sarah Werner budra@SFU.CA Paul Budra hudgens@SILVER.SDSMT.EDU Michael Thomas Hudgens GR4302@SIUCVMB Jeff Taylor GA0708@SIUCVMB.SIU.EDU Herbert S. Donow CLARY@SMCVAX F. Nicholas Clary knowles@smhs.cutler.com Denis Knowles SHAKESPR@SMITH SHAKSPEReans at Smith BSAJDAK@SMITH.SMITH.EDU Bruce T. Sajdak MACDONALD@SMITH.SMITH.EDU Ron Macdonald FEINMAN@SNYBKSAC Richard Feinman WOLF@SNYCORVA Janet S. Wolf KLIMANB@SNYFARVA Bernice W. Kliman HOLBERMA@SNYPOTVA Stanley M. Holberg mjmiller@SPARTAN.AC.BROCKU.CA Mary Jane Miller jmassa@SPONSORED-PROG-PO.DSP.UIOWA.EDU John S. Massa widmann@SPOT.COLORADO.EDU R L Widmann kille001@STAFF.TC.UMN.EDU Tony Killeen HF.CHL@STANFORD Charles R. Lyons mckeague@STAT.FSU.EDU Ian McKeague pinnow@STOLAF.EDU Timothy Dayne Pinnow IRWINKE@STORM.CS.ORST.EDU Keith Irwin dondiego@STUDNET.MSU.EDU Catherine Don Diego katiyret@STUDENT.MSU.EDU Ryan Latourette mdaaron@STUDENTS.WISC.EDU Melissa D. Aaron EBEDGERT@SUADMIN Ellen Edgerton willaims_r@SUNYBROOME.EDU Roberta Williams flfm@SUNYIT.EDU Louis Mazzucco marjorie@SUN490.FDU.EDU Harry Keyishian marjorie@SUN490.FDU.EDU Marjorie Keyishian KELARSON@SUVM Kenneth E. Larson LDDENNO@SUVM Kathryn Barbour CR06@SWTEXAS Clifford J. Ronan WKEMP@S850.MWC.EDU William Kemp HAWKES@taff.cardiff.ac.uk Terence Hawkes HNISHINO@tanset.cc.u-tokyo.ac.jp Haruo Nishinoh ROBITAI@tarleton.edu Marilyn Robitaille ETRIB@TEMPLEVM Evelyn Tribble MELISSAA@TENET.EDU Melissa McMillian-Cunningham JAMESS@tiger.hsc.edu James Schiffer abartisc@TIGGER.STCLOUD.MSUS.EDU Caesarea Abartis andersonj@TIGGER.STCLOUD.MSUS.EDU James B. Anderson jhibbard@TIGGER.STCLOUD.MSUS.EDU Jack H. Hibbard HTHIMMESH@tiny.computing.csbsju.edu Hilary D. Thimmesh dglassco@TRENTU.CA David Glassco wug@TRITON.DSTO.GOV.AU Wolf Getto saup@TROI.CC.ROCHESTER.EDU Karen Saupe zurko@TUXEDO.ENET.DEC.COM Mary Ellen Zurko SCUT024@TWNMOE10 David Steelman fld@U.WASHINGTON.EDU Leo Daugherty flevy@U.WASHINGTON.EDU Fritz Levy hoblitj@U.WASHINGTON.EDU Jason Edward Hoblit suburton@U.WASHINGTON.EDU M. S. Burton u63495@UICVM.UIC.EDU Michael Dobson mgaray@UOFT02.UTOLEDO.EDU Michael Garay V428HA6E@UBVMS Geoffrey T. Wilson V181HKZP@ubvms.cc.buffalo.edu Tracey Sedinger godshawl@UCBEH.SAN.UC.EDU William Leigh Godshalk mckennji@UCBEH.SAN.UC.EDU James McKenna proehl@UCIS.VILL.EDU Geoffrey Proehl ccaagie@UCL.AC.UK Gabriel Egan noraj@UCLINK.BERKLEY.EDU Nora M. Johnson HASENFRA@UCONNVM Bob Hasenfratz JACOBUS@UCONNVM Lee A. Jacobus hyulee@UCS.INDIANA.EDU Hyun Seok Lee JANEY@UCS.INDIANA.EDU John T. Aney cdesmet@UGA.CC.UGA.EDU Christy Desmet fteague@UGA.CC.UGA.EDU Fran Teague pstewart@UGA.CC.UGA.EDU Patricia Stewart omalley@UHUNIX.UHCC.HAWAII.EDU Lurana O'Malley csp07321@UKANVM Cheryl Pace RWILLIS@UKANVAX Ron Willis ENG013@ukcc.uky.edu Joan Hartwig CAVITT01@ULKYVM Chet Vittitow C0SUTT01@ULKYVM.LOUISVILLE.EDU Catherine Sutton 94dtribb@ULTRIX.UOR.EDU Damon Tribble Cynthia_L_Wimmer@umail.umd.edu Cynthia L. Wimmer Kent_CARTWRIGHT@UMAIL.UMD.EDU Kent Cartwright Victoria_PLAZA@UMAIL.UMD.EDU Victoria Plaza KNOLAN@umiami.ir.miami.edu Kimberly Nolan MENGELBE@umiami.ir.miami.edu Malvina Engelberg curtisp@UMONCTON.CA Paul Curtis stsmart@UMSLVMA Terence Martin INKSHED@UNB.CA James A. Reither ROWAN@UNB.CA Don Rowan RSPACEK@UNB.CA Richard A. M. Spacek ETBJR@UNC.OIT.UNC.EDU Edward T. Bonahue EGERTON@UNCMVS.OIT.UNC.EDU Katy Egerton MOSLEY@UNCMVS.OIT.UNC.EDU George Mosley D_LANIER@UNHH.UNH.EDU Douglas Lanier D_RICHMAN@UNHH.UNH.EDU David Richman stap@UNIXG.UBC.CA Paul G. Stanwood CBHW23@UPVAX.ULSTER.AC.UK M.W.A. (Wilf) Smith MAIL_KIERNAN@UQVAX.CC.UQ.OZ.AU Adrian Kiernander iqm150@URIACC.URI.EDU Judy Williamson Hudson kln101@URIACC.URI.EDU Mathilda M. Hills SV0S35@ursa.calvin.edu Sarah Vos CREAMER@URVAX.URICH.EDU Kevin J.T. Creamer russell@URVAX.URICH.EDU Anthony Russell SCHWARTZ@URVAX.URICH.EDU Louis Schwartz engler@URZ.UNIBAS.CH Balz Engler MKRAKOVS@US.ORACLE.COM Marina Krakovsky campbell@USDCSV.ACUSD.EDU Gardner Campbell ULB6@USOUTHAL David K. Sauer IVAD@UTMARTN Daniel Farris Pigg mwebster@UTXVMS.CC.UTEXAS.EDU Mark J. Webster tmacdon@UVA386.SCHOOLS.VIRGINIA.EDU Tim MacDonald HAG@UVMVM.UVM.EDU Hope Greenberg BEST@UVVM.UVIC.CA Michael Best werstine@UWOVAX.UWO.CA Paul Werstine morton@UWPG02.UWINNIPEG.CA Mark Morton motley@UX1.CSO.UIUC.EDU Michael Mullin froud@VAX.LIBRARY.UTORONTO.CA Margot Froud romab@VAX.OX.AC.UK Roma Bhattacharjea ARCHIVE@VAX.OXFORD.AC.UK Lou Burnard STUART@VAX.OXFORD.AC.UK Stuart D. Lee GW2@VAXB.YORK.AC.UK Geoffrey Wall FOSTER@VAXSAR.VASSAR.EDU Donald W. Foster FAC_JLFUNSTO@VAX1.ACS.JMU.EDU Jay Funston fac_mdhawtho@VAX1.ACS.JMU.EDU Mark D. Hawthorne FAC_RCOHEN@VAX1.ACS.JMU.EDU Ralph Alan Cohen mewilcox@VAX1.ACS.JMU.EDU Matt Wilcox STU_DEFRYDRY@VAX1.ACS.JMU.EDU David Frydrychowski engl_le@VAX1.UTULSA.EDU Lars Engle ESEDDON@VAX2.CONCORDIA.CA Elizabeth Seddon PECHTER@VAX2.CONCORDIA.CA Ed Pechter ENG1683@VAX2.QUEENS-BELFAST.AC.UK John Manning JLH5651@VENUS.TAMU.EDU James L. Harner JLH5651@VENUS.TAMU.EDU Harrison Meserole shand@VENUS.YORKU.CA Skip Shand KKM7M@VIRGINIA Karen Kates Marshall HARRAWOO@violet.berkeley.edu Michael Harrawood f24113@VM.BIU.AC.IL Alan Rosen ANNAL@VM.TEMPLE.EDU Annalisa Castaldo V796CF05@VM.TEMPLE.EDU Jeff Pence V796CF06@VM.TEMPLE.EDU Rodney R. Mader CADMADGE@VM.UOGUELPH.CA Madge Grant Brochet ugu00279@VM.UOGUELPH.CA Shirley Senoff hart@VMD.CSO.UIUC.EDU Michael S. Hart D.A.Bank@VME.GLASGOW.AC.UK David A. Bank DENKEN@VMS.CIS.PITT.EDU Dennis Kennedy JRJST7@VMS.CIT.PITT.EDU Jeremy R. Jacobs R1NR@VM1.CC.UAKRON.EDU Nicholas Ranson DS001451@VM1.NODAK.EDU Ray Wheeler LSCHWART@VM1.NODAK.EDU Larry Schwartz UD006866@VM1.NODAK.EDU Richard F. Hampsten hfirek@VDOE386.VAK12ED.EDU Hilve Firek cpb@VTF.IDX.COM Christopher P. Bowen CHESHIRE@VTVM1 Linda Anderson TSC@VX.CIS.UMN.EDU Thomas Clayton slatterys@VXC.OCIS.UNCWIL.EDU Susan Slattery ravens@WAM.UMD.EDU Brian Sobus rzimmer@WATER1.ENV.GOV.BC.CA Rodney Zimmerman zane95@WHARTON.UPENN.EDU Ed Zane GRACE.E.ASPINALL@WILLIAMS.EDU Grace E. Aspinall msharpston@WORLDBANK.ORG Michael Sharpston wk00367@WORLDLINK.COM Timothy Evans MATSUBA@WRITER.YORKU.CA Stephen Matsuba massi@WSUVM2.CSC.WSU.EDU J. M. Massi MCNAMAR@WVNVM Gregory McNamara DEAN@zodiac.rutgers.edu Ann C. Dean ========================================================================= Date: Sat, 1 Jan 1994 12:24:54 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0003 Re: Subjectivity in *Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0003. Saturday, 1 January 1994. From: Michael Sharpston Date: Thursday, 30 Dec 1993 21:18:00 -0400 (EDT) Subject: RE: SHK 4.0907 Subjectivity in *Hamlet* In relation to Julie Travers' original query (SHK 4.0907), and also some subsequent contributions, I should like to suggest the following framework: a) The Environment How People Perceive that Environment (to themselves) b) Language to Express Oneself (inner purpose predominates..speaker can even be alone) Language to Communicate (focus on recipient) c) Meaning of a Communication as Perceived by Recipient "Subjectivity" may perhaps be better understood in these different contexts. If I have just come from Sweden in winter I may perceive a certain outdoor temperature as warmer than would someone from northern Brazil: this is (a). It is not at all the same as Polonius and courtier fiction (with the focus on pleasing the recipient, Language to communicate, (b)). Conditioned social/ gender expectations in a person would seem to me nearer to (a). Vacillation, muddy language, to an audience implies that the speaker is using Language to Communicate, in this case to Deceive. (I thought Sean Lawrence's posting [SHK 4.0918] was excellent: "poisoned cowardice"). Lastly, people tend themselves to believe what they say. Related I think is the "authoritative ambiguity" to which Robert Burke refers [also SHK 4.0918], with the scope it offers not fully to acknowledge one's own evil intent. Positively lastly: Happy New Year to Everyone! Thanks to our kind editor Hardy, and to all of you whose contributions I so much enjoyed reading. Michael Sharpston msharpston@worldbank.org ========================================================================= Date: Sun, 2 Jan 1994 10:19:07 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0004 Re: Shylock and Usury Shakespeare Electronic Conference, Vol. 5, No. 0004. Sunday, 2 January 1994. From: William Godshalk Date: Saturday, 01 Jan 1994 17:06:09 -0500 (EST) Subject: Re: SHK 4.0975 Shylock and Usury To Hirsh Schipper: You may wish to read Richard A. Levin's LOVE AND SOCIETY IN SHAKESPEAREAN COMEDY, chapters 2 and 3, for another view of Shylock and the Christian society of THE MERCHANT OF VENICE. And you may wish to ask yourself how Antonio makes his money, and how Bassanio gets his money. Are they admirable members of the community? What products do they "make"? Happy New Year (one of them, anyway), Bill Godshalk ========================================================================= Date: Sun, 2 Jan 1994 10:22:46 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0005 Re: Patriarchies and Matriarchies Shakespeare Electronic Conference, Vol. 5, No. 0005. Sunday, 2 January 1994. From: William Godshalk Date: Saturday, 01 Jan 1994 17:16:19 -0500 (EST) Subject: Re: SHK 4.0976 Re: Patriarchies and Matriarchies To Melissa Aaron: I surely hope that you are correct in your assessments. For me, it is counterintuitive that women were all doormats before 1964 - or whatever date you may wish to establish. Elizabeth Fox-Genovese certainly indicates that women were not wimps before the 20th century. Perhaps it is "male history" that creates "patriarchies." Yours, Bill Godshalk ========================================================================= Date: Mon, 3 Jan 1994 08:15:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0006 Re: Women Writers Project Shakespeare Electronic Conference, Vol. 5, No. 0006. Monday, 3 January 1994. From: Nancy W Miller Date: Sunday, 2 Jan 94 16:28:01 EST Subject: Re: SHK 4.0965 Q: Women Writers Project Al, The Brown University Women Writers Project can be reached through Elaine Brennan at Brown. If you can get in touch with her (a very busy woman!), she's very gracious and informative about the Project. They're currently working out the software bugs and are planning a text-base to which one subscribes. I'm not sure about what's available on-line now, but they have quite a list of works on paper. ========================================================================= Date: Tue, 4 Jan 1994 06:59:14 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0008 Shakespeare's Illness Shakespeare Electronic Conference, Vol. 5, No. 0008. Tuesday, 4 January 1994. From: Hirch Schipper Date: Monday, 03 Jan 94 21:12:16 EST Subject: SHAKESPEARE'S ILLNESS Thanks to William Godshalk for calling attention to Levin's book in regards to Syhlock and the Christian society. Indeed the origin of and the stimulus for my writing stemmed from the Merchant. However, I have just finished Ian Wilson's "Shakespeare : The Evidence" and would not have ended the article as I did. From consideration of Shakespeare's signatures on the Belott-Mountjoie deposition, the Blackfriars Gatehouse conveyance and mortgage, and his will, the deduction is made that he suffered of scrivener's palsy or writer's cramp. As a physician, I know something about that condition which is psychosomatic and occurs in younger persons. To me the writing appears to be of a person suffering of Parkinson's disease. This condition is much more common than writer's palsy, is a progressive degenerative neurological disease, occuring often in persons of late middle age, and also determines a blank facies as we see on Shakespeare's mortuary sculpture. The condition is slowly and unrelentingly progressive, is subjective in that patients know that they are ill, and thus are often impressed to make their wills. The illness could well have started to afflict Shakespeare before he wrote his last play, Henry VIII, in association with John Fletcher, perhaps to releive him of the difficulties of writing. Shakespeare's diagnosis was immersed in the general category of senility and debility. It makes no difference whether he had writer's cramp or Parkinson's, although the former would not affect his general condition. Still, it is sad to contemplate that possibly Shakespeare's life was cut short at the height of his abilities by Parkinson's disease. Happy new year Hirsh ========================================================================= Date: Tue, 4 Jan 1994 07:05:18 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0009 The Renaissance Bookshelf (Was Sh and Ancient World) Shakespeare Electronic Conference, Vol. 5, No. 0009. Tuesday, 4 January 1994. From: James McKenna Date: Monday, 03 Jan 1994 22:47:36 -0500 (EST) Subject: The Renaissance Bookshelf Dear Ms. Rackin, Touche--though Ann Jennalie Cook's PRIVILEGED PLAYGOERS makes the argument that quite a few of them would have had the means to afford books. Whether they actually did have them, well, how can we know? My comment, however, refered to writers, not readers, and came especially in reference to Ben Jonson. Jonson's obsession with the classics is an extreme case, but I still think it's not out of line to presume that the *educated* Elizabethan bought and bound and studied works that were the currency of educated and priveleged discourse. Do I presume too much? (Loved your STAGES OF HISTORY, by the way.) Yours, James McKenna mckennji@ucbeh.bitnet ========================================================================= Date: Tue, 4 Jan 1994 06:48:58 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0007 Re: "Oberon" Video Shakespeare Electronic Conference, Vol. 5, No. 0007. Tuesday, 4 January 1994. From: Thomas G. Bishop Date: Monday, 3 Jan 94 17:47:36 -0500 Subject: Info on "Oberon" Video Many thanks to Fritz Levy for his kind words. Since he has more or less cued me to do so, and I hate to miss a cue, I am reposting the availability part of the notice I posted some months back. At present the videotape is available in US format only (i.e. no PAL for the U.K., Australia etc. Ask in enough numbers though and it may be given...). Cheers, Tom >For more information about the videotape of Oberon, contact the Department of >Music, Case Western Reserve University, Cleveland, OH 44106-7105, phone 216- >368-2400. > >VHS videocassette of OBERON: $ 62.50 >Shipping and handling: $ 3.00 >Credit Card Surcharge: $ 2.50 > > __________________________________________________________________ > >Order Form > >I would like to order ________ copy/copies of the videocassette of OBERON. >Enclosed is my check or moeny order (Payable to: CWRU) for $65.50 per >videocassette. > >Or charge my credit card $68.00 per videocassette. > > > Name ______________________________________________________ > > Address ____________________________________________________ > > City ____________________________________ State ______ Zip _____ > > Telephone ___________________________________________________ > > Visa/MC/Disc________________________________ Exp. Date ________ > > Signature (required for credit card sales) ________________________ > > Send this form completed with your check or money order to: > > OBERON Video, Department of Music, CWRU, Cleveland OH 44106-7105. ========================================================================= Date: Wed, 5 Jan 1994 07:24:34 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0010 Re: E-Mail: A Thin Communication Medium? Shakespeare Electronic Conference, Vol. 5, No. 0010. Wednesday, 5 January 1994. From: Jon Enriquez Date: Tuesday, 04 Jan 1994 11:26:30 -0500 (EST) Subject: Re: SHK 4.0972 E-Mail: A Thin Communication Medium? Regarding Michael Sharpton's comment about E-mail as a thin communication medium: Yes, e-mail is thinner than, say, conversation. But irony, which he cites as an example of something that can't be indicated electronically, is about the worst possible example. There *is* a way to indicate irony; it is :). I prefer ;) because it is sassier and easier (slightly) to type. There are of course many other examples of emotional expression: :( unhappiness :P disgust :-< disapproval Anyway. E-mail users have developed conventions for expressing emotions because they felt the need to do so. My use of asterisks in the previous paragraph is another example of an e-mail idiom. If people wish to communicate with a limited set of characters, they find a way to do so. While I'm unfamiliar with masque, I suggest that if it is a thin medium and if practitioners want to make it thicker (which is debatable), they would adopt conventions as we have in e-mail, or for that matter spoken and written language. Some might argue that Shakespeare limited himself too much by using the rigidity of blank verse for the bulk of his dialogue; I would respond that in using that form to evoke a variety of emotions and effects, he did rather well. :) Jon Enriquez The Graduate School Georgetown University ENRIQUEZJ@guvax (Bitnet) ENRIQUEZJ@guvax.georgetown.edu (Internet) ========================================================================= Date: Wed, 5 Jan 1994 07:28:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0011 Re: The Renaissance Bookshelf Shakespeare Electronic Conference, Vol. 5, No. 0011. Wednesday, 5 January 1994. From: Phyllis Rackin Date: Tuesday, 4 Jan 1994 12:34:15 -0500 (EST) Subject: Re: The Renaissance Bookshelf (Was Sh and Ancient World) Dear Mr. McKenna, Of course, what you say makes good sense. I'm sorry if my response seemed dismissive: I think it had more to do with my congenital aversion to what Allon White called "The Dismal Sacred Word" than to anything you wrote. Have you seen White's essay? The full title is "'The Dismal Sacred Word':Academic Language and the Social Reproduction of Seriousness," and it's reprinted in *Carnival, Hysteria, and Writing* (Oxford:Clarendon Press, 1993). On the question of the likely levels of literacy/illiteracy among the playgoers, have you seen Andrew Gurr's discussion on pp. 54-56 in the 1988 paperback edition of *Playgoing in Shakespeare's London*? And his Appendix I, "Playgoers 1567-1642"? Happy new year! Phyllis Rackin ========================================================================= Date: Thu, 6 Jan 1994 16:47:05 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0012 Re: Shakespeare's Illness Shakespeare Electronic Conference, Vol. 5, No. 0012. Thursday, 6 January 1994. From: David Richman Date: Wednesday, 5 Jan 1994 9:41:16 -0500 (EST) Subject: Shakespeare's Illness It is interesting and disturbing to learn of Shakespeare's possible Parkinson's disease. I suppose this is one of the many things about the playwright that we will never know with certainty. Eugene O'Neill did suffer from Parkinson's disease, and he was physically unable to write during the last ten years of his life. His last play, *A Moon for the Misbegotten*, was completed in 1943, and he died in 1953. His letters wrench the heart (at least, they wrenched my heart) in their description of the mental and spiritual agony his condition caused him. Might Shakespeare have known something of the same agony? David Richman ========================================================================= Date: Thu, 6 Jan 1994 20:58:03 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0013 Re: E-Mail: A Thin Communication Medium? Shakespeare Electronic Conference, Vol. 5, No. 0013. Thursday, 6 January 1994. (1) From: Tom Davey Date: Wednesday, 05 Jan 94 20:47 PST Subj: Re: SHK 5.0010 Re: E-Mail: A Thin Communication Medium? (2) From: Michael Sharpston Date: Thursday, 06 Jan 1994 17:07:00 -0500 (EST) Subj: RE: SHK 5.0010 Re: E-Mail: A Thin Communication Medium? (1)---------------------------------------------------------------------------- From: Tom Davey Date: Wednesday, 05 Jan 94 20:47 PST Subject: Re: SHK 5.0010 Re: E-Mail: A Thin Communication Medium? Jon Enriquez agrees with Michael Sharpston that e-mail is a "thin communication medium," but that tonal and emotional shadings can be conveyed by the so-called "emoticons" like ;) (irony) and :-< (disapproval). I'm afraid I disagree. Irony and far subtler nuances have flourished in printed discourse for centuries without recourse to special typographical signals or graphical heighteners. Before penning this note, I consulted the work of one of the supreme ironists in the language, Edward Gibbon, and I failed to find a single emoticon. Just bare type and the occasional scathing quotation marks, the same "thin" tools I have available here in cyberspace. The real point to be made about e-mail as a medium, I think, is that we generally dash off our notes spontaneously and with the same lack of forethought with which we speak. But whereas we rely on tone of voice and body language to save our conversation from being misinterpreted, we have no such auxiliaries for e-mail--hence our anxiety the medium somehow lacks expressive power. Not so. If we treated e-mail for what it is, writing, instead of the textual equivalent of a message left on an answering machine (the polished contributions to this list are emphatically excepted), there might be gains for both communication and literacy all around. As I tell my students, regarding emoticons, just say no. Tom Davey Department of English, UC Los Angeles izzyom8@mvs.oac.ucla.edu (2)---------------------------------------------------------------------------- From: Michael Sharpston Date: Thursday, 06 Jan 1994 17:07:00 -0500 (EST) Subject: RE: SHK 5.0010 Re: E-Mail: A Thin Communication Medium? I liked Jon Enriquez' comment, but it also showed me that my earlier posting suffered from ellipsis. First, E-mail. All those faces which he documents so well show very clearly the disadvantages of 'standard' E-mail -- no body language, no tone of voice and so on. He is completely correct that with 'augmented' E-mail people can and do find ways around this problem. Post augmentation, the medium is significantly less 'thin'. Second, the comparison I was trying to make with say Ben Johnson and his masques. If WE (NOT the people of the time) try to understand when irony is and is not intended, we are in some ways confronted with a problem similar to that of unaugmented E-mail and irony. Ben Johnson and his original audience are dead. We cannot experience live body language to US, (although we might possibly be able to read reports of body language at the time to others). We cannot hear a tone of voice, see and interpret a cock of the eye. We are not a member of King James' court... We have certain records (the text, a tradition about it), some knowledge of a context... But still there is a relatively 'thin' communication medium between Ben Johnson and us. Michael Sharpston msharpston@worldbank.org ========================================================================= Date: Fri, 7 Jan 1994 17:04:57 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0016 Graduate Student Conference Shakespeare Electronic Conference, Vol. 5, No. 0016. Friday, 7 January 1994. From: James McKenna Date: Friday, 07 Jan 1994 13:38:26 -0500 (EST) Subject: grad conference announcement Graduate Student Conference _____ __________ _____READING MONSTERS, READING CULTURE__________ The graduate students of the University of Cincinnati Department of English are hosting a conference on literature and culture for graduate students. The conference will be on the main campus in Cincinnati, on Saturday, April 16, 1994. Deadline for submissions is February 28. _____Brief Guidelines___________________________ Critical and creative works of approximately 8-10 pages, pertaining to the conference theme, may be submitted. Critical essays must be accompanied by an abstract of 250 words or less. All submissions should include a cover sheet containing your name, affiliation, address, phone, e-mail address, and title of your work. Send two copies of submissions, including abstract and cover sheet, to: Lisa Udel Department of English, ML69 248 McMicken Hall University of Cincinnati Cincinnati, OH 45221 (513) 556-5924 For more information, write or call Lisa Udel at the address and phone number above, or send a note to James McKenna, mckennji@ucbeh.bitnet. ========================================================================= Date: Fri, 7 Jan 1994 17:00:23 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0015 Re: Paraphrase Shakespeare Electronic Conference, Vol. 5, No. 0015. Friday, 7 January 1994. From: James Schaefer Date: Friday, 07 Jan 1994 12:43:16 -0500 (EST) Subject: Re: SHK 4.0961 Re: Paraphrase Dear Nate Johnson: Your comments about paraphrase and translation (back before the holidays) are well taken. Let me see if I can make a coherent response. Translation first, then back to paraphrase: I supposed I could argue that the issue of translation was my own red herring, but I believe the questions raised by translation are central to any discussion of the interpretation of language in the drama, if only because our English-speaking stages and classrooms are filled with works written in Greek, French, Italian, Swedish, Norwegian, Russian.... How do we teach these works? Only as receptacles of ideas? If we did, any old translation or paraphrase or precis would do. But if you are like me, you expend some effort looking for "good" translations, ones that read as artfully rich English _and_ that capture (as judged by the authority of your own knowledge or the advice of others whose opinions you trust) as many of the nuances of the other language as possible. I'm currently reading Burton Raffel's essay, "On Translating Horace," in his poetic translation of the *Ars Poetica*. He describes his task as a dichotomous one. The translator is not to create _de novo_, or _ex nihilo_: he must first master the original, know it as nearly as possible as its original creator knew it, linguistically and culturally, inside and out.... If he is not certain of a passage, he must return to it, over and over, until be becomes certain, until all fuzziness disappears. [Note how much this sounds like the Olivier quote I cited before: "I'd rather have run the scene eight times than have wasted that time in chattering away about abstractions. An actor gets the right thing by doing it over and over."] But once he has this in his bones, "[t]he translator must turn his back on the original, then, in order to be ultimately loyal to it," in order to make it like in another language for a specific time and place. The translator reworking an original into a "parallel" text in another language is therefore doing something quite different from the befuddled sophomore, put on the spot in class, trying to explain what a difficult passage means. Others can expand on this much better than I. But I think I can justify considering all the English language texts I deal with _as_ English texts, _all_ of which are difficult to interpret. So having these English texts to interpret, why not paraphrase? I could give an outrageous example I saved from the "Doonesbury" comic strip for May 16, 1979. (Quoting it will take up less space than paraphrase:) - "See Rick, in its way, mellow-speak is a remarkably economical dialect. What Dr. Asher has done is reduce language to only its most essential components. Here, I'll show you. Give me a line to translate." - "How about this... 'The moon like a flower in heaven's high bower, with silent delight sits and smiles on the night." - "William Blake, Right? Okay, let's see... In mellow-speak, that would be... 'Oh, wow, look at the moon.'" - "Duane, we've got to talk" I'm note sure most of us with initials after our names, let alone our undergraduate students, are much above the "Oh, wow, look at the moon" stage on a first reading -- and maybe that _is_ a valid synopsis for a first reading. But if there we are to have a deeper intellectual and emotional understanding of a work of literature (including the drama), we must quickly get to an appreciation of exactly how that work works: both God and the Devil are in the details of the language. My bias toward an extreme position on this matter comes from having received all my degrees in Theatre Arts, and from having had to resist every step of the way the method (actually "The Method") by which actors and directors in the U.S. are _*explicitly taught*_ (how much more boldly can I state it in email?) that paraphrase is sufficient for performance, that "the lines" are simply what you have to have memorized by run-through, and that "love of the language," if it exists, simply means that an actor envys John Gielgud the sound of his voice. There are exceptions, notably Richard Hornby, whose books "Script Into Performance" and "The End of Acting: A Radical View" address this problem directly with both example (the former) and healthy polemic (the latter), but for the most part, theatre people view the workings and details of language as irrelevant. (Ask me sometime about the reaction I got in 1981 when I proposed to incorporate psycholinguistics into my dissertation research.) As my colleague, Jon Enriquez, put it, "I want to die" may be a valid paraphrase in September, but by December, "To be or not to be" should have a more direct, and richer, meaning. Yours ever in medias res, Jim Schaefer Graduate School Georgetown University schaefej@guvax.georgetown.edu ========================================================================= Date: Fri, 7 Jan 1994 16:53:14 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0014 Re: E-Mail: A Thin Communication Medium? Shakespeare Electronic Conference, Vol. 5, No. 0014. Friday, 7 January 1994. (1)From: Vint Cerf <0003786240@mcimail.com> Date: Thursday, 6 Jan 94 23:00 EST Subject: Re: SHK 5.0013 Re: E-Mail: A Thin Communication Medium? (2)From: James Schaefer Date: Friday, 07 Jan 1994 09:59:21 -0500 (EST) Subject: Re: SHK 5.0013 Re: E-Mail: A Thin Communication Medium? (1)---------------------------------------------------------------------------- From: Vint Cerf <0003786240@mcimail.com> Date: Thursday, 6 Jan 94 23:00 EST Subject: Re: SHK 5.0013 Re: E-Mail: A Thin Communication Medium? Just a brief thought on the nature of email communication. As with ALL forms of communication, one has to establish some kind of context for the communication to "make sense." In spoken discourse, one has various auxiliary tools to apply to establish context: tone of voice and, if visual information is also available, then body language as well. If one is familiar with the local (physical, temporal) context, irony and other subleties may be conveyed by relying on this shared knowledge. Absent such sharing, the communication is prone to misinterpretation or other communication disorders. A hypertext/hypermedia Shakespeare would be a lovely contribution if, where special implications should be noted, one can be diverted to a tutorial segment which helps you establish the context in which the special meaning is evident. Vint Cerf (2)---------------------------------------------------------------------------- From: James Schaefer Date: Friday, 07 Jan 1994 09:59:21 -0500 (EST) Subject: Re: SHK 5.0013 Re: E-Mail: A Thin Communication Medium? I agree with Tom Davey that the central issue with e-mail is not that the resources to embed irony and other emotions are not there, but rather that we fail to treat e-mail as a serious form of writing. After all, it is easy to type REPLY and dash off a note that is not well thought out, forgetting that (in this case) 450 people are going to read it, and that it will be archived in a computer in Toronto. You will remember that when Bosie's father threatened to publish Oscar Wilde's amorous letters, the latter replied that he always wrote for publication. He was, in part, whistling in the dark, but Virginia Woolf wrote both prolifically and with careful thought to even the most casual correspondence. She was always dashing off notes for the morning mail, expecting a reply by lunch, with a RETURN reply often sent off in the afternoon. While only invitations to dinner or sarcastic commentary on the previous night's revels, we now read and value these occasional communications for their delightful writing. Few of us take that much care with our words. (Have you noticed, for example. how e-mail paragraphs tend to ramble and run on? ...) A few years ago, I did some freelance computer consulting, for which I was compensated with two reams of 100% cotton writing paper. The next opportunity, I may ask for a Mont Blanc pen, and abandon electrons altogether. Until then, I'm going down the hall and confront Jon Enriquez about those ridiculous "emoticons." Jim Schaefer Graduate School Georgetown University schaefej@guvax.georgetown.edu ========================================================================= Date: Sun, 9 Jan 1994 19:05:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0017 Re: Thinness Shakespeare Electronic Conference, Vol. 5, No. 0017. Sunday, 9 January 1994. (1) From: James McKenna Date: Saturday, 08 Jan 1994 14:23:53 -0500 (EST) Subj: thin (2) From: James McKenna Date: Saturday, 08 Jan 1994 14:29:35 -0500 (EST) Subj: Re: thin Ben (1)---------------------------------------------------------------------------- From: James McKenna Date: Saturday, 08 Jan 1994 14:23:53 -0500 (EST) Subject: thin Hear, hear, Mr. Schaefer! Blast those "ridiculous emoticannes." From the CHICAGO MANUAL: "Skillfully prepared for, an ironic meaning seldom eludes the reader even though quotation marks [or smilies] are not used" (6.68). An occasional deft touch--or moment of restraint--are preferable to wanton encryption. In Louis B Mayer's words, include me out. P.S. I'm slowly getting the knack of the Waterman I received last year as a gift. Writing was never so delicious! James McKenna mckennji@ucbeh.bitnet (2)---------------------------------------------------------------------------- From: James McKenna Date: Saturday, 08 Jan 1994 14:29:35 -0500 (EST) Subject: Re: thin Ben In reply to Michael Sharpston's comment on the thin transmission of masques, I wonder whether we face thinness or blessed perspective. The James Joyce industry continues full-speed ahead despite the large amount of information we have on Joyce and his world. In dealing with Jonson, do we lack information--or disinformation? In other words, because we know less, can we know more? James McKenna mckennji@ucbeh.bitnet ========================================================================= Date: Sun, 9 Jan 1994 19:14:50 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0018 Model for Multimedia Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0018. Sunday, 9 January 1994. From: Mathilda M. Hills Date: Sunday, 09 Jan 94 16:43:47 EST Subject: Model for Multimedia Shakespeare A CD-ROM based multimedia novella for the MacIntosh, reviewed in the November 1993 *Computer Gaming World*, pp. 36-38, looks as if it might serve as a model for multimedia Shakespeare. The reviewer, Maxwell Eden, writes, *The Madness of Roland* . . . offers a dynamic medium for interpreting the written word, while exposing the intriguing tapestry of medieval knights, sorcery and romance to an entirely new, computer literate and mature audience. Combining an electronic book format with elements of a movie, *The Madness of Roland* is a pastiche of technology, interwoven with a rich use of language, classical works of art and contemporary images. . . . Primarily text-based, *Roland* is creatively embellished . . . featuring QuickTime video (which lets the Macintosh play back movies like a VCR), original film and music, 256-color graphics, . . .animation, sound effects plus character narration performed by actors. This sounds too good to be true. It is available from Compton's New Media at 800/862-2206. (I have no commercial interest in the product or the company.) Remembering last year that fellow SHAKSPERian Michael Best was engaged in a multimedia Shakespeare project, I thought this item would be of interest. Mathilda Hills, University of Rhode Island KLN101@uriacc.uri.edu ========================================================================= Date: Mon, 10 Jan 1994 06:54:11 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0019 Reading the Sonnets Shakespeare Electronic Conference, Vol. 5, No. 0019. Monday, 10 January 1994. From: Blair Kelly III Date: Sunday, 9 Jan 1994 19:48:53 -0500 Subject: Recommendations on how to read the Sonnets I would appreciate comments from people with more experience than I about reading the Sonnets. The Washington Shakespeare Reading Group meets approximately once a fortnight and reads in an evening one of the plays of the Bard (with each member reading a different character). I thought it might be interesting instead of reading a play to read some or all of the Sonnets. Is this a good idea? Do you have a preferred order, or ones you omit when teaching? Any recommendations on how to proceed would be welcome. By the way if any SHAKSPEReans in the Washington, DC, area would like to join us, our upcoming readings are: Sat 22 Jan Troilus and Cressida Fri 4 Feb Measure for Measure Sat 26 Feb Othello Our meetings begin promptly at 7:30 pm in the basement of the Palisades Community Church, 5200 Cathedral Avenue, NW. --- Blair Kelly III bfkelly@afterlife.ncsc.mil Secretary, Washington Shakespeare Reading Group ========================================================================= Date: Mon, 10 Jan 1994 07:05:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0020 Re: Thinness Shakespeare Electronic Conference, Vol. 5, No. 0020. Monday, 10 January 1994. (1) From: Steve Urkowitz Date: Sunday, 09 Jan 94 21:02:25 EST Subj: Re: SHK 5.0014 Re: E-Mail: A Thin Communication Medium? (2) From: William Godshalk Date: Sunday, 09 Jan 1994 21:49:13 -0500 (EST) Subj: Re: SHK 5.0017 Re: Thinness (1)---------------------------------------------------------------------------- From: Steve Urkowitz Date: Sunday, 09 Jan 94 21:02:25 EST Subject: Re: SHK 5.0014 Re: E-Mail: A Thin Communication Medium? ----------hmmmmm--------a thin communication medium. Seems like what we used to call "a script." Seems like those old players used to have their writers sit down with them and read the scripts out loud, all the way through, maybe to avoid confusion in the distribution system when all networks were down. One way to thicken communication, whether face-to-face or in the thin atmosphere of scripted transmission, is to offer a quizzical "hey, wha'?" And then the script writer tries again, louder, or clearer, or different. Sometimes we call that second shot "revision." Or sometimes, without the listeners' prompts, we can think of it as a recursive or redundant style, as the writer or speaker listens to herself and goes back over the same ground. You might like to look at a neatly scripted instance: the line where the gravedigger scans the thin medium of Yorick's skull, trying to find its wit. It and its context appear three different ways in Q1, Q2 and F HAMLET, and I'd argue that we'd get a "thicker" experience of HAMLET if editors would think to lay these redundancies out for us to see . But that would be asking editors to open up multiple possibilities where they instead feel obliged to present straight and narrowly unambiguous text, authoritative text. Ah, well. Joy of the New Year to all, Steve Urthickowitz SURCC@CUNYVM (2)---------------------------------------------------------------------------- From: William Godshalk Date: Sunday, 09 Jan 1994 21:49:13 -0500 (EST) Subject: Re: SHK 5.0017 Re: Thinness Jim McKenna reminds me of Walker Percy. Need we be reminded that we are all Lost in the Cosmos, and that the person we know best in this world remains the primary mystery for us? If we were to live inside Jonson's skin, inside Joyce's brain, what would we know that we don't already know? The question is only one half rhetorical. Yours, Bill Godshalk ========================================================================= Date: Mon, 10 Jan 1994 07:09:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0021 Re: Model for Multimedia Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0021. Monday, 10 January 1994. From: Tom Davey Date: Sunday, 09 Jan 94 21:45 PST Subject: SHK 5.0018 Model for Multimedia Shakespeare >A CD-ROM based multimedia novella for the MacIntosh, reviewed in the >November 1993 *Computer Gaming World*, pp. 36-38, looks as if it might >serve as a model for multimedia Shakespeare. The Compton's product indeed sounds very interesting, but I think that the period for modeling has ended. Shakespeare multimedia is already here. I've been fortunate enough to see a demo of the Voyager Company's _MacBeth_, and it's a stunner. The product will be unveiled at a Macintosh trade show this month. The Voyager CD-ROM contains a complete Quicktime film of the play (a supposedly excellent ITV production from the '70's; I don't know it), generous additional clips from the Welles, Kurosawa, and Polanski films, and the complete New Cambridge version of the play, edited by UCLA's Al Braunmuller. The entire text of the print edition, including the critical apparatus, is included and reincarnated with comprehensive hypertext (i.e., links between the text and video, stills, maps, etc.) Braunmuller has even added a bit more material for the Voyager edition. A "dramaturgical apparatus" is also included, with various performance aids. This was put together by UCLA drama faculty. And there's karaoke, enabling viewers to speak lines along with the films as the text scrolls on the screen. In short, it's rich product. I should note that I am a graduate student in the English department at UCLA, so take that into account when evaluating my enthusiasm. As a side note, I already own a "multimedia MacBeth," this one from IBM's Multimedia Publishing Studio. It's a poor product, in my opinion, and I don't recommend it. If you have a chance to see the Voyager _MacBeth_, though, leap at it. Macintosh only, alas. The Voyager personnel at the demo asked us academics, rather plaintively, whom we thought the audience (i.e., market) might be for this product. They have little idea how well this might sell or how it might be used. This list, I imagine, will have plenty of ideas on that score. Tom Davey Department of English, UC Los Angeles izzyom8@mvs.oac.ucla.edu ========================================================================= Date: Tue, 11 Jan 1994 08:23:06 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0022 Re: Reading the Sonnets Shakespeare Electronic Conference, Vol. 5, No. 0022. Tuesday, 11 January 1994. (1) From: Skip Shand Date: Monday, 10 Jan 1994 07:53 EDT Subj: Re: SHK 5.0019 Reading the Sonnets (2) From: James McKenna Date: Monday, 10 Jan 1994 23:53:34 -0500 (EST) Subj: Re: sonnets (3) From: Hardy M. Cook Date: Tuesday, January 11, 1994 Subj: Reading the Sonnets (1)---------------------------------------------------------------------------- From: Skip Shand Date: Monday, 10 Jan 1994 07:53 EDT Subject: Re: SHK 5.0019 Reading the Sonnets Simon Callow has a wonderful section on his one-man Sonnets show in *Being an Actor*. (Benedict Nightingale, I believe it was, thought Callow's performance uninteresting, observed that perhaps it would have been more interesting if Callow had performed the poems with a ferret down his trousers!) Best of luck with your reading (and beware of critics bearing ferrets). Skip Shand (2)---------------------------------------------------------------------------- From: James McKenna Date: Monday, 10 Jan 1994 23:53:34 -0500 (EST) Subject: Re: sonnets I wouldn't skip any of them, and I think it's valuable to read a smattering of other Elizabethan sonneteers for context. Spenser's AMORETTI are very accessible, as are many of Sidney's sonnets and songs from ASTROPHIL AND STELLA. (The Musicians of Swanne Alley have recorded Elizabethan settings of a few of Sidney's songs--recording title: AS I WENT TO WALSINGHAM). Michael Drayton and Barnabe Barnes can give you an earthier view of things. For an edition of the sonnets, Stephen Booth's *heavily* annotated edition is great for a conversation starter (SHAKESPEARE'S SONNETS. Yale, 1977). Read the notes for each sonnet first, then read the sonnet itself. Mmmm-mmm. Beauty too rich for use, for earth too dear. James McKenna mckennji@ucbeh.bitnet (3)---------------------------------------------------------------------------- From: Hardy M. Cook Date: Tuesday, January 11, 1994 Subject: Reading the Sonnets I would encourage you to read the sonnets in the order they were originally published in 1609. Having said this, you might, nevertheless, consider beginning with Sonnet 144: TWo loues I haue of comfort and di|spaire, Which like two |spirits do |sugie{|st} me {|st}ill, The better angell is a man right faire: The wor|ser |spirit a woman collour'd il. To win me |soone to hell my femall euill, Tempteth my better angel from my {|si}ght, And would corrupt my |saint to be a diuel: Wooing his purity with her fowle pride. And whether that my angel be turn'd {fi}nde, Su|spe{ct} I may,yet not dire{ct}ly tell, But being both from me both to each friend, I ge{|s|s}e one angel in an others hel. Yet this {|sh}al I nere know but liue in doubt, Till my bad angel {fi}re my good one out. I should also point out that the sonnets are often used as exercise pieces by Shakespearean actors. For further information on this point, see Barton's *Playing Shakespeare*, a book I mentioned in the discussion of Reading, Seeing, Hearing . . . Shakespeare. In "Chapter Six: Using the Sonnets," Barton writes (or speaks, since the book is based on a Channel Four, London Weekend Television series), ". . . sonnets can be excellent exercise pieces for actors. Most of the textual and verbal points that come up in working on the plays appear in the sonnets in concentrated form." Finally, Caedmon has a set of two audio cassettes (CPN 241) of John Gielgud reading most of the 154 sonnets, which are well worth a listen or two or three or . . . ========================================================================= Date: Tue, 11 Jan 1994 08:26:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0023 TSL Reviews Shakespeare Electronic Conference, Vol. 5, No. 0023. Tuesday, 11 January 1994. From: Piers Lewis Date: Monday, 10 Jan 1994 09:29:12 -0600 (CST) Subject: [TLS Reviews] A recent issue of TLS (12/24/93) contains reviews that should be of interest to the readers of this list. I was particularly struck by Eric Sams' discussion of the palaeographic evidence for a scrivener- Shakespeare; is there a palaeographer in the house? And would the textual revisionists care to comment on Brian Vickers' arguments against the textual authority of the First Quarto in his review of the the Holderness-Loughrey edition of *The Tragicall Historie of Hamlet Prince of Denmark*? ========================================================================= Date: Tue, 11 Jan 1994 08:32:10 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? Shakespeare Electronic Conference, Vol. 5, No. 0024. Tuesday, 11 January 1994. From: Hope A. Greenberg Date: Monday, 10 Jan 1994 10:08:25 -0500 (EST) Subject: Re: SHK 5.0014 Re: E-Mail: A Thin Communication Medium? Granted, face to face communication or even written communication in a shared and understood community context allows those who are communicating to convey subtleties that seem to be lacking in e-mail. However, there seems to be another facet to e-mail that no one has mentioned and so I'd like to ask whether this is simply my own perception or whether it does indeed reflect communication *over the wires*: Not only does e-mail seem to be easily misinterpreted, it seems to be misinterpreted negatively. Several people in this forum have mentioned that SHAKSPER doesn't suffer the flames that many other groups do. That implies that other groups do suffer from this--and I would obviously agree. Does e-mail lend itself to caustic or defensive interpretation leading to aggresive response? If so, why? And if so, what are the pedagogical implications? Is it the nature of this particular beastie or a reflection of our own general culture? Questions relating to this medium, how we use it and how it alters us, fascinate me and I hope no one minds their being posted to this forum. Any comments? ---------------- Hope Greenberg Hope.Greenberg@uvm.edu ========================================================================= Date: Wed, 12 Jan 1994 12:32:42 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0026 Hypertext Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0026. Wednesday, 12 January 1994. From: Michael Best Date: Tuesday, 11 Jan 94 09:48:05 PST Subject: Hypertext Shakespeare A comment on hypertext editions of Shakespeare: the Voyager *Macbeth* sounds as if it will be a great start, and I for one plan to learn from it. I expect (hope) that there will soon be as many CD ROM texts of the plays to choose from as there are in the world of conventional print -- and that each will have its particular flavour and audience. My own hypertext edition (of *Romeo and Juliet*) is starting slowly thanks to the demands of upgrading the earlier program *Shakespeare's Life and Times* to CD ROM. (Lots of unfun getting permission to use various colour graphics, not to mention the hassle of finding the right person to get permission for video clips.) One result of my wrestling with other people's copyright is that my edition will not have copyright restrictions on material I generate. I also plan to make it more scholar-oriented than the Voyager, with tools that will allow users to create their own text from the variants (are you listening Steve Textowics?) and add their own links and notes as they work. Some time ago I asked for a wish-list of features in a hypertext Shakespeare from the SHAKSPER subscribers -- and got only a few responses. Any more? ========================================================================= Date: Wed, 12 Jan 1994 12:30:11 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0025 Re: E-Mail: A Thin Communication Medium Shakespeare Electronic Conference, Vol. 5, No. 0025. Wednesday, 12 January 1994. (1) From: Tom Loughlin Date: Tuesday, 11 Jan 1994 10:34:46 -0500 (EST) Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (2) From: Rick Jones Date: Tuesday, 11 Jan 94 11:55:53 EST Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (3) From: James Schaefer Date: Tuesday, 11 Jan 1994 12:34:33 -0500 (EST) Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (4) From: Mary Jane Miller Date: Tuesday, 11 Jan 94 13:50:26 -0500 Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (5) From: Sean Lawrence Date: Tuesday, 11 Jan 1994 19:55:03 -0400 Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (6) From: Vint Cerf <0003786240@mcimail.com> Date: Wednesday, 12 Jan 94 05:33 EST Subj: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? (1)---------------------------------------------------------------------------- From: Tom Loughlin Date: Tuesday, 11 Jan 1994 10:34:46 -0500 (EST) Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? > Not only does e-mail seem to be easily misinterpreted, it seems to be > misinterpreted negatively. Several people in this forum have mentioned > that SHAKSPER doesn't suffer the flames that many other groups do. That > implies that other groups do suffer from this--and I would obviously > agree. Does e-mail lend itself to caustic or defensive interpretation > leading to aggresive response? If so, why? And if so, what are the > pedagogical implications? Is it the nature of this particular beastie or a > reflection of our own general culture? > > Hope.Greenberg@uvm.edu My own personal experience with this medium is that, because of the fact that at this point in time access to the Internet, while growing, is not widespread, and that you need to be fairly computer-literate to function within the medium, it has a tendency to attract intellectually aggressive personalities, people who like to get out on the "cutting edge," if you will. They would be the kind of people who would cause a stir no matter what environment they would find themselves in. Some lists are a great deal more assertive than others, depending on the nature of the list. SHAKSPER happens to be a fairly mild list in terms of flame wars, but get on a political list or a sports list and see the difference. And, of course, some people catch the flow of a list and temper themselves accordingly. This list, for example, is IMHO populated mostly with literature/scholar types, while I approach WS almost exclusively from the theatrical side. I think old Willy would be horrified if he came back today and saw the volumes of stuff written *about* him vrs. the few, mostly shabby, times he's produced on stage. I think he'd like to take a torch to the whole volume of works on his plays and say, "Stop writing about them! Just do them!" But of course, being the polite, collegial person that I am deep down in my heart, I respect the fact that this list tends to the literary and don't try to upset the apple cart too often. This also helps to keep flame wars from bursting out too often on the better lists, like this one. I assume, given the temperments and opinions expressed recently on this list, no emoticons are necessary. I'd like to take this opportunity to beg forgiveness for my silliness in using them in the past. How foolish it was of me to think that some inane little graphic could possibly help me to express myself better. How immature I was to ever possibly imagine that a few little strokes of my keyboard, rendering such pale little ASCII graphics, could replace or enhance my pitiful words. I most humbly ask my august colleagues on this list who were subjected to my use of these ridiculous characters in the past to please, please forgive me. Tom Loughlin loughlin@jane.cs.fredonia.edu (2)---------------------------------------------------------------------------- From: Rick Jones Date: Tuesday, 11 Jan 94 11:55:53 EST Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? Hope Greenberg raises a number of interesting questions; I have nothing like definitive answers, but I do offer the following comments. First, an e-mail message on a discussion list is read by literally hundreds (thousands on some lists) of people. If even a tiny percentage of those people misinterpret a remark, the possibility of a "flame" is fairly high. I have seen this phenomenon not infrequently on other lists: two or three flames may seem like a lot (certainly to the recipient), but may well represent less than one tenth of one per cent of the people who read the original message. The problem is exacerbated on e-mail because we are generally alone when we read messages. If we are enraged by something in a speech to an audience of 1000, chances are we'll sputter to our friends in the lobby after the speech is over: and they'll have the opportunity to say, "I don't think s/he meant x; I think s/he meant that not x isn't always true", or whatever. And of course the responders are more often those who disagree profoundly: few of us want to read (or write) a host of messages of the sort, "John Doe makes an excellent point", unless that assertion is followed by either a "but" or further elaboration. Secondly, the means of responding to e-mail is immediately at hand when we receive the original message. We don't have to go home, to find the writing pad, etc. If we're at the screen, we're also at the keyboard, and the "return" button is readily at hand. So sober contemplation is no longer a structural requirement. Thirdly, e-mail is in many ways anonymous. Of all the folks on the SHAKSPER list, I can recall ever meeting only two in person: and neither of them are close friends (fine people, both, but our paths have seldom crossed). It's easier to flame a faceless screenname than a real person. I saw an example of this a few weeks ago on another list. I was just plain scorched by someone I've never met. I subsequently received a private message from a friend of his (whom I have never met, but with whom I've had a number of e-mail and telephone conversations): she apologized on his behalf, agreed that the question I had asked was indeed legitimate, and asked me not to let on to him that she had sided with me on this issue. In other words, she was unwilling to state publicly that she even disagreed with her friend. And, frankly, we all have that tendency. Finally, while only Hardy Cook knows how many messages he zaps before they're read by the multitudes, the mere fact that this list is moderated suggests that the concept of prior restraint may not be an exclusively journalistic phenomenon. And, of course, it takes a little more effort to subscribe to SHAKSPER than most lists. Plus, of course, we're all such thoughtful and sensitive people... Rick Jones strophius@aol.com (3)---------------------------------------------------------------------------- From: James Schaefer Date: Tuesday, 11 Jan 1994 12:34:33 -0500 (EST) Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? TO: Hope Greenberg Your question about email ethics is interesting. Here's an amateur sociologist's thoughts: I don't think that the "flaming" aspects of email are unique to this medium -- people have long grabbed virtriolic pens to dash off angry letters to editors of newspapers or magazines. But many of those are never mailed and fewer still get published -- and even those are subject to editing. Email, like talk radio, is generally unedited, and is even easier to get onto than talk radio (which, by the by, I cannot abide). It requires little forethought to use, and provides no opportunity for the cautious afterthought that might overtake one while sealing an envelop or driving (no one walks anymore) to the P.O. There are also virtually no social restraints on the isolated individual in front of the terminal: if you see a text that angers you, there is no individual physically evident behind it to soften your raw reaction, and no roomful of bystanders to keep you in line with social pressure (or physical restraint). If having my say is important to me, I can have it, and by gawd, everyone else better look out! As a result, we wind up with a "virtual reality donnybrook": hand-to-hand combat with no one there! Another case of an adrenalin rush with no physical stimulus or reaction -- some biologists think this is a major problem with modern life. Why aren't SKAKSPERian emailer's more vitriolic? Maybe we watch less television. Maybe from the Bard we've learned to keep an ironic distance from our anger. Maybe we're a kinder and gentler breed. Maybe we are more careful with our words. Maybe we're polite to a fault. Maybe we're afraid for our reputations! Here we are discussing the means of discussing Shakespeare. Is this a post-modern dialogue? Have we had fun yet? Jim Schaefer schaefej@guvax.georgetown.edu (4)---------------------------------------------------------------------------- From: Mary Jane Miller Date: Tuesday, 11 Jan 94 13:50:26 -0500 Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? Dear Hope, I share your curiosity. SCREEN-L had a flamer on political correctness that seems to have resulted in silence from some of the most interesting voices- a [self-imposed] silence of some months. Perhaps this "thin medium" is too easy to use. It lends itself to late night impulsiveness, lacks the nuance of intonation, inflection, body language and in many cases the over-all context provided by long aquaintance. Yet it can be printed out - given permanent form so that no-one can claim that he/she "didn't really say that". Finally, deliberately or inadvertently [ I have seen both, I think], exchanges like these are given weight by public distribution creating camps or sides. This is the only electronic conference I read in which people tend to measure their words, write careful, often graceful prose, and regularly greet and say farewell to each other. Is Shakespeare, even on e-mail, some sort of Arnoldian touch-stone for courtesy? Regards, Mary Jane. Mary Jane Miller mjmiller@spartan.ac.brocku.ca (5)---------------------------------------------------------------------------- From: Sean Lawrence Date: Tuesday, 11 Jan 1994 19:55:03 -0400 Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? Just a quick, thin, note Hope. You might note that the opposite is also true. Not only do we tend to attack people we don't see more readily (a parallel to Hamlet stabbing Polonius behind the arras?) but also we tend to help people we have never met very readily. Look at the SHAKSPERians who jump at every request for bibliographic references or other information! If I remember correctly, there was an article in a backissue of compuserve magazine (I know, I went over briefly to the dark side of privately-owned networks) about a fellow doing a Ph.D. in sociology on how people communicate on lists. Best of luck, Sean Lawrence MAFEKING@AC.DAL.CA (6)---------------------------------------------------------------------------- From: Vint Cerf <0003786240@mcimail.com> Date: Wednesday, 12 Jan 94 05:33 EST Subject: Re: SHK 5.0024 Re: E-Mail: A Thin Communication Medium? See Connections by Sara Kiesler and Lee Sproull (MIT Press, I think, 1990??). They make the point that informal discourse in written form often seems far more assertive than the same oral communication. Thinks look/feel/sound far more absolute in the written form. So anything which might be interpreted as criticism takes on an extre measure of impact because of its written form. It's a serious problem. Experienced email users have learned to recognize when a discussion has gotten out of hand and to find a face-to-face or at least mouth-to-ear mode of communication. Vint ========================================================================= Date: Wed, 12 Jan 1994 12:45:17 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0029 Q: The Passage of Time in *Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0029. Wednesday, 12 January 1994. From: Nick Clary Date: Wednesday, 12 Jan 1994 08:45:58 -0500 (EST) Subject: [Time in *Hamlet*] Does anyone know of important studies within the past ten years on the subject of the passage of time in HAMLET? There is an undergraduate senior who is eager to benefit from our combined readings. Thank you. Nick Clary clary@smcvax.smcvt.edu ========================================================================= Date: Wed, 12 Jan 1994 12:41:26 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0028 CFP: American Society for Theatre Research 1994 Shakespeare Electronic Conference, Vol. 5, No. 0028. Wednesday, 12 January 1994. From: Dennis Kennedy Date: Tuesday, 11 Jan 1994 17:56 EST Subject: CALL FOR PAPERS - ASTR 1994 CALL FOR PAPERS **************** ANNUAL MEETING 1994 American Society for Theatre Research and Theatre Library Association New York City 18-20 November 1994 Lincoln Center Library for the Performing Arts CUNY Graduate Center and Milford Plaza Hotel ****************************************************************************** "THEATRE IN CRISIS / THEATRE OF CRISIS" The 1994 ASTR/TLA Annual Meeting will take up the topic of theatre and crisis. Papers are invited on theatrical practices in a state of crisis and on performances that represent or illustrate crisis. While theatre and performance seem in crisis at the present moment in much of the world, the conference also seeks plenary and seminar papers that investigate the crises of other times and places. In addition, papers may focus on the theoretical or historiographical aspects of the concept of crisis. PLENARY SESSION TOPICS might include (but are not limited to) issues such as historical or contemporary crises in playwriting, acting, directing, design, or criticism; crises in the representation of the body, gender, race, class, or nationality; crises relating to finance, subsidy, theatrical unions, employment, or training; political and cultural contexts of crisis; substitutes and surrogates deriving from and challenging theatre (film, tv, performance art, stand-up comedy, Tanztheater, etc.); the drama of crisis; national theatrical traditions in crisis; minorities or marginalized groups in performance (e.g., gay and lesbian theatre, race-specific theatre); theatre in the Third World; theatre in the former socialist states; performance spaces as negotiations of crisis; and philosophic, methodological, or historiographic investigations of crisis as an idea or metaphor. Proposals (2-3 pages) or short papers relevant to the conference theme should arrive (in 3 copies) by 4 April 1994, mailed to: Professor Dennis Kennedy Department of Theatre Arts University of Pittsburgh Pittsburgh, PA 15260 Notification will be in early June 1994 Program Committee for 1994 Annual Meeting: Sally Banes, University of Wisconsin-Madison Marvin Carlson, City University of New York Sue-Ellen Case, University of California, Riverside Dennis Kennedy, University of Pittsburgh (chair) David Kuhns, Washington University, St. Louis Thomas Postlewait, Indiana University Sheila Stowell, University of Victoria DETAILS OF SEMINARS FOLLOW Please note that all presenters must be members of ASTR ****************************************************************************** ASTR SEMINARS Seminars provide an opportunity for extended discussion of specific issues in an intimate setting. Each seminar will last two hours and 15 minutes and will include approximately seven participants. The participants will prepare short papers or position statements by 1 October 1994, which will be distributed to the other seminarians prior to the meeting. Proposals of 1-2 pages should be sent by 5 April 1994 to individual seminar leaders; please submit one proposal only. Notification will be in early 1 June 1994. SEMINAR 1: PERFORMANCE ART: A PERMANENT CRISIS IN THE THEATRE Performance art exists at the boundary of theatre for the purpose of challenging the very existence of that boundary. How does it contest the gap between theatre and life, and between drama and its other? Does it afford a place at the margin for those already marginalized by way of race, class, and gender? Does it articulate alterity? Does it destabilize hegemonic discourse? What is the history of performance art, and what is its current status? Professor Sally Banes Dance Program, Lathrop Hall, 1050 University Avenue, University of Wisconsin, Madison WI 53706 SEMINAR 2:INTER/MULTICULTURIST BORROWING AS FLASHPOINT OF CRISIS Western theatre has long borrowed from non-western (primarily Asian and Indian) performance, and vice-versa. Is such western borrowing, in the past and in the present, another instance of Orientalism, in Said's sense D the theatrical staging of another culture in order to reduce it to a mystified, often feminized object that only strengthens the identity of western culture? Can the theatre respond without hegemony to the call for a multicultural "celebration of difference"? What are the epistemological terms and political effects of cross-borrowing? Professor Sarah Bryant-Bertail School of Theatre, DX 20, University of Washington, Seattle WA 98177 SEMINAR 3: THE PROFESSION IN CRISIS Is there a crisis today in the profession of theatre history, theory, and criticism, and if so, what has brought it about and what results arise from it? What is or should be the goal, the concern, the organization of academic theatre? Does the academic theatre as it is organized in North America (particularly when it includes both the study and practice of theatre) provide a special locus of power and authority? Is academic theatre a unique site for the study of performance, representation, text, and theory? How successfully does the structure of academic societies, conferences, and publishing serve the needs of the profession? Has the growth of a more specialized theoretical vocabulary created a serious problem in the profession? Professor Marvin Carlson Theatre Program, CUNY Graduate Center, 33 West 42nd Street, New York NY 10036 SEMINAR 4: THEATRE 2000: THE CHALLENGE OF TECHNOLOGY TO THE STAGE With the oncoming reality of cyberspace, what is the challenge to "live" performance in the future? How can we reimagine the body, sexuality, set design, audience (virtual communities), and performance itself in the present or in the future? How can "differences" be maintained? Similarly, from the vantage point of the late twentieth century, how can we reconfigure our critical perspective on the past D radically alter how we view the history of the body, the stage, and performance? Professor Sue-Ellen Case Department of English, Swarthmore College, Swarthmore PA 19081 SEMINAR 5: THE CRISIS IN FEMINIST/POLITICAL THEATRE IN THE U.S. Recently Erika Munk has suggested that an unbridgeable split exists between academe and "the world," and that little feminist (or political) theatre has been produced in the U.S. since the last generation of feminist playwrights. Can theatre within the academy provide a site for feminist/activist work, or is there a "narrowness" and "insularity" (Munk) about academe that precludes a political project? Is the academy (and most professional theatre) a site of such bourgeois privilege that it renders the political a form of "radical chic"? Can academic theatre be anything but pedagogical? Can a pedagogical theatre function subversively? Can feminist theatre, in any context, provide a space for counter-hegemonic, or politically just, work on race, sexuality, or class? Or does feminist theatre, by definition, privilege gender/sexism in ways that consign issues of racism, heterosexism, and class privilege to secondary status? Professor Kate Davy Dean's Office, School of Fine Arts, University of California, Irvine CA 92717 SEMINAR 6: CULTURAL IDENTITY AND CRISIS This seminar hopes to examine how the theatrical medium has been used to confront issues of cultural identity and/in periods of cultural crisis. How has the theatre been a voice for emerging marginalized minorities struggling with issues of cultural identity? How has the theatre helped previously disenfranchised groups to define themselves as well as their cultural, political, and social agendas? How has the theatre served to reclaim and reformulate cultural images that were previously determined by the dominant culture? Professor Harry J. Elam, Jr. Department of Drama, Mem. Aud. 144, Stanford University, Stanford CA 94305 SEMINAR 7: THE CRISIS OF OR FOR THE AUDIENCE Often in moments of cultural shift, audience response patterns have helped to signal the existence and nature of a crisis. How has audience behavior contributed to performance that defines moments of historical crisis? How have the aesthetic, social, political, economic, or moral conditions of audiences affected notions of crisis within and without the theatre? How have audiences formed by "real-life" contexts outside of the theatre (in political demonstrations, for example) performed crisis? Proposals on any period are welcome, as well as those that attempt to define the problems, or propose models for the analysis of, audience "performance." Professor David F. Kuhns Performing Arts Department, Washington University, St. Louis MO 63130-4899 SEMINAR 8: THEATRE AND THE CRISIS OF A FIN-DE-SIECLE How has the theatre reflected, anticipated, or responded to the perceived crisis of a fin-de-siecle? What are the larger social and cultural implications of a century's (or millennium's) close, as well as the manner in which such disturbances have been registered by a broadly defined theatre community? Proposals on theatre, drama, and performance at our own fin-de- siecle are welcome, and considerations of parallel issues in the 1890s, 1790s, 1690s, 1590s, 1490s, or 1390s. Professors Sheila Stowell and Joel Kaplan c/o Department of Theatre, P.O. Box 1700, University of Victoria, Victoria, B.C., CANADA V8W 2Y2 SEMINAR 9: MACRO-HISTORY OR MICRO-HISTORIES The growing awareness and recognition of multicultural theatrical practices and performance traditions has encouraged nationally, regionally, linguistically, and culturally focused discourse as the "Eurocentric- Aristotlean" model breaks down. But no current historiographic discourse seems adequate to address issues of general theatrical performance or its history. Is it possible to develop a theoretical framework large enough and flexible enough to accommodate the various micro-histories and support an overarching macro-history? Or is theatre historiography necessarily limited by historians' culturally defined perspectives? Is general and comparative history possible or even desirable? Or are historical studies more properly to be conceived as discreet discourses for discreet communities? Professor Ronald Vince Department of Drama, McMaster University, Hamilton, Ont., CANADA L8S 4L9 ========================================================================= Date: Wed, 12 Jan 1994 12:36:22 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0027 Re: Reading the Sonnets Shakespeare Electronic Conference, Vol. 5, No. 0027. Wednesday, 12 January 1994. From: Gardner Campbell Date: Tuesday, 11 Jan 1994 12:13:40 -0800 (PST) Subject: RE: SHK 5.0022 Re: Reading the Sonnets There's also a splendid two-cassette recording on Argo of Richard Pasco reading the complete sonnets; highly recommended. (Pasco is my nominee for poetry-reader-laureate--you should hear how he reads Hopkins' "Felix Randal.") Gardner Campbell University of San Diego Campbell@teetot.acusd.edu ========================================================================= Date: Thu, 13 Jan 1994 15:19:30 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0030 Re: Hypertext Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0030. Thursday, 13 January 1994. (1) From: John Cox Date: Wednesday, 12 Jan 1994 14:11:40 -0500 (EST) Subj: Re: SHK 5.0026 Hypertext Shakespeare (2) From: Martin Zacks Date: Wednesday, 12 Jan 1994 11:33:40 -0800 (PST) Subj: Re: SHK 5.0026 Hypertext Shakespeare (1)---------------------------------------------------------------------------- From: John Cox Date: Wednesday, 12 Jan 1994 14:11:40 -0500 (EST) Subject: Re: SHK 5.0026 Hypertext Shakespeare I suspect that the main reason Michael Best got only a few responses to his request for a wish-list of hypertext features is that most of us know next to nothing about what hypertext is. That certainly includes me. I know only what I saw demonstrated at last year's SAA meeting in Atlanta. I seem to remember some discussion on SHAKSPER about a session devoted to hypertext at this year's SAA meeting in Albuquerque. Has such a session materialized, at least in the form of a definite plan? If so, I'd be grateful to hear about it, and I suspect other network users would be interested too. John Cox (2)---------------------------------------------------------------------------- From: Martin Zacks Date: Wednesday, 12 Jan 1994 11:33:40 -0800 (PST) Subject: Re: SHK 5.0026 Hypertext Shakespeare My own readings of the plays are greatly enhanced by a concordance at my desk. I don't know if that would be practical on hypertext, but I find it nearly indispenable for a serious reading. Also, I try to find a book on the play in performance, to give me some guide as to the various business that wouldn't be apparent in just the text. Stage direction or how a particular production handled a scene or character helps my understanding and enjoyment of the play. I believe that Voyager works only on Macs, will this CD-Rom be available for DOS? Good luck, Martin Zacks ========================================================================= Date: Thu, 13 Jan 1994 15:29:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0031 Uses of Electronic Texts: Conference Shakespeare Electronic Conference, Vol. 5, No. 0031. Thursday, 13 January 1994. From: Michael Sharpston Date: Wednesday, 12 Jan 1994 20:44:00 -0400 (EDT) Subject: Uses of Electronic Texts: Conference Just in case this would interest SHAKSPERians, and has not been brought to their attention already. I have no commercial or other connection with this event. Michael Sharpston msharpston@worldbank.org =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= [Posted to several different lists--please forgive any duplication] Conference Announcement LITERARY TEXTS IN AN ELECTRONIC AGE: SCHOLARLY IMPLICATIONS AND LIBRARY SERVICES 31st Annual Clinic on Library Applications of Data Processing April 10-12, 1994 Graduate School of Library and Information Science University of Illinois at Urbana-Champaign Electronic technologies are not replacing the book so much as they are changing its form and its role in scholarship. Rising interest in electronic texts is evident in the development of new computational approaches to the study of literature, the appearance of electronic text centers on university campuses, and an expanding publishing industry in electronic books. This conference will examine the role of electronic texts in the humanities and the implications of these technologies for libraries. Conference speakers will discuss this latest development in the human pursuit of the literary arts from a variety of perspectives, including the production and acquisition of electronic texts, strategies for storage and dissemination, software for the retrieval and analysis of electronic texts, problems of bibliographic control and intellectual property, and publishing trends. Offered in conjunction with the conference is an optional preconference workshop in the practical use of Standard Generalized Markup Language (SGML) in the organization of electronic texts for interchange and research. Conducting the workshop will be C.M. Sperberg-McQueen, an editor of the recently released Guidelines for Text Encoding and Interchange, a text- representation standard based on SGML syntax. Who should attend: This conference will be of interest to librarians, academic computing staff, publishers and distributors of electronic texts, and humanities scholars interested in the possibilities of electronic texts. PROGRAM SUNDAY, APRIL 10 11am-5pm Registration 1-4:30pm Preconference Workshop on using Standard Generalized Markup Language (SGML) C. M. Sperberg-McQueen Editor, Text Encoding Initiative University of Illinois at Chicago 5-6:30pm Reception 6:30-7:30pm Dinner 8pm Keynote Address (Lincoln Hall Theater) AUTHORS AND READERS IN AN AGE OF ELECTRONIC TEXTS Jay David Bolter Professor School of Literature, Communication, & Culture Georgia Institute of Technology MONDAY, APRIL 11 8-9:30am ELECTRONIC TEXTS IN THE HUMANITIES: A COMING OF AGE Susan Hockey Director Center for Electronic Texts in the Humanities Rutgers and Princeton Universities THE TEXT ENCODING INITIATIVE: ELECTRONIC TEXT MARKUP FOR RESEARCH C. M. Sperberg-McQueen Editor, Text Encoding Initiative University of Illinois at Chicago 9:30-10am Break 10-11:30am ELECTRONIC TEXTS AND MULTIMEDIA IN ACADEMIC LIBRARIES: A VIEW FROM THE FRONT LINE Anita Lowry Head, Information Arcade, Main Library University of Iowa HUMANIZING INFORMATION TECHNOLOGY: CULTURAL EVOLUTION AND THE INSTITUTIONALIZATION OF ELECTRONIC TEXT PROCESSING Mark Tyler Day Associate Librarian Indiana University 11:30am-1pm Lunch (on your own) 1-2:30pm COHABITING WITH COPYRIGHT IN AN ELECTRONIC ENVIRONMENT Mary Brandt Jensen Director, Law Library Professor, School of Law University of South Dakota STANDARDS, INTERCONNECTIONS, AND THE NONPROFIT DOMAINS Michael Jensen Electronic Media Manager University of Nebraska Press 3-5pm Software Demonstrations 5-7pm Dinner (on your own) 7-9pm Software Demonstrations Tuesday, April 12 8-9:30am THE FEASIBILITY OF WIDE-AREA TEXTUAL ANALYSIS SYSTEMS IN LIBRARIES: A PRACTICAL ANALYSIS John Price-Wilkin Information Management Coordinator Alderman Library, University of Virginia THE SCHOLAR AND HIS LIBRARY IN THE COMPUTER AGE James W. Marchand Professor Department of Germanic Languages and Literature University of Illinois at Urbana-Champaign 9:30-10am Break 10-11:30am THE CHALLENGES OF ELECTRONIC TEXTS IN THE LIBRARY: BIBLIOGRAPHIC CONTROL AND ACCESS Rebecca Guenther Network Development and MARC Standards Office Library of Congress PROJECT GUTENBERG: TRYING TO GIVE AWAY A TRILLION ETEXTS BY THE END OF 2001 Michael S. Hart, Professor of Electronic Text Executive Director of Project Gutenberg Etext Illinois Benedictine College 11:30am-1pm Lunch (on your own) 1-2:30pm DURKHEIM'S IMPERATIVE: THE ROLE OF HUMANITIES FACULTY IN THE INFORMATION TECHNOLOGIES REVOLUTION Robert A. Jones Professor, Department of Sociology University of Illinois at Urbana-Champaign THE MATERIALITY OF THE BOOK: ANOTHER TURN OF THE SCREW Terry Belanger University Professor, University of Virginia GENERAL INFORMATION Location: Except as noted, all conference events will take place in the Illini Union on the campus of the University of Illinois at Urbana-Champaign, 1401 W. Green St., Urbana, Illinois. Registration and Fees: The fee for the conference is $340 ($380 after March 11, 1994), which includes the Sunday night dinner, refreshments, and a copy of the Clinic proceedings. Registration for the optional SGML workshop is $40. Registration is limited, and early registration is recommended. A limited number of reduced-fee registrations are available for those who might otherwise be unable to attend; for consideration, submit a written request by March 11, 1994. Transportation: Champaign-Urbana is served by TWA, Midway Express, American Eagle, and Northwest Commuter. AMTRAK service is available from Chicago and points south. Champaign is located 135 miles south of Chicago on Interstate routes 72, 74, and 57. Accommodations: Rooms have been allocated for participants at the hotels listed below. Participants must make their own reservations, and should do so before March 9, 1994. Please indicate that you are attending the library data processing conference. Illini Union University Inn 1401 W. Green St. 302 E. John St. Urbana, IL 61801 Champaign, IL 61820 (217) 333-1241 (217) 352-8132 Single: $54 + tax Single: $54 + tax Double: $62 + tax Double: $61 + tax Continuing Education Units: Participants will earn 1.1 CEU for attending this meeting. Refunds: Refunds will be made if you find that you cannot attend and you notify us in writing by March 16, 1994. You must cancel your own hotel reservations. IF YOU WOULD LIKE MORE INFORMATION ABOUT THE CLINIC, PLEASE CALL (800) 982-0914 OR (217) 333-2973, OR SEND YOUR QUESTION VIA ELECTRONIC MAIL TO DPC@ALEXIA.LIS.UIUC.EDU. --------------REGISTRATION FORM------CUT HERE-------------------- Literary Texts in an Electronic Age: Scholarly Implications and Library Services 31st Annual Clinic on Library Applications of Data Processing April 10-12, 1994 Graduate School of Library and Information Science University of Illinois at Urbana-Champaign Registration Form Name ____________________________________________________________ Title____________________________________________________________ Organization Name________________________________________________ Business Address_________________________________________________ _________________________________________________________________ _________________________________________________________________ Phone Number (___)_______________________________________________ Email address____________________________________________________ Registration Fees: $340 ($380 after March 11) ________ $40 SGML workshop ________ TOTAL FEES ________ Method of Payment: __Check enclosed (make payable to GSLIS/University of Illinois) __Charge to credit card __Visa __MasterCard Card #___________________________Exp. date_______ Signature________________________________________ Any special needs (access, meals, etc.)?_________________________ _________________________________________________________________ If there are issues you are especially interested in, or if you have particular questions about the topics that will be addressed at this conference, please write them below. We will pass them along to the speakers. _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ _________________________________________________________________ You may register by mail by sending this form to the address below, by phone (217-333-2973 or 800-982-0914), by fax (217-244-3302), or by electronic mail (dpc@alexia.lis.uiuc.edu). University of Illinois at Urbana-Champaign Graduate School of Library and Information Science Library and Information Science Building 501 E. Daniel St. Champaign, Illinois 61820-6212 ========================================================================= Date: Thu, 13 Jan 1994 15:33:01 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0032 Call for Seminars -- SAA Shakespeare Electronic Conference, Vol. 5, No. 0032. Thursday, 13 January 1994. From: Georgianna Ziegler Date: Thursday, 13 Jan 1994 10:00:31 -0500 (EST) Subject: Call for Seminars - SAA The Program Committee of the Shakespeare Association of America would like suggestions for seminars for the 1995 annual meeting. Place: Chicago, Illinois Dates: 23-25 March, 1995 The Committee will be meeting at this year's conference in Albuquerque to set the program for 1995. We like to have about 30 proposals for seminars and 10 or so for panels to choose from. Please send your ideas in the form of a paragraph describing the focus of the seminar and what you would expect from participants, as well as the names of one or two seminar leaders to any of the following committee members: Georgianna Ziegler, Chair Folger Shakespeare Library 201 East Capitol St., SE Washington, DC 20003 gziegler@amherst.edu Margo Hendricks Department of English U C at Santa Cruz Cowell College Santa Cruz, CA 95064 margo@macmail.ucsc.edu Skip Shand Department of English Glendon College 2275 Bayview Road Toronto, ON M4N 3M6 Canada shand@VENUS.YORKU.CA Please e-mail any of us if you have questions before sending in your proposals! ========================================================================= Date: Fri, 14 Jan 1994 10:38:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0033 Re: Hypertext Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0033. Friday, 14 January 1994. From: James McKenna Date: Thursday, 13 Jan 1994 23:33:01 -0500 (EST) Subject: hypershakspeare Concerning wishes for hypertext Shakespeare, two come to mind: availability for DOS--I can't learn to like what I can't get onscreen--and heavy bibliography. How about instant bibliography for every major action, scene, passage? This could include parallel texts by other authors or possible sources for various aspects of the text in question. It could also include recognition of parallels in the author's other works and interrelations between parts of the text. (If this last option were available right now for J.J.'s ULYSSES, I'd buy it--or would I? What happens to a literary work when it disembowels itself with the push of a button?) Anyway, another idea is a well-designed display of variants that--if possible--allows both reading of text and examination of variants: Split screens, maybe? or interlining in a different color? (I did something like that in Pagemaker with an OE text [DREAM OF THE ROOD], and I found it very valuable.) Finally, I've got a vague interest in statistical studies to find variations that indicate revision, shared authorship, etc. Is it even practical to build functions in that would both be accessible to mathematical morons like myself and be effective in reliable statistical searches? Finally, finally, who does the edition? the selection of bibliography? all the apparatus that is the point of hypertext? I'd want to know that the scholarship is first-rank before I'd spend the time to learn to use a complex tool. Even as I suggest these ideas, I still wonder whether we do ourselves any favors by committing to electrotexts. I just don't buy the argument that tools are value-neutral. Nevertheless, the possibilities are interesting...if unnerving. I remain impenitently skeptical. James McKenna mckennji@ucbeh.bitnet ========================================================================= Date: Fri, 14 Jan 1994 10:43:21 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0034 Q: Falstaff's Sack Shakespeare Electronic Conference, Vol. 5, No. 0034. Friday, 14 January 1994. From: Ronald Dwelle Date: Friday, 14 Jan 94 09:45:44 EST Subject: sack The following are serious requests for information from a serious undergraduate class (well, okay, quasi-serious).... Does anybody have a receipe for Falstaff sack? This is from a serious young (hope-to-get-rich) micro-brewer who is able to try to replicate it and, if successful, to try to peddle it on the (local) open market through a "brew-pub." Falstaff Fizz... or whatever. And, does anyone know of "sack" being sold at micro-breweries or brew-pubs anywhere? And a more-scholarly question (well, okay, more quasi-scholarly...). How are we to take Falstaff's love? Is it like the love of south-dakota 3.2% beer (drink-all-night-pee-like-a-fountain-but-never-get-drunk) or is is more like Mad-Dog 20/20 (drink-and-puke-drink-and-puke-red-veins-on-the-cheeks-massacre -the-liver)? Thirty-three undergraduates await your response with baited (well...,quasi-beery) breath. Cheers, Ron Dwelle (dweller@gvsu.edu at Internet) ========================================================================= Date: Sat, 15 Jan 1994 10:51:59 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0035 Re: Hypertext and Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0035. Saturday, 15 January 1994. (1) From: Michael Best Date: Friday, 14 Jan 94 09:18:33 PST Subj: Hypertext and Shakespeare (2) From: Michael Sharpston Date: Friday, 14 Jan 1994 20:42:00 -0500 (EST) Subj: RE: SHK 5.0033 Re: Hypertext Shakespeare (1)---------------------------------------------------------------------------- From: Michael Best Date: Friday, 14 Jan 94 09:18:33 PST Subject: Hypertext and Shakespeare John Cox makes the very reasonable request that the concept of hypertext be explained if those of us interested in it are to get any useful response (input? feedback?) from the network. Remembering that in the thin medium of email, I for one don't often read past the third screenful, here goes: Hypertext is the result of the power that the computer gives us to make multiple lateral links between linear texts. Thus, for example, the computer makes it possible for us to make continuous links between a play and its source, so that at any time the reader can examine what Shakespeare may have been using as he wrote. The "text" that is linked can also be a sound, a graphic image, or a video clip. Links can also be made directly between the various supporting materials independent of the basic text, so that the result is a network of links. In a well-designed hypertext environment users can make their own links and add their own material to that provided I plan to produce a hypertext eedition of *Romeo and Juliet*. Though my preferred platform, and still the best for multimedia, is the Macintosh, I am designing the material in a sufficiently generalized way that it will be possible to "port" it to Windows if there is interest/funding. Here is the current list of tools I plan to make available. Texts (which can be viewed in parallel or separately) * The Bad Quarto (Q1) } * The Good Quarto (Q2) } electronic texts * The Folio (F) } * (Ideally) the Good Quarto text in graphic form. * An edited modern-spelling text. * The capacity for users to create their own version of the text. Related material * Sources, analogues, linked to the text. * Contemporary historical material (suggestions welcome) Scholarly apparatus * Detailed hypertext "footnotes" as usual in a scholarly edition. The footnotes will in turn be linked to background or critical material. * A concordance of the text, with each word linked to each of its occurrences. * An extensive bibliography, accessible by context-sensitive links from both text and supporting material, of both critical discussions and related works that deal with historical and social issues of the time. * Index with automatic links, and all the powerful "find" and "search" capabilities of the computer. Critical commentary * Hypertext would most effectively offer links between contrasting or differing critical reactions to specific lines, though the ability to link a passage to passages that in various ways are similar is effectively a critical exercise. My own bias would be to offer ways for the user to explore parallels (and to create links where he or she perceived parallels) rather than to expatiate upon them. * An extensive anthology of critical commentary. * The stage history, complete with graphics and QuickTime video clips where available. Research tools in addition to the concordance and bibliography * Users will be able to create their own notes, hypertext links, bibliographical entries and so on, and will have the choice of making these available to others. * All material in the program generated specifically for the edition, and therefore copyright free, will be available (via a tool for cutting and pasting) for teaching or scholarly use. That's it so far. Comments and suggestions are welcome. (2)---------------------------------------------------------------------------- From: Michael Sharpston Date: Friday, 14 Jan 1994 20:42:00 -0500 (EST) Subject: RE: SHK 5.0033 Re: Hypertext Shakespeare Further to James McKenna and hypertext Shakespeare, I would like to solicit the knowledge and assistance of everyone on the fundamental issue of authoring/ arranging text for use in a hypertext system. By and large, for "hypertext" read "hypermedia" if you wish and where appropriate, (non-text media might certainly add a helpful dimension to Martin Zacks' "play in performance"). I was very taken by Vint Cerf's remark that hypertext could help supply context for an electronic communication, (indeed more or less context at the option of the reader), and hence help to deal with my notorious "thin communication" issue. I also believe that (a) the burgeoning mega-success of Internet (b) the apparent very significant success on Internet of Mosaic, a hypertexty interface to Internet, will combine to lead to more stuff being published in hypertexty form. Hypertext has been around in the computer world for a while (and quite pop ever since Macintosh Hypercard), but I think it has so far been for rather niche uses. Internet/ Mosaic may drive much broader currency of the concept. I have concerns. Yes indeed as James McKenna says, how good is it for a work of literature to disembowel itself on request. (Although Mishnah, commentary of the Fathers, on the Koran, whatever, is hardly as new as hypertext). My concerns are based on a good deal of ignorance but go as follows: (a) Hypertext rather deprives one of the structure provided by long linear sections of text. Is it true that with hypertext you cannot build on an assumption of growing knowledge on the part of your reader, as you would in a standard book, proceeding through the chapters with the reader? (b) And how to avoid aimless wandering by a reader, "lost in hyperspace"? (c) Or superficiality brought about by soundbite snippets of text, so that even an accumulation of them do not achieve what a solid chunk of text could achieve? (d) A Japanese acqaintance told me that he tended when reading to jump from kanji to kanji, half-ignoring the more wispy kana. I have heard somewhere (credibly or not) that readers may do something the same with hypertext, going from one highlighted word to the next and half-ignoring the rest of the text. (Click on the highlighted word and it summons up more information about that item). Some SHAKSPERians (including yours truly) might not be very happy at the prospect of their prose being treated in this cavalier fashion. Can anyone help me on all this? Last but not least an important disclaimer. None of the views expressed here are those of my employer. They are the uncertain musings of a searcher for assistance. Michael Sharpston msharpston@worldbank.org ========================================================================= Date: Sat, 15 Jan 1994 10:56:24 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0036 CFP: CATH 1994 Conference Shakespeare Electronic Conference, Vol. 5, No. 0036. Saturday, 15 January 1994. From: Stuart Lee Date: Friday, 14 Jan 94 16:32 GMT Subject: CATH '94 Conference: Call for Papers ***************************************************************************** CATH '94 "COURSEWARE IN ACTION" Computers and Teaching in the Humanities Glasgow University 9 - 12th September, 1994 CALL FOR PAPERS CATH is the annual forum of the Computers in Teaching Initiative Centre for Textual Studies and the Office for Humanities Communication. It provides an opportunity for those using computers in humanities teaching and research to discuss new developments, achievements, and methods in the field. The theme of this year's conference is "Courseware in Action". Papers are welcomed which concentrate on the practical applications of courseware in the classroom. In particular submissions are invited on the following topics: -courseware development -practical issues pertaining to the implementation of CAL in the classroom -evaluation procedures We would especially welcome papers from those new to the subject of humanities computing. The conference will be made up of a series of sessions. Each session will last 90 minutes and will include three papers. Submissions are invited for individual papers (lasting 20 minutes with 10 minutes for questions) or for entire sessions. Furthermore, if you would like to organise a workshop presentation, or classroon simulation, then please contact the organisers directly for more information [It is expected that each workshop or simulation will last approximately two hours]. During the conference there will also be a software fair. If you would like to show material at this, then please contact the organisers as soon as possible to discuss hardware and software requirements. Format of Submissions 1) All submissions (paper or electronic) should begin with the following inforamtion: TITLE: Title of paper AUTHOR(S): Names of authors AFFILIATION: Of author(s) CONTACT ADDRESS: Full postal address E-MAIL: Electronic mail address of main author (for contact), followed by other authors (if any) FAX NUMBER: Of main author PHONE NUMBER: Of main author 2) Length: -Individual papers: abstracts should be 300 - 500 words. -Sessions: The proposer should submit a statement of approximately 300 - 500 words describing the overall topic, and also include abstracts of 300 - 500 words for each of the papers in the session. 3) Guidelines for Electronic Submission of Abstracts: These should be plain ASCII files, not word-processor files, and should not contain TAB characters or soft hyphens. Paragraphs should be separated by blank lines. Headings and subheadings should be on separate lines and be numbered. Footnotes should not be included and endnotes only where absolutely necessary. References should be given at the end. Choose a simple markup scheme for accents and other characters which cannot be transmitted by electronic mail and include an explanation of the scheme after the title information and before the start of the text. Electronic submissions should be sent to: CATH94@VAX.OX.AC.UK with the subject line " Submission for CATH94". 4) Paper submissions: Submissions should be typed or printed on one side of the paper only, with ample margins. Two copies should be sent to the organisers. 5)Deadline for submission of abstracts or workshop proposals: Tuesday March 1st All enquiries and submissions should be directed to: CATH 94 Centre for Humanities Computing Oxford University Computing Services 13 Banbury Road Oxford OX2 6N UK Telephone: 0865-273221 Fax: 0865-273221 E-Mail: CATH94@VAX.OX.AC.UK ========================================================================= Date: Sat, 15 Jan 1994 11:02:23 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0037 Q: Margaret Anglin and Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0037. Saturday, 15 January 1994. From: Norman J. Myers Date: Friday, 14 Jan 94 13:35:34 -0500 Subject: Margaret Anglin and Shakespeare During the 1913-14 season, Margaret Anglin, a popular American actress toured to 65 US and Canadian cities with a repertorie of four Shakespeare Plays--AYLI, 12TH NIGHT, SHREW and ANTONY & CLEOPATRA. The shows were designed by Livingston Platt, and the tour gave North Americans their first view of a professional production of Shakespeare designed in "the new manner--i.e. new stagecraft." I'm looking for any sources of information about this tour. I am particularly interested in finding out possible sources for photographs, renderings, sketches, etc. of Platt's designs. (I have a photograph of A&C set). I have extensive reviews and commentary on both the performances and the designs from every New-York based critic from Walter Prichard Eaton to William Winter, and getting New York newspaper reviews shouldn't be difficult. I've written about Anglin's Greek tragedy revivals and know a good bit about her background. I know John Le Vay's biography of Anglin. I've several pictures of Anglin in costume for various roles. What I need, in addition to pictorial sources for Platt's designs is some idea of the cities to which this reportorie toured. Any help would be appreciated. Norman Myers Professor Theatre Bowling Green State University Bowling Green, Ohio 43403 419/372-7173 nmyers@andy.bgsu.edu ========================================================================= Date: Sat, 15 Jan 1994 11:14:19 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0039 Re: The Passage of Time in *Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0039. Saturday, 15 January 1994. From: Piers Lewis Date: Saturday, 15 Jan 1994 08:28:13 -0600 (CST) Subject: Re: SHK 5.0029 Q: The Passage of Time in *Hamlet* Harley Granville-Barker says, as I remember, that the play ignores time until Act V because that's what Hamlet is doing. ========================================================================= Date: Sat, 15 Jan 1994 11:10:15 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0038 Re: Sack Shakespeare Electronic Conference, Vol. 5, No. 0038. Saturday, 15 January 1994. (1) From: Ron Macdonald Date: Friday, 14 Jan 1994 14:18:26 -0400 (EDT) Subj: Sack (2) From: Tom Blackburn Date: Friday, 14 Jan 1994 14:32:36 +0000 Subj: Re: SHK 5.0034 Q: Falstaff's Sack (3) From: Piers Lewis Date: Saturday, 15 Jan 1994 00:35:52 -0600 (CST) Subj: Re: SHK 5.0034 Q: Falstaff's Sack (1)---------------------------------------------------------------------------- From: Ron Macdonald Date: Friday, 14 Jan 1994 14:18:26 -0400 (EDT) Subject: Sack I hope Ronald Dwelle's beer-drinking undergraduates won't be excessively disappointed, but sack is a wine (and thus not brewed at all), specifically any of a number of strong, dry (sack is a variant of _sec_, "dry") wines imported to England from Spain or the Canary Islands. I believe it was a "fortified" wine, like sherry or madeira, that is, a wine whose alcoholic strength has been increased beyond the limit of simple fermentation by the admixture of a brandy distilled from the wine itself. Falstaff's "If sack and sugar be a fault, God help the wicked" suggests that sack was too _sec_ for some English tastes and thus sweetened at the table in the way the less enlightened of us sweeten coffee. And isn't there still some sort of booze marketed under the redundant name "Dry Sack," packaged in burlap as an allusion to the kind of sack that has absolutely nothing to do with the name of Falstaff's favorite tipple? Cheers anyway, Ron Macdonald (2)---------------------------------------------------------------------------- From: Tom Blackburn Date: Friday, 14 Jan 1994 14:32:36 +0000 Subject: Re: SHK 5.0034 Q: Falstaff's Sack Ron, You would have to inquire at a winery not a brewery for Falstaff's favorite potable. "Sack" is fundamentally Sherry (note the still available brand "Dry Sack," though what Falstaff drank was probably not very dry). Cheers, Tom Blackburn (3)---------------------------------------------------------------------------- From: Piers Lewis Date: Saturday, 15 Jan 1994 00:35:52 -0600 (CST) Subject: Re: SHK 5.0034 Q: Falstaff's Sack I always thought 'sack' was not beer but sherry--like the Dry Sack currently available at your local liquor store. Am I wrong? ========================================================================= Date: Sun, 16 Jan 1994 15:00:22 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0040 Shakespeare Electronic Conference, Vol. 5, No. 0040. Sunday, 16 January 1994. (1) From: Steven Urkowitz Date: Saturday, 15 Jan 94 13:11:27 EST Subj: Re: SHK 5.0026 Hypertext Shakespeare (2) From: Dennis Kennedy Date: Saturday, 15 Jan 1994 12:28 EST Subj: Re: SHK 5.0035 Re: Hypertext and Shakespeare (3) From: Vint Cerf <0003786240@mcimail.com> Date: Sunday, 16 Jan 94 10:53 EST Subj: Re: SHK 5.0035 Re: Hypertext and Shakespeare (1)---------------------------------------------------------------------------- From: Steven Urkowitz Date: Saturday, 15 Jan 94 13:11:27 EST Subject: Re: SHK 5.0026 Hypertext Shakespeare For Michael Best, a wish-list item: perhaps a file of promptbooks available in libraries and archives? Randy McLeod has generated a geographical finding-list from the play-by-play Shattuck PROMPTBOOKS volume. The hypertext imagination grows by leaps and un-bounds . . . Thank you for your labors. Urk (2)---------------------------------------------------------------------------- From: Dennis Kennedy Date: Saturday, 15 Jan 1994 12:28 EST Subject: Re: SHK 5.0035 Re: Hypertext and Shakespeare Bookworm Elctronic Publications of Nashville is producing a CD-Rom hypertext edition of four popular Shakespeare plays, called The Shakespeare Quartet. Intended for classroom and other pedogogic use, it will include R&J, MSD, Hamlet, and Tempest in the Globe texts. The engine, as they call it, will allow the reader to call up textual and interpretative commentary, biblio- graphic assistance, and performance history with pictures - all by highlighting the lines at issue, or by referring to more general or thematic issues relevant to the plays. Its list price, I believe, will be about $50. I know of this because they have leased the electronic rights to my book, Looking at Shakespeare, for the pictures and performance commentary. I know that other scholars have been involved as well. But I have not yet seen the final product, so can make no comment on its value. It will work in both Mac and MS/DOS environments. Whether or not you agree with the value of electronic-based study, I suspect this kind of project will be used quite heavily in the future. Dennis Kennedy, University of Pittsburgh Theatre Arts (3)---------------------------------------------------------------------------- From: Vint Cerf <0003786240@mcimail.com> Date: Sunday, 16 Jan 94 10:53 EST Subject: Re: SHK 5.0035 Re: Hypertext and Shakespeare Michael, Your questions are good ones. On the whole, it seems to me that one can readily abuse almost any medium, hypertext included. One can also take traditional book formats and totally abuse them by producing a completely disorganized rendering of some particular topic. One can produce a hypertext which can be read linearly, but which lends itself to appeal to ancillary information if the reader is so inclined. Michael Crichton's Jurassic Park, for example, is published in a hypertext format by Voyager Press. There are no special clues for hypertext links visible, but one can click on any word and may be vectored off to a link (usually to a rendering and sound recording of a particular dinosaur). I think there is enough flexibility in the concept of hypertext to allow an author to make the links as apparent or a subtle as he or she desires. One could even turn on or off the markings, classify them and render only those the reader desires, etc. Vint ========================================================================= Date: Sun, 16 Jan 1994 15:07:03 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0041 Re: Sack Shakespeare Electronic Conference, Vol. 5, No. 0041. Sunday, 16 January 1994. (1) From: Thomas G. Bishop Date: Saturday, 15 Jan 94 16:30:48 -0500 Subj: Re: SHK 5.0038 Re: Sack (2) From: Dennis Kennedy Date: Friday, 14 Jan 1994 13:49 EST Subj: Re: SHK 5.0034 Q: Falstaff's Sack (1)---------------------------------------------------------------------------- From: Thomas G. Bishop Date: Saturday, 15 Jan 94 16:30:48 -0500 Subject: Re: SHK 5.0038 Re: Sack The only advice I can offer the beer-drinking undergraduates longing for Falstaffian swill is a visit to Auckland, New Zealand. In the middle of downtown is a small pub called the Shakespeare Tavern, which brews a variety of potions under its own roof. Among the more potable of its offerings are: "Hamlet Pilsener", "King Lear Old Ale", and a particularly nice "Falstaff Stout"! Happy guzzling, Tom Bishop (2)---------------------------------------------------------------------------- From: Dennis Kennedy Date: Friday, 14 Jan 1994 13:49 EST Subject: Re: SHK 5.0034 Q: Falstaff's Sack To Ron Dwelle: Sack is not a beer but a fortified wine originating in Spain and the Canaries in the early 16th century, with some relationship to sherry. The name derives from Latin siccus (as in French sec), meaning dry. No doubt your local vintner, Tony Parise, could tell you more. ========================================================================= Date: Tue, 18 Jan 1994 09:10:32 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0042 *Good Night Desdemona, Good Morning Juliet* Shakespeare Electronic Conference, Vol. 5, No. 0042. Tuesday, 18 January 1994. From: Blair Kelly III Date: Monday, 17 Jan 1994 19:31:45 -0500 Subject: Good Night Desdemona, Good Morning Juliet I highly recommend to all SHAKSPEReans in the Washington, DC area the play *Good Night, Desdemona, Good Morning Juliet* performed by the Woolly Mammoth Theater Company until 13 February. This play, by Ann-Marie MacDonald, is hilariously funny as well as being a feast for lovers of the language of the Bard. The acting by the cast of five is just excellent. Naturally the play concerns Shakespeare's works of Othello and Romeo and Juliet, but to say much more will give too much away. Suffice it to say that I came away yesterday with new insights into the characters of Desdemona and Juliet. I hope to find time in my busy schedule to see the performance again, (something I rarely do) --- it is that good. Wolly Mammoth's box office is 202-393-3939. (I have no financial connection with Wolly Mammoth.) --- Blair Kelly III bfkelly@afterlife.ncsc.mil ========================================================================= ========================================================================= Date: Wed, 19 Jan 1994 10:11:47 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0044 Re: Hypertext Shakespeare at the SAA Shakespeare Electronic Conference, Vol. 5, No. 0044. Wednesday, 19 January 1994. (1) From: Michael Mullin Date: Wednesday, 19 Jan 1994 02:12:48 -0600 Subj: Re: SHK 5.0030 Re: Hypertext Shakespeare (2) From: Michael Mullin Date: Wednesday, 19 Jan 1994 02:11:41 -0600 Subj: Re: SHK 5.0031 Uses of Electronic Texts: Conference (1)---------------------------------------------------------------------------- From: Michael Mullin Date: Wednesday, 19 Jan 1994 02:12:48 -0600 Subject: Re: SHK 5.0030 Re: Hypertext Shakespeare >Dear Colleagues John Cox, Martin Zacks, and Others Please stay tuned. For the SAA meetings, I'm working to set up a demonstation using the prototype CD-ROM *OUR SHAKESPEARES: SHAKESPEARE ACROSS CULTURES* which I've developed at the University of Illinois. It features video clips paired with text. The demo takes about 15 minutes, plus Q & A. As it will not be on the program proper, I'm hoping to slot it into a time at the end of the seminars on Friday or Saturday. I'll check with Nancy Hodge and then make arrangements. Watch this space. Michael Mullin (2)---------------------------------------------------------------------------- From: Michael Mullin Date: Wednesday, 19 Jan 1994 02:11:41 -0600 Subject: Re: SHK 5.0031 Uses of Electronic Texts: Conference >To second an earlier reference to this conference via Michael Sharpston, I add the minor footnote that *OUR SHAKESPEARES: SHAKESPEARE ACROSS CULTURES* will be one of the interactive CD-ROMS featured on the Monday sessions. Later that week at the Shakespeare Association Meetings in Albuquerque I'm making arrangements for a repeat of this demo. It is off-program and informal--late in the afternoon post-seminar and pre-dinner/reception. Brief and to the point. Please email me to sign up--and to let me know whether I'm to put it in my hotel room or elsewhere. About a dozen people had said earlier that they'd be interested, in response to a SHAKSPER announcement. Michael Mullin ========================================================================= Date: Wed, 19 Jan 1994 12:22:11 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions [SHAKSPEReans, This posting is being resent because of a problem with LISTSERV at the University of Toronto. --HMC] Shakespeare Electronic Conference, Vol. 5, No. 0043. Wednesday, 19 January 1994. (1) From: Nancy W Miller Date: Tuesday, 18 Jan 94 14:17:29 EST Subj: Re: SHK 5.0034 Q: Falstaff's Sack (2) From: Edward T Bonahue Date: Tuesday, 18 Jan 94 17:33 EST Subj: sack (3) From: Nate Johnson Date: Wednesday, 19 Jan 94 03:09:20 EDT Subj: RE: SHK 5.0041 Re: Sack (1)---------------------------------------------------------------------------- From: Nancy W Miller Date: Tuesday, 18 Jan 94 14:17:29 EST Subject: Re: SHK 5.0034 Q: Falstaff's Sack Sack is wine, not beer. Nice idea, but you may be better off opting for "Sir Toby's Ale." (2)---------------------------------------------------------------------------- From: Edward T Bonahue Date: Tuesday, 18 Jan 94 17:33 EST Subject: sack I seem to recall that in _My Own Private Idaho_ the Falstaff-type character and his band of homeless waifs were quaffing something called "Falstaff Beer," which a friend of mine from the West Coast swears comes from a microbrewery somewhere in Washington or Oregon. Ed Bonahue (3)---------------------------------------------------------------------------- From: Nate Johnson Date: Wednesday, 19 Jan 94 03:09:20 EDT Subject: RE: SHK 5.0041 Re: Sack Sack was sweetened, fortified wine, yes, but I'm convinced that a modern Falstaff would be a beer-drinker. Oregon Brewing Company in Newport, Oregon, markets a "Shakespeare Stout" (oh, so very stout) which the bottle adequately describes as "Ebony in color with a rich creamy head, an earthy flavor that comes from oats, and a mellow chocolate aftertaste." In all their beers, Oregon Brewing promises no chemicals and at least 60 pounds of malt per barrel. Just happened to have a bottle handy... What was the status of the beer-brewing industry in Elizabethan England? Did one exist? Were foreign brews familiar to English tongues? What part *does* beer play in Shakespeare? I heard rumors a while back of archaeologists' efforts to reproduce mead. The first efforts were reportedly *not* tasty. My heartfelt good wishes to all earnest microbrewers out there, Shakespeareans or no... --Nate Johnson [I was given a bottle of Shakespeare Stout over the holidays, and I concur completely with Nate's accessment of it. Hummmmmmm. --HMC] ========================================================================= Date: Thu, 20 Jan 1994 09:39:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0045 Re: Hypertext Shakespeare at SAA Shakespeare Electronic Conference, Vol. 5, No. 0045. Thursday, 20 January 1994. From: John Cox Date: Wednesday, 19 Jan 1994 14:28:29 -0500 (EST) Subject: Hypertext at Albuquerque I appreciate Michael Mullin's initiative regarding Hypertext at the Shakespeare Assocation meeting in Albuquerque. To my mind, a meeting room is preferable to a hotel room, because it can accommodate drop-ins better. If an announcement about the meeting is made on the network, many people are likely to come who wouldn't necessarily indicate an interest in advance. John Cox [Editor's Note: Several messages expressing an interest in attending Michael Mullin's demonstration and associated discussion of hypertext have been forwarded directly to him. --HMC] ========================================================================= Date: Thu, 20 Jan 1994 09:43:30 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0046 Q: 1993 Essays or Books on Shakespeare's History Plays Shakespeare Electronic Conference, Vol. 5, No. 0046. Thursday, 20 January 1994. From: Phyllis Rackin Date: Wednesday, 19 Jan 1994 15:09:12 -0500 (EST) Subject: Re: query I'm trying to compile a list of the ten best essays and/or sections of books on Shakespeare's English history plays published during the year 1993. All suggestions for candidates will be much appreciated. Phyllis Rackin prackin@mail.sas.upenn.edu ========================================================================= Date: Thu, 20 Jan 1994 09:52:54 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0048 Ohio Shakespeare Conference Shakespeare Electronic Conference, Vol. 5, No. 0048. Thursday, 20 January 1994. From: William Godshalk Date: Wednesday, 19 Jan 1994 17:27:33 -0500 (EST) Subject: Ohio Shakespeare Conference OHIO SHAKESPEARE CONFERENCE. March 3-5. University of Cincinnati. The Planning Committee is about two weeks behind schedule - and catching up quickly. Invitations to the Conference will be sent out in the next few days, and I will be posting an annoucement on SHAKSPER over the coming weekend. I apologize for delays caused by snow, cold, and human error. Letters are in the mail, but I have no idea where the mail is. Thank you for your patience. Bill Godshalk Secretary, 1994 Ohio Shakespeare Conference Department of English University of Cincinnati 45221-0069 ========================================================================= Date: Thu, 20 Jan 1994 10:05:53 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0050 Re: Verse Speaking and Peter Hall Shakespeare Electronic Conference, Vol. 5, No. 0050. Thursday, 20 January 1994. From: Kenneth Meaney Date: Thursday, 20 Jan 1994 11:44 Subject: Re: Verse Speaking and Peter Hall I am new to the list and came across Bill Gelber's query about Peter Hall's methods of teaching verse speaking while browsing through last December's log file. I don't think anyone mentioned Tirzah Lowen's recent book, _Peter Hall Directs Antony and Cleopatra_ (London: Methuen, 1990), which has a chapter (Language: 'Content and Stucture are Indivisible') on precisely this. Ken Meaney University of Joensuu, Finland meaney@joyl.joensuu.fi or meaney@finujo.bitnet ========================================================================= Date: Thu, 20 Jan 1994 10:02:52 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0049 Marriage of Claudius and Gertrude Shakespeare Electronic Conference, Vol. 5, No. 0049. Thursday, 20 January 1994. From: David Scott Wilson Date: Wednesday, 19 Jan 94 17:42:08 CST Subject: Marriage of Claudius and Gertrude after Hamlet, Sr.'s Death < Not just the Tiv, but also under the old Mosaic law, this < would have been the thing to do. The underlying human concept < is that you should look after your dead brother's progeny, < (even create them for him -- see Genesis 38:8, "And Judah said < unto Onan, Go in unto thy brother's wife, and marry her, and raise < up seed to thy brother".) The Tiv and at one stage the Jews < believed you should look after your brother's wife and progeny < by marrying your brother's wife. For more on Levirate marriage < see Deut 25:5-10, and Ruth 4. And it was still a current < enough concept in Jesus' time for it to be a way of devising < a trick question: "Saying, Master, Moses said, If a man die, < having no children, his brother shall marry his wife, and raise < up seed unto his brother". (Matthew 22:24. Similarly Mark 12:19). < And Shakespeare and his audience would have been well aware < of all this, because life was more Bible-centered in those days. But would they have considered it opposite? Hamlet, Sr. did not "die, having no children": he had, as we all know, Hamlet. More relevant to Shakespeare and his audience, I should think, would have been Henry's marriage with his dead brother's wife, Katherine, in 1509: the union (which had been otherwise disbarred for consanguinity) was made possible only by a special dispensation from the pope, and even then Henry had scruples; which scruples, real or feigned, eventually torpedoed the royal marriage and made way for Anne Boleyn. (Or does this bear repeating? I'm a Romanticist trying to move over, and new at this.) David Scott Wilson-Okamura Graduate Student, English (University of Chicago) ========================================================================= Date: Thu, 20 Jan 1994 09:50:18 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0047 Re: Sack, Ale, and Stout Shakespeare Electronic Conference, Vol. 5, No. 0047. Thursday, 20 January 1994. (1) From: William Godshalk Date: Wednesday, 19 Jan 1994 17:18:17 -0500 (EST) Subj: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions (2) From: Nancy W Miller Date: Wednesday, 19 Jan 94 18:26:11 EST Subj: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions (1)---------------------------------------------------------------------------- From: William Godshalk Date: Wednesday, 19 Jan 1994 17:18:17 -0500 (EST) Subject: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions To Nate Johnson's question about beer, I gather that ale was more popular than beer. Queen Elizabeth apparently couldn't leave home without it. There are stories that she flew into a dreadful rage when her ale became too sweet because of the warm weather. When local brewers couldn't satisfy her taste, she's command that London brewers come out into the provinces to brew her a barrel of the good stuff. And to shift realities, Christopher Sly had a taste for small ale. Eleanour Rummyng's tunning was apparently for the women of her community, saith John Skelton, Laureate. And I've drunk Falstaff beer, but I haven't seen it lately. There was a picture of Santa Claus on the label - I think. Yours, Bill Godshalk (2)---------------------------------------------------------------------------- From: Nancy W Miller Date: Wednesday, 19 Jan 94 18:26:11 EST Subject: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions Re: beer in Elizabethan England: Judging from 17th century conduct books and household guides, brewing was a standard domestic skill for the early modern housewife (along with cooking, preserving, needlework, and physic). I can't speak for commercial brewing, but certainly homebrewing was widespread. ========================================================================= Date: Fri, 21 Jan 1994 09:24:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0051 *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0051. Friday, 21 January 1994. From: Daniel Traister Date: Thursday, 20 Jan 94 10:18:13 EST Subject: Forwarding an item re *Hamlet* I am forwarding the following message about a version of *Hamlet* originally posted on ExLibris, the rare book and manuscript librarians' bulletin board, by Peter Graham (a Sidney scholar who is also Big in Systems at the Rutgers library and the Lord High Executioner of ExLibris itself). It will surely interest SHAKSPER readers. Forwarded message: Posted-Date: Wed, 19 Jan 1994 23:50:54 EST From: Peter Graham Subject: Skinhead Hamlet A "Skinhead Hamlet" is available via ftp to you if you want. It is about 8 screens long, contains language some adults might find unacceptable, and is funny. Following is the URL to the file which I've placed on my machine (presently spinning merrily for a day on its own as Rutgers is closed Thurs- day due to weather and energy emergencies; in fact I should have shut it off when I left): ftp://aultnis.rutgers.edu/.pub/texts/hamlet (or) ftp://128.6.54.10/.pub/texts/hamlet Peter Graham psgraham@gandalf.rutgers.edu Rutgers University Libraries 169 College Ave., New Brunswick, NJ 08903 (908)932-5908; fax (908)932-5888 * * * * * Sight unseen, I have already figured out the plot's premise, and it sounds to me like a must read: Hamlet, star of the Wittenberg tract team, is brutally assaulted by a crowd of tonsured "skinheads," &c. Since I either cannot or do not know how to ftp, I have written Peter for instructions and will either send them OR the text itself to SHAKSPER when he replies, sometime during this cold and dreary day here in the geolog- ically stable east, site of the Great Reading (PA) Earthquake of January 15, 1994 (4.5 on the Richter scale in case you missed it while the news focussed on the two-days-later Other One). Dan Traister Special Collections Van Pelt-Dietrich Library University of Pennsylvania Philadelphia, PA 19104-6206 215 898 7088 215 898 0559 (fax) traister@pobox.upenn.edu [I have gotten the file by ftp and added it to the SHAKSPER Filserver as SKINHEAD HAMLET. WARNING: the vocabulary is dominated by the proverbial four-letter word. If you would like a copy of SKINHEAD HAMLET, send this one-line e-mail message GET SKINHEAD HAMLET SHAKSPER to LISTSERVer: LISTSERV@UTORONTO.BITNET. --HMC] ========================================================================= Date: Fri, 21 Jan 1994 09:55:59 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) Shakespeare Electronic Conference, Vol. 5, No. 0052. Friday, 21 January 1994. (1) From: Michael Dobson Date: Thursday, 20 Jan 94 09:46:22 CST Subj: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions (2) From: Michael Best Date: Thursday, 20 Jan 94 08:43:10 PST Subj: Ale (Big or Small), Beer, Sack . . . (3) From: William Kemp Date: Thursday, 20 Jan 94 22:02:32 EST Subj: Falstaff beer (4) From: Leo Daugherty Date: Friday, 21 Jan 1994 03:17:07 -0800 (PST) Subj: Sack, etc. (5) From: Hardy M. Cook Date: Friday, January 21, 1994 Subj: Falstaff Beer (1)---------------------------------------------------------------------------- From: Michael Dobson Date: Thursday, 20 Jan 94 09:46:22 CST Subject: Re: SHK 5.0043 Re: Sack, Ale, and Stout with Some Questions re: Beer and Shakespeare England, thank God, is a country which doesn't *need* to import beer, and I know of no references to beer imports before the glorious rise of the Dublin stout industry in the mid 18th century. The beer which Falstaff *could* have ordered at the Boar's Head was 'brown bastard', a rich ale, as distinct from the 'small beer' which most households brewed themselves in part as a means of disinfecting and re-flavouring the water. It was very low in alcohol, pallid, and insipid in flavour, a perfectly acceptable soft drink for children -- the Renaissance equivalent of Budweiser. Mead, incidentally, is still commercially available in Britain, and as long as you have confidence in your dentist and don't mind the idea of alcoholic Lucozade isn't bad. The other crucial connection between Shakespeare and beer is the posthumous patronage of Flowers' brewery of Stratford, which funded the building of the original Shakespeare Memorial Theatre and remains a patron of the RSC. Flowers' bitter is now distributed nationally by one of the big conglomerates -- I think Whitbread -- and continues to bear a portrait of the Bard on its beermats. Merrie Englande at L1.50 a pint (or am I lagging behind inflation?). On Shakespeare's involvement in the modern drink-marketing business, see Graham Holderness and Bryan Loughrey's piece 'Shakespearean Features' (which reproduces both the Flowers' trademark and the version of the Chandos portrait used on Tesco dry sherry bottles -- at least Tesco know their sack!), published in Jean Marsden's anthology *The Appropriation of Shakespeare* (1991). [not to be confused, incidentally, with Brian Vickers' recent rewrite of the Dunciad, which adopted a similar title]. Michael Dobson (2)---------------------------------------------------------------------------- From: Michael Best Date: Thursday, 20 Jan 94 08:43:10 PST Subject: Ale (Big or Small), Beer, Sack . . . Gervase Maarkham's *The English Housewife* (1516) lists usable recipes for March ale (the strongest), ale, small ale (made from the second infusion of the malt) and that newcomer beer (with its trendy new additive hops). It devotes a whole chapter to the care (read adulteration) of wines, including sack. My edition of Markham (1986) is still available from McGill-Queens Press. (3)---------------------------------------------------------------------------- From: William Kemp Date: Thursday, 20 Jan 94 22:02:32 EST Subject: Falstaff beer Edward Bonahue mentions seeing Falstaff beer in "My Own Private Idaho," and William Godshalk testifies to having drunk it. He also recalls that the picture on the can resembled Santa Claus. It did. Falstaff was a low-priced beer widely available (at least in the South) during my youth (the 50's and 60's). The bearded guy on the can did indeed look a lot like Santa. Was the stuff in "My Own Private Idaho" authentic or a directorial fabrication? There's no Falstaff beer in Virginia. Is it still around in other parts of the country? I cannot believe I am writing this note. A week of cancelled classes and staying inside must have driven me batty. Bill Kemp Mary Washington College Fredericksburg, Va. wkemp@s850.mwc.edu (4)---------------------------------------------------------------------------- From: Leo Daugherty Date: Friday, 21 Jan 1994 03:17:07 -0800 (PST) Subject: Sack, etc. There used to be a terrific cheap beer called Falstaff. It was sold in Kentucky and Ohio (at least), had a picture of Fat Jack on the label, amd was absolutely delicious to the unschooled fratrat palate. Presuming we've not run too far off the rails or otherwise afield here -- this is, after all, a "spinoff" --, does anybody know if it's still around? Leo Daugherty The Evergreen State College (5)---------------------------------------------------------------------------- From: Hardy M. Cook Date: Friday, January 21, 1994 Subject: Falstaff Beer As a homebrewer, or at least I was before I returned to changing diapers four months ago, I have purchased "overrun" bottle caps. One such cap, which tops the last of a June 1992 Brown Ale, is labeled "88 Falstaff Light." I had always assumed that "overrun" implied that the caps were labeled but the company went out of business, and I have, thus, assumed, rightly or wrongly, that Falstaff beers were potables of the past. ========================================================================= Date: Sat, 22 Jan 1994 10:08:08 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0053 Re: Ale and Beer (Especially Falstaff's) Shakespeare Electronic Conference, Vol. 5, No. 0053. Saturday, 22 January 1994. (1) From: James Schaefer Date: Friday, 21 Jan 1994 10:20:31 -0500 (EST) Subj: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) (2) From: John Cox Date: Friday, 21 Jan 1994 10:31:49 -0500 (EST) Subj: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) (3) From: Chris Kendall Date: Friday, 21 Jan 1994 09:15:49 -0700 (MST) Subj: Falstaff in Idaho (4) From: Celine Gura Date: Friday, 21 Jan 1994 11:38:12 Subj: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) (5) From: Ronald Dwelle Date: Friday, 21 Jan 94 13:25:27 EST Subj: Scholarship in the Streets (6) From: Peter D. Junger Date: Friday, 21 Jan 94 13:23:23 EDT Subj: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) (1)---------------------------------------------------------------------------- From: James Schaefer Date: Friday, 21 Jan 1994 10:20:31 -0500 (EST) Subject: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) I had sent this message privately to Edward Bonahue, but since others have the same memories, this may jog them further: Growing up in Missouri/Illinois 40-odd yrs ago, there was a Falstaff Beer sold regionally that had this radio jingle: Falstaff Beer, best beer anywhere Falstaff Beer, brewed with special care Smooth and golden, bright and clear America's premium quality beer Step right up, the time is here for Bright, refreshing Falstaff. A bowdlerized, sanitized Falstaff if ever there was one! I never tasted it, mind you -- my father and grandfather drank Griesedek Brothers while playing pinochle and horseshoes. Jim Schaefer schaefej@guvax.georgetown.edu (2)---------------------------------------------------------------------------- From: John Cox Date: Friday, 21 Jan 1994 10:31:49 -0500 (EST) Subject: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) Chicago used to have a Falstaff Brewery. It was on the south side, just north of the Skyway. Its large brick towers were painted to resemble cans of Falstaff beer, and its logo was "This family brews beer better." The brewery was long since purchased by a larger company and closed down. One can still see remnants of the logo, however, as well as some of paint on one of the towers. I don't know if any other Falstaff beers were brewed elsewhere, but given patents and copyrights (or whatever), I doubt it. John Cox (3)---------------------------------------------------------------------------- From: Chris Kendall Date: Friday, 21 Jan 1994 09:15:49 -0700 (MST) Subject: Falstaff in Idaho In Idaho in the 50's Falstaff was as well known a beer as any I remember from that time. Long after it disappeared from the shelves, and generic beer made its debut, I noticed that one of those white cans bore the legend "Falstaff Brewery" on the side. -- Chris Kendall ckendall@carl.org (4)---------------------------------------------------------------------------- From: Celine Gura Date: Friday, 21 Jan 1994 11:38:12 Subject: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) Greetings: For all those out there that are wondering if Falstaff beer is still around I suggest you call Beer Across America which is located in Barrington Illinois. Beer Across America is a distributor of microbrewery beer from all over the U.S. and would probably know if it is possible to still obtain the Falstaff brew. 1-800-854-2337. Celine Gura (5)---------------------------------------------------------------------------- From: Ronald Dwelle Date: Friday, 21 Jan 94 13:25:27 EST Subject: Scholarship in the Streets Following this morning's SHAKSPER post, I stopped in at the neigbhorhood quick-stop to get a pre-fab sandwich for lunch. They had "Falstaff" beer on special. As noted, the bottle has a depiction of a santa-claus/falstaff-like fat man on it. The clerk told me that Falstaff beer has gone through numerous permutations in recent years, with either the brewery or the name being sold & re-sold. It is now the store's "low-end" (i.e., cheapest) beer. Not content to proceed theoretically, I bought a bottle and opened it. The aroma, I think, was reminiscent of Mistress Quickly's underwear. In taste, the beer was much like what Trinculo and Caliban found themselves standing in. (6)---------------------------------------------------------------------------- From: Peter D. Junger Date: Friday, 21 Jan 94 13:23:23 EDT Subject: Re: SHK 5.0052 Re: Ale and Beer (Especially Falstaff's) Wasn't there another cheap beer called JAX? (which sounds sort of Shakespearean) Peter D. Junger Case Western Reserve University Law School, Cleveland, OH Internet: JUNGER@SAMSARA.LAW.CWRU.Edu -- Bitnet: JUNGER@CWRU ========================================================================= Date: Sat, 22 Jan 1994 10:21:36 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0055 Q: *MND* and *Lear* Shakespeare Electronic Conference, Vol. 5, No. 0055. Saturday, 22 January 1994. From: Julie Traves Date: Saturday, 22 Jan 1994 11:09:07 -0400 Subject: *MSND* and *King Lear* I am currently working on a paper for my fourth year honours paper. The topic will be something approximating how both *Lear* and *MSND* examine the idea of "seeing feeling*, how each play explores the necessity of nature and a system of meaning which grows from it and how this meaning is thwarted by society. In *Lear* this seems to be at issue in Lear's struggle between his role as king (a social role which destroys him) and man (and father). In *MSND* this is explored through the relationship between dreams and life (similar to art and life in *Hamlet*?) and how this affects the lovers (natural or social behaviour?). This is just a skeletal plan and I haven't fully fleshed out my ideas but I would be interested in any comments and also in any information on books or articles written on *Lear*/*MSND* comparisons (also anything which might link these two plays to *The Tempest*. Whew! Thanks a lot. Julie Traves Dalhousie University ========================================================================= Date: Sat, 22 Jan 1994 10:16:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0054 Re: *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0054. Saturday, 22 January 1994. (1) From: John Lavagnino Date: Friday, 21 Jan 1994 11:36 EST Subj: Re: *Skinhead Hamlet* (2) From: Jerald Bangham Date: Friday, 21 Jan 1994 18:49:19 Subj: Re: SHK 5.0051 *Skinhead Hamlet* (1)---------------------------------------------------------------------------- From: John Lavagnino Date: Friday, 21 Jan 1994 11:36 EST Subject: Re: *Skinhead Hamlet* Since it doesn't seem to be mentioned in the file, it should be recorded that the author of the Skinhead Hamlet is Richard Curtis (best known as one of the authors of the Black Adder TV series, which plays some other games with our man's writings). I've heard that one place to find this text (besides the SHAKSPER list) is in the Faber Book of Parodies. John Lavagnino Department of English, Brandeis University [Thanks, it will be so noted in a revised copy of the file. --HMC] (2)---------------------------------------------------------------------------- From: Jerald Bangham Date: Friday, 21 Jan 1994 18:49:19 Subject: Re: SHK 5.0051 *Skinhead Hamlet* >[I have gotten the file by ftp and added it to the SHAKSPER Filserver as >SKINHEAD HAMLET. WARNING: the vocabulary is dominated by the proverbial >four-letter word. If you would like a copy of SKINHEAD HAMLET, send this >one-line e-mail message GET SKINHEAD HAMLET SHAKSPER to LISTSERVer: >LISTSERV@UTORONTO.BITNET. --HMC] > I saw this a few Christmasses ago in London as part of a lunchtime show that included Doggs Hamlet and Thurber's Macbeth Murder Mystery. The same week I saw "The Complete Works" by the Reduced Shakespeare Co. I've just returned from the first Christmas in London where I saw no Shakespeare. I did see the best production of a Moliere play I've ever seen which is some compensation. Jerry Bangham Internet: jbangham@kudzu.win.net ========================================================================= Date: Sun, 23 Jan 1994 12:11:20 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0056 Re: *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0056. Sunday, 23 January 1994. From: Michael Dobson Date: Saturday, 22 Jan 94 14:50:57 CST Subject: Re: SHK 5.0054 Re: *Skinhead Hamlet* re: Skinhead Hamlet I am interested to see interest rekindling in this fugitive text, which I have just reluctantly excluded from the 'Shakespeare: Adaptations' section of the forthcoming revised *Cambridge Bibliography of English Literature*; interested, too, to learn that it has been revived fairly recently. Students of the play's stage history may be interested to learn that Dr. Nicola Watson, now of Northwestern, was shortly after her arrival at Harvard in 1985 invited to a supper party where, with the encouragement of Joseph Brodsky, Derek Walcott and considerable quantities of wine, she was induced to give a one-woman reading of the entire text. Michael Dobson ========================================================================= Date: Mon, 24 Jan 1994 06:20:42 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0057 Q: Shakespeare in Boston Shakespeare Electronic Conference, Vol. 5, No. 0057. Monday, 24 January 1994. From: Amy Buttery Date: Sunday, 23 Jan 1994 12:44:34 -0500 (EST) Subject: Shakespeare Performances in Boston? I'm teaching a course in Shakespeare this term and wondering if anyone knows of any productions of Shakespeare planned for the Boston area between Feb and May. The ART productions of Henry IV (1 and 2) are over with now. Thanks. Amy Buttery Framingham State College abuttery@ecn.mass.edu (You can respond to me privately unless you think it would be of interest to the list.) ========================================================================= Date: Mon, 24 Jan 1994 06:27:12 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0058 Re: *Skinhead Hamelt* Shakespeare Electronic Conference, Vol. 5, No. 0058. Monday, 24 January 1994. (1) From: Thomas G. Bishop Date: Sunday, 23 Jan 94 14:08:01 -0500 Subj: Re: SHK 5.0056 Re: *Skinhead Hamlet* (2) From: Tom Clayton Date: Sunday, 23 Jan 1994 21:36:55 -0500 (CDT) Subj: Re: SHK 5.0051 *Skinhead Hamlet* (1)---------------------------------------------------------------------------- From: Thomas G. Bishop Date: Sunday, 23 Jan 94 14:08:01 -0500 Subject: Re: SHK 5.0056 Re: *Skinhead Hamlet* At Yale a number of years ago, the *Skinhead Hamlet* was used very successfully as a nonce street theater "trailer" for a production of its precursor. I have occasionally offered it to my more advanced undergraduates as an exercise in close reading. -- Tom Bishop "Poor Tom's a-cold." Dept of English Case Western Reserve University Cleveland, OH 44106.(tgb2@po.cwru.edu) (2)---------------------------------------------------------------------------- From: Tom Clayton Date: Sunday, 23 Jan 1994 21:36:55 -0500 (CDT) Subject: Re: SHK 5.0051 *Skinhead Hamlet* *The Skinhead Hamlet* sounds like the one by Richard Curtis printed in *Not 1982 (Faber) and reprinted in *The Faber Book of Parodies*, ed. Simon Brett (1984). ========================================================================= Date: Mon, 24 Jan 1994 06:31:54 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0059 Re: *MND* and *Lear* Shakespeare Electronic Conference, Vol. 5, No. 0059. Monday, 24 January 1994. From: Cliff Ronan Date: Sunday, 23 Jan 1994 13:39 CST Subject: RE: SHK 5.0055 Q: *MND* and *Lear* Good luck, Julie. Besides the dichotomies that you instance (nature vs. nurture, and family/state/society vs. the individual), there is the continuity/similarity of a movement from a flawed civilization into a nature that is nightmarish and, in the case of *MSND*, downright hallucinogenic. The old orthodoxy tended to suggest that the trip into the wilds in *King Lear* was simply tragic, while that in *MSDN* led to comic reintegration and redemption of the self. What do you think? Cliff Ronan Southwest Texas State ========================================================================= Date: Mon, 24 Jan 1994 06:36:49 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0060 Ohio Shakespeare Conference Shakespeare Electronic Conference, Vol. 5, No. 0060. Monday, 24 January 1994. From: William Godshalk Date: Sunday, 23 Jan 1994 16:49:48 -0500 (EST) Subject: Ohio Shakespeare Conference Thursday, Friday and Saturday, March 3-5, 1994 University of Cincinnati, Cincinnati, Ohio Scheduled Keynote Speakers: H.R. Coursen, Globe Centre, London "Shame on Television: Henry V" Barbara Freedman, St. John's University "Counting Shame: Displaced Abjection, Lines of Alliance, and Popular Protest in Early Modern England" Gail Paster, George Washington University "Heat-Seeking Missiles: Shakespeare, Shame, and the Caloric Economy" Eve Kosofsky Sedgwick, Duke University "Shame in the Cybernetic Fold: Reading Silvan Tompkins" Paul Yachnin, University of British Columbia "The Eye of Shame" The University of Cincinnati invites you to explore "Shakespeare and the Senses of Shame," the theme of the 1994 Ohio Shakespeare Conference. For three days we will pursue shame as an issue for characters, writers, performers, and audiences, through nine full sessions plus five keynote speakers. In addition there will be two panel discussions to explore the issues of shame fully and openly. The Conference fee of $145 includes registration, two continental breakfasts, two buffet lunches, and the Saturday banquet. The elegant four-diamond Cincinnatian Hotel has made a group of rooms available at $95 per night. Please call soon as these rooms will only be available for a limited time. Conference At A Glance Thursday, March 3 12-1:30 "Cultures of Shame" Chair: Piers Lewis, Metropolitan State, St. Paul Lars Engle, University of Tulsa: "'I am that I am': Shakespeare's Sonnets and the Economy of Shame" Leslie Taylor, Southern Illinois University at Carbondale: "Private Guilt and Public Shame: Social Dynamics in Much Ado" Lisa S. Starks, East Texas University: "The Erotics of Shame: Hyper-Masculinity, Male Masochism, and Circulations of Sexuality in Antony and Cleopatra" 1:45-3:15 "The Shakespearean Audience" Chair: Edmund Taft,Marshall University Jessica Slights, McGill University: "The Shame of Unsinewed Bodies" Tracey Sedinger, SUNY Buffalo: "Shamefastness: The (Anti-)Theatrical Virtue" Vandana Gavaskar, Ohio State University: "Acting and Theater of the Body in Coriolanus" 3:30-5 "Civilization and Sorrow: Tragedy's Shameful Responses" Chair: To Be Announned David George, Urbana University "Old and Guilty, Young and Sensitive: The Generation Gap in Hamlet" Val Antcliffe, University of Cincinnati: "A Shameful Violation of the Body Politic: Titus Andronicus as Classical Commentary on English History" Wendy Hites, Chapman University and Timothy Mullen, University of Wales: "Antony's Claim to Shame" 5:15-6:30 Keynote: Barbara Freedman Friday, March 4 8-9 Continental breakfast in conference room 9-10:30 "The Wisdom of the Body" Chair: Ernest H. Johansson, Ohio University Catherine Belling, SUNY Stony Brook: "'Blood Untainted': Shakespeare and the Blush" Patrick Murphy, SUNY Oswego: "Revising the Amorous Code: Blushing in Venus and Adonis" Pamela Brown,Columbia University: "Hot, Shameful Shakespeare-Sized Tears: The Embarrassments of a Female Spectator" 10:45-12 Keynote: Eve Kosofsky Sedgwick 12-1 Buffet Lunchat the Phoenix in conference room 1:15- 2:45 "Shame and the Problems of Comedy" Chair: D.S. Hassan, Central State University Timothy D. Gould, Metropolitan University, Denver: "Disfiguring Words _ Rituals of Shame and Methods of Philosophy" Lori Haslem, LeMoyne College: "Tongue-Tied (Wo)Men and Embarrassment in Much Ado and Winter's Tale" Tom Bishop, Case Western University: "Theaters of Shame in The Winter's Tale" 3-4:30 "Shame and Gender Identity" Chair: James M. Hall, University of Cincinnati Mary Ellen Lamb, Southern Illinois University at Carbondale: "Creativity and Shamelessness in the Bottom - Titania Episode" S.L. Yentzer, University of Georgia: "Othello andAbjection: The Psychology of Shame" Burton Hatlen, University of Maine: "The'Noble Thing' and the 'Boy of Tears': Coriolanus and the Embarrassments of Identity" 4:45- 5:30 Keynote: Gail Paster 5:30-6:15 Mid-Conference Panel Discussion Saturday, March 5 8-9 Continental Breakfast in Conference Room 9-10:30 "Shakespeare in Performance" Chair:Y. S. Baines, University of Cincinnati Barry Gaines, University of New Mexico: "Hamlet at Elsinore, 1937:Guthrie, Olivier, and Theatrical Intimacy" Jamie Smith, University of Texas at Austin "The Humanization of the Shrew: Katherine in Twentieth-Century Production" Lauren Shohet, Brown University: "Branagh's Much Ado and the Mirror of Shame" 10:45-12 H.R. Coursen, Globe Centre, London Respondent: Eva Beasley McManus, Ohio Northern University 12-1 Buffet lunch at the Phoenix in the conference room 1:15-2:45 "Psychological Perspectives on Shame" Chair: Beth Ash,University of Cincinnati Phil Collington, University of Toronto: "'Gored with Menelaus' horn': Shame and Rage in Troilus and Cressida" David Willbern, SUNY Buffalo: "Shock Treatments: The Cases of Titania and Isabella" Donald Hedrick, Kansas State University: "Shameless Performance: Deep Bawdy and Stigmaphilia in Dream, or Bottom, Butoh, and Butthead" 3-4:30 "The Contagion of Shame: The Caseof Othello" Chair: Louis A. De Catur, Ursinus College Marie L. Franklin,Georgia Southern University: "Sin, Sex, Shame: True Confessions in Othello and Hamlet" Joyce Green MacDonald, University of Kentucky: "Othello Burlesques and the Crisis of Whiteness" Jon Rossini, Duke University: "Power and Vulnerability: Iago's Double-Edged Shame" 4:45_5:30 Keynote: Paul Yachnin 5:30_6:15 Concluding Panel Discussion Cash Bar at Cincinnatian Conference Banquet at Phoenix Transportation To Cincinnati, Delta is the airline of choice. From the Cincinnati Airport, limousine service is regularly available to downtown. Look for the Jetport Express bus. The Conference Hotel The Cincinnatian, a four-star, four-diamond preferred hotel, is located in downtown Cincinnati at the corner of 6th and Vine _ about twenty minutes from the airport. As a small but elegant European-style hotel with excellent rooms, it provides the perfect venue for continuing discussions initiated at the Conference. The Cricket, a convivial lounge in the hotel atrium, offers a light menu of sandwiches and salads, while the Palace Restaurant, also located in the hotel, is one of Cincinnati's finest. The Cincinnatian's French Second Empire exterior and spectacular 108-year-old walnut and marble staircase have gained it a place on the National Register of Historic Places. For reservations, please call 1-800-942-9000 (outside Ohio) and 1-800-332-2020 (Ohio). Ask for the special Ohio Shakespeare Conference rate of $95 per night. The Cincinnatian is holding our block of rooms only until February 10. The Conference (812 Race Street) The Phoenix, a few minutes' walk from the Cincinnatian, at Garfield Place and Race Street, is the site of the Conference. One of Cincinnati's most beautiful, elegant, and architecturally significant Victorian buildings (a National Historic Landmark), the Phoenix contains the most up-to-date conference facilities. The Restaurant at the Phoenix, known for its innovative cuisine, will provide the continental breakfasts, the buffet lunches, and the Conference banquet. Dining The Cincinnatian and the Phoenix are in the heart of Cincinnati's well-known restaurant district. You may dine on the Ohio River at Mike Fink's or Crockett's. From the Top of the Crown, you may have your meal high above the city while watching the lights gleam from the river. If you prefer French cuisine, you may wish to sample the Maisonette. Arnold's has atmosphere that may be cut with a knife. There are many more. Our advice is to make early reservations at the restaurant of your choice for dinners on Thursday and Friday.Make your hotel reservations as early as possible, because Cincinnati will host several very large conventions at the same time as ours. Questions? Call William Godshalk (513-281-5927) or Jonathan Kamholtz (513-861-9527 or 513-556-4427). -------------------------------------------------------------------------------- Conference Registration Name:__________________________________________________________________________ Address:_______________________________________________________________________ _______________________________________________________________________________ Academic Afffiliation:_________________________________________________________ Registration Fee: $145 (The fee includes two breakfasts, two lunches, Conference Banquet and Conference Publication) ________Total Enclosed. Make checks payable to: University of Cincinnati Mail to: Ohio Shakespeare Conference Division of Continuing Education M.L. #146 University of Cincinnati Cincinnati, OH 45221-0146 ========================================================================= Date: Tue, 25 Jan 1994 12:08:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0061 Re: *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0061. Tuesday, 25 January 1994. From: Mary Jane Miller Date: Monday, 24 Jan 94 12:21:07 -0500 Subject: Re: SHK 5.0058 Re: *Skinhead Hamelt* And then there was the "real" skinhead Hamlet by the London Theatre Group directed by Steven Berkoff at the Roundhouse in May of 1980. Cast of 9, all in black, with pins in noses and nails in clothing [no Poor Tom though] most of it shouted at over-proof volume. I wanted to leave at the interval but my husband [we were on our honeymoon] made me stay until the end. He thought would happen. It didn't. I must admit, though, that the 20 or so Skinheads from the neighbourhood (?) seemed to love it. but I also wonder what they made of the note on flyer/ one page programme, which I have in front of me - "please leave the building quietly - this is a residential area". Mary Jane Miller, Dept. of Film Studies, Dramatic and Visual Arts, Brock University, St. Catharines, Ontario, Canada, L2S 3A1. e-mail: mjmiller@spartan.ac.brocku.ca ========================================================================= Date: Tue, 25 Jan 1994 12:10:40 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0062 Re: Beer and Ale Shakespeare Electronic Conference, Vol. 5, No. 0062. Tuesday, 25 January 1994. From: Jean Peterson Date: Monday, 24 Jan 1994 14:06:32 -0500 Subject: Re: SHK 5.0053 Re: Ale and Beer (Especially Falstaff's) >Wasn't there another cheap beer called JAX? (which sounds sort of >Shakespearean) > >Peter D. Junger JAX beer is a local brew that originates in New Orleans; the JAX Brewery and its glorious red neon is a scenic highlight of Jackson Square (from whence, incidentally, "the ball drops" at midnight on New Year's Eve). I would guess that the name comes more from the Andrew Jackson-connection than the Shakespearean, but who knows? Jean Peterson Bucknell University ========================================================================= Date: Wed, 26 Jan 1994 19:53:13 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0063 Re: Beer and Ale Shakespeare Electronic Conference, Vol. 5, No. 0063. Wednesday, 26 January 1994. (1) From: Norman J. Myers Date: Tuesday, 25 Jan 94 14:08:10 -0500 Subj: Re: SHK 5.0062 Re: Beer and Ale (2) From: Edmund L. Epstein Date: Tuesday, 25 Jan 1994 20:48:49 EST Subj: RE: SHK 5.0062 Re: Beer and Ale (1)---------------------------------------------------------------------------- From: Norman J. Myers Date: Tuesday, 25 Jan 94 14:08:10 -0500 Subject: Re: SHK 5.0062 Re: Beer and Ale >JAX beer is a local brew that originates in New Orleans; the JAX Brewery and >its glorious red neon is a scenic highlight of Jackson Square (from whence, >incidentally, "the ball drops" at midnight on New Year's Eve). I would guess >that the name comes more from the Andrew Jackson-connection than the >Shakespearean, but who knows? > >Jean Peterson >Bucknell University Yes, JAX does come from Andrew Jackson. The Jackson Brewing Company no longer operates; it's been turned into yet another trendy-yuppy conglomeration of stores. Norman Myers Bowling Green State University (2)---------------------------------------------------------------------------- From: Edmund L. Epstein Date: Tuesday, 25 Jan 1994 20:48:49 EST Subject: RE: SHK 5.0062 Re: Beer and Ale >re: Jax beer. Had it. Dynamite stuff. I tad hoppy but the body is smooth and head firm. I can compare it to Yuengling lager and possibly Henry Weinhardts Special Reserve. Definitly American. If you can get it try Mateen Triple. It's Belgian, STRONG and tastes reminiscent of wine. Avoid Icehouse Brew. Trust me. ========================================================================= Date: Wed, 26 Jan 1994 19:56:13 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0064 Q: Shakespeare's Reading Shakespeare Electronic Conference, Vol. 5, No. 0064. Wednesday, 26 January 1994. From: E. H. Pearlman Date: Tuesday, 25 Jan 1994 20:49:19 -0500 (EST) Subject: Shakespeare's Reading Does anyone know if there is a bibliography of all the books known to Shakespeare. I don't mean major sources that can be found in Bullough-- I mean all the books from which he gleaned even a phrase or a reference-- such as might be compiled if one read all the notes to all the plays. Thanks to SHAKSPERians for your guidance. E. Pearlman pearlman.cua.edu ========================================================================= Date: Fri, 28 Jan 1994 10:00:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0065 Re: Shakespeare's Reading Shakespeare Electronic Conference, Vol. 5, No. 0065. Friday, 28 January 1994. From: Martin Mueller Date: Wednesday, 26 Jan 94 20:54:03 -0600 Subject: Re: SHK 5.0064 Q: Shakespeare's Reading >Does anyone know if there is a bibliography of all the books known to >Shakespeare. I don't mean major sources that can be found in Bullough. If one made a bibliography of all contemporary sources referred to in either Baldwin's *William Shakespeere's Small Latin and Less Greek* and Bullough's *Narrative and Dramatic Sources* one would have a pretty complete list of the books left traces in Shakespeare's plays. Martin Mueller Professor of English and Classics Northwestern University Evanston, Illinois 60208 martinmueller@nwu.edu 708-864-3496 ========================================================================= Date: Fri, 28 Jan 1994 10:04:39 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0066 Re: *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0066. Friday, 28 January 1994. From: Wimmiam Godshalk Date: Wednesday, 26 Jan 1994 22:23:06 -0500 (EST) Subject: Re: SHK 5.0061 Re: *Skinhead Hamlet* Jim McKenna has been passing copies of SHINHEAD HAMLET around our department, and I haven't laughed as hard in months as I did upon first looking into SKINHEAD HAMLET. Of course, you have to know Q2 or F or one of the composite texts (note how I try to sidestep controversy) to get the humor, but the play is essentially in tact. I was, however, waiting for Hamlet to get attacked by the tract (sic) team. Today in class we began writing the SKINHEAD OTHELLO. We got one scene down to one ob-scene line. Yours, Bill Godshalk ========================================================================= Date: Fri, 28 Jan 1994 10:07:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0067 Ohio Shakespeare Conference Shakespeare Electronic Conference, Vol. 5, No. 0067. Friday, 28 January 1994. From: William Godshalk Date: Wednesday, 26 Jan 1994 22:38:01 -0500 (EST) Subject: Re: SHK 5.0060 Ohio Shakespeare Conference Regarding a graduate student rate for the Ohio Shakespeare Conference, the answer to those of you who asked is: yes. The graduate student rate is $50.00 and includes the two lunches. That rate does not include the Conference banquet or the breakfasts. So, no doughnuts or steak! (There are plenty of excellent restaurants near the Phoenix, where the Conference is being held. We'll have a list with commentary.) Yours, Bill Godshalk Secretary, 1994 Ohio Shakespeare Conference ========================================================================= Date: Fri, 28 Jan 1994 10:17:05 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0068 Re: Beer and Ale Shakespeare Electronic Conference, Vol. 5, No. 0068. Friday, 28 January 1994. (1) From: Jon Enriquez Date: Thursday, 27 Jan 1994 18:16:47 -0500 (EST) Subj: Beer, ale, potables (2) From: Terence Hawkes Date: Friday, 28 Jan 94 10:03 BST Subj: RE: SHK 5.0063 Re: Beer and Ale (1)---------------------------------------------------------------------------- From: Jon Enriquez Date: Thursday, 27 Jan 1994 18:16:47 -0500 (EST) Subject: Beer, ale, potables Because I have a textual fetish, I ran to the library to look up references to beer and other beverages in the Harvard Concordance. I found six references to beer, and all of them used "small beer," literally meaning 'weak beer' and figuratively meaning 'trifles, items of no consequence.' I suppose that to Shakespeare's characters, anyway, beer was small beer... There are many references to sack, most of them in the Falstaff plays. In sheer numbers, there are almost as many references to sack as to wine. I don't remember what I found about ale (I did this three days ago), but I don't have any notes on it. Beer was discovered thousands of years ago by the old Sumerians. They treated it as a staple, and some believe that in Sumerian culture it antedates bread. It was certainly used as bread was, i.e. as a major source of carbohydrates and nutrients. Of course, their recipes are considerably different from ours; apparently Sumerian beer included honey, raisins, and other things that are totally alien to the brewers of Jax, Falstaff, Rainier, Iron City, and Narragansett. On a marginally related note: Does anyone know whether the Harvard concordance, or any other, is available on gopher? Jon Enriquez The Graduate School Georgetown University ENRIQUEZJ@guvax (Bitnet) ENRIQUEZJ@guvax.georgetown.edu (Internet) (2)---------------------------------------------------------------------------- From: Terence Hawkes Date: Friday, 28 Jan 94 10:03 BST Subject: RE: SHK 5.0063 Re: Beer and Ale In Britain the only drink is Real Ale (join the Campaign for Real Ale, or CAMRA!). Most of the rest is Euro-fizz and rots the socks. T. Hawkes ========================================================================= Date: Sat, 29 Jan 1994 16:08:47 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0060 Re: Women Writer's Project Shakespeare Electronic Conference, Vol. 5, No. 0069. Saturday, 29 January 1994. From: Mathilda M. Hills Date: Thursday, 27 Jan 94 12:47:13 EST Subject: Women Writers' Project Elaine Brennan, formerly with the Women Writers' Project, informs me that the person to contact is Allen Renear: allen_renear@brown,edu Good luck. Mathilda Hills ========================================================================= Date: Sat, 29 Jan 1994 16:19:47 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0071 Q: *Goodnight Desdemona* Allusion Shakespeare Electronic Conference, Vol. 5, No. 0071. Saturday, 29 January 1994. From: Michael Sharpston Date: Friday, 28 Jan 1994 21:39:00 -0500 (EST) Subject: Help on "Goodnight Desdemona" Allusion A humble request for help with an allusion in "Goodnight Desdemona": (Blair Kelly -- thanks for recommending the Washington production, which is indeed excellent). Something about having heads I think down one's front, and bleeding green blood. The green blood is certainly a reference to the green ink the spinster university teacher used, but what is all this about the heads?? Thanks in advance. Michael Sharpston msharpston@worldbank.org ========================================================================= Date: Sat, 29 Jan 1994 16:25:18 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0072 Re: *Skinhead Hamlet* Shakespeare Electronic Conference, Vol. 5, No. 0072. Saturday, 29 January 1994. From: Robert O'Connor Date: Saturday, 29 Jan 1994 11:48:55 +1000 Subject: Re: SHK 5.0066 Re: *Skinhead Hamlet* Hey, Bill! >Today in class we began writing the SKINHEAD OTHELLO. We got one scene down to >one ob-scene line. Can we see the finished result? The Skinhead Hamlet has been causing more than a few chuckles here, too. Rob O'Connor ========================================================================= Date: Sat, 29 Jan 1994 16:12:04 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0070 Re: *MND* and *Lear* Shakespeare Electronic Conference, Vol. 5, No. 0070. Saturday, 29 January 1994. From: Terence Hawkes Date: Friday, 28 Jan 94 9:55 BST Subject: RE: SHK 5.0055 Q: *MND* and *Lear* Dear Julie Traves, Your project seems to me to rest on a huge assumption: that the 20th century sense of a gap between someone's social role and their 'real' private individual 'self' would have been shared by an early modern audience. There are no universal human experiences, and you're in danger of draining away something rather important. It used to be called history. No cigar. Terence Hawkes ========================================================================= Date: Sat, 29 Jan 1994 16:29:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0073 Q: Stage Productions Shakespeare Electronic Conference, Vol. 5, No. 0073. Saturday, 29 January 1994. From: Christopher Daigle <866141@academic.stu.StThomasU.ca> Date: Friday, 28 Jan 1994 17:10:54 AST Subject: Stage productions of The Bard's plays Dear SHAKSPEReans, I am planning to direct either "Comedy of Errors" or "Much Ado About Nothing" in the late fall of this year. Could anyone please offer suggestions as to which male roles could easily be adapted into female ones. Thank You, Chris Daigle Theatre St. Thomas CHRIS DAIGLE St.Thomas University Fredericton, N.B., Canada Email 866141@StThomasU.ca ========================================================================= Date: Sun, 30 Jan 1994 15:13:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0074 Re: *MND*, *Lear*, and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0074. Sunday, 30 January 1994. (1) From: Richard Jordan Date: Sunday, 30 Jan 1994 11:14:35 +1100 (EST) Subj: Re: SHK 5.0070 Re: *MND* and *Lear* (2) From: Martin Mueller Date: Saturday, 29 Jan 94 20:33:46 -0600 Subj: Re: SHK 5.0070 Re: *MND* and *Lear* (3) From: Sean Lawrence Date: Saturday, 29 Jan 1994 23:49:03 -0400 Subj: Re: SHK 5.0055 Q: *MND* and *Lear* (1)---------------------------------------------------------------------------- From: Richard Jordan Date: Sunday, 30 Jan 1994 11:14:35 +1100 (EST) Subject: Re: SHK 5.0070 Re: *MND* and *Lear* > Your project seems to me to rest on a huge assumption: that the 20th century > sense of a gap between someone's social role and their 'real' private > individual 'self' would have been shared by an early modern audience. There > are no universal human experiences, and you're in danger of draining away > something rather important. It used to be called history. No cigar. > > Terence Hawkes "No universal human experiences"? Try birth, death, and defecation for starters (and they start a lot)? "History, said Emerson, is the shadow of a man." (2)---------------------------------------------------------------------------- From: Martin Mueller Date: Saturday, 29 Jan 94 20:33:46 -0600 Subject: Re: SHK 5.0070 Re: *MND* and *Lear* "There are no universal human experiences." So writes Terence Hawkes reflecting a current dogma. But in so barren a form, the statement that there are no universal human experiences probably lays no greater claim to our attention than its opposite that there are only universal human experiences. Human beings have not been around for very long and will not be around forever. They are extraordinarily adaptive and transformational animals (and have understood themselves as such, e.g. the ode on man in Sophocles' Antigone). But the extraordinary diversity and divergence of cultural and historical experience is interpretable only with reference to the enabling and boundary conditions that the physical world and evolutionary history have established for human beings wherever and whenever they exist. It has been fashionable of late to think of these conditions as a negligible substratum of our lives, and I recall reading somewhere that it is the prfessional malpractice of anthropologists to exaggerate the otherness of strange culture. It is probably the case that we can never hit the rock bottom of human nature in an unmediated fashion, because human experience is always and everywhere mediated through culture and history, and culture and history are always and everywhere different. But their difference is a difference within a frame, and from this perspective the award of "no cigars' to folks who want to compare deep resemblances between cultures is as naive as the desire to the same thing everywhere. Martin Mueller Professor of English and Classics Northwestern University Evanston, Illinois 60208 martinmueller@nwu.edu 708-864-3496 (3)---------------------------------------------------------------------------- From: Sean Lawrence Date: Saturday, 29 Jan 1994 23:49:03 -0400 Subject: Re: SHK 5.0055 Q: *MND* and *Lear* Isn't there also a problem with your assumption that the early moderns did not sense a gap between one's social and "natural" self? If so, certain things make no sense. Edmund's speech on his motivations and natural abilities in King Lear seems to rest on the assumption that his social role doesn't quite match the honour deserved by his natural worth. Morgan's description of his "sons" in Cymbeline as princes even though not raised as such seems like a demonstration of "natural" personal essence. Going a little further afield, one could mention how Sir Torre is "naturally" a knight, having been sired by a knight, despite being raised by a cow-herd, in Malory's tale of "Torre and Pellinor." Certain qualities are recognized in the natural or "wild" man in Spenser's *Fairie Queene.* The wild man (I don't think he has a name, or much to do with *Iron John*, incidentally) in book five is probably the best example, but there are other examples of noble savages, striding powerfully through the pages of literature in the centuries before Rousseau. Not all of these examples may seem immediately relevant, but the very idea of a noble savage is ironic, and suggests that the person who lacks social position may still be of significant worth, unjustly unacknowledged by society. Your point though is well taken, Terence, in asserting that the division between the natural and social realms is considerably different in the early modern period from our own post- romanticist notions. It might be more useful, Julie, to look at how conceptions of "nature" are constructed and re-constructed in both plays. In *Lear*, for instance, the word nature undergoes some interesting shifts from the natural obedience demanded of his daughters (a social nature, or divine providence) to the nature of the wren that "does it in my sight" (or something like that). A similar, but (in my mind at least) much more positive, shift takes place in MND between the demand for natural obedience to one's father, to the natural world where anything is possible as long as Puck and Oberon keep interfering. Perhaps more important is the shift between the call for natural loyalty and the acceptance of the natural love of the couples. Anyway, I've babbled far too long now, but the point is that neither accepting our post-romantic division of social and natural selves utterly, nor dissolving any such division in historical relativism is likely to yield very interesting results. Good luck, Sean Lawrence. ========================================================================= Date: Sun, 30 Jan 1994 15:26:03 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0075 Rs: Beer; Stage Productions; *Goodnight* Allusion Shakespeare Electronic Conference, Vol. 5, No. 0075. Sunday, 30 January 1994. (1) From: William Proctor Williams Date: Saturday, 29 Jan 94 17:38 CST Subj: Re: SHK 5.0068 Re: Beer and Ale (2) From: Phyllis Rackin Date: Saturday, 29 Jan 1994 21:01:15 -0500 (EST) Subj: Re: SHK 5.0073 Q: Stage Productions (3) From: Skip Shand Date: Saturday, 29 Jan 1994 22:47 EDT Subj: Re: SHK 5.0071 Q: *Goodnight Desdemona* Allusion (1)---------------------------------------------------------------------------- From: William Proctor Williams Date: Saturday, 29 Jan 94 17:38 CST Subject: Re: SHK 5.0068 Re: Beer and Ale I am fully in agreement with Professor Hawks' views about USA beer, I wish I could as fully agree with his critical views. William Proctor Williams Department of English Northern Illinois University DeKalb, IL 60115 TB0WPW1@NIU.BITNET (2)---------------------------------------------------------------------------- From: Phyllis Rackin Date: Saturday, 29 Jan 1994 21:01:15 -0500 (EST) Subject: Re: SHK 5.0073 Q: Stage Productions Have you thought of keeping the roles male even though the actors aren't? I played Antonio in an amateur production of Much Ado last year in a beard and male costume and had a great time doing it. (3)---------------------------------------------------------------------------- From: Skip Shand Date: Saturday, 29 Jan 1994 22:47 EDT Subject: Re: SHK 5.0071 Q: *Goodnight Desdemona* Allusion Sounds like Othello's story of the singing beast in Antioch (2.2): Three heads grew from the shouldersof the beast. On one the hair was black as ebony, The other crown was curled angel fair, The third head wore a scarlet cap of wool, That ended in a foolish bauble bright. The heads are presumably Desdemona, Juliet, and Constance. I don't remember anything scripted about having heads down one's front--though you do hear funny things from the stage every once in awhile. The script is published by Coach House Press, Toronto (1990). Skip Shand ========================================================================= Date: Sun, 30 Jan 1994 15:29:59 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0076 Q: Romantic Lists Shakespeare Electronic Conference, Vol. 5, No. 0076. Sunday, 30 January 1994. From: Kimberly Nolan Date: Sunday, 30 Jan 1994 11:00:50 -0500 (EST) Subject: Romantic Lists? I have been bragging about the vast knowledge of the participants on SHAKSPER, so now one of my colleagues has asked me to put out a query. Does anyone know of a good list for the European Romantics or for 19th Century French literature? Just how specific do most of these electronic conferences get? Could she find a list just for Goethe, or Baudelaire? Any help or suggestion will be appreciated. Thanks, Kimberly Nolan University of Miami knolan@umiami.ir.edu. ========================================================================= Date: Mon, 31 Jan 1994 22:19:23 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0077 New Online Theatre Journal Shakespeare Electronic Conference, Vol. 5, No. 0077. Monday, 31 January 1994. From: David Reifsnyder Date: Sunday, 30 Jan 1994 10:01:07 -0700 (MST) Subject: New Journal PRESS RELEASE PUBLICATION PLANS ANNOUNCED FOR FIRST ONLINE THEATRE JOURNAL THEATRE.PERSPECTIVES.INTERNATIONAL (T.P.I) Boulder, CO USA -- Publication plans were announced today for the first theatre journal to be completely assembled and delivered electronically. The new quarterly will be called THEATRE.PERSPECTIVES.INTERNATIONAL, and will provide international theatre scholars and practitioners with a source of information on theatre history, theory, criticism, and dramaturgy that can be accessed by computer with the ease and economy of a simple telephone call. With a few computer keystrokes, T.P.I will be available for downloading onto computer storage media for archiving, for transfer directly into other documents, or for printing. The unique advantages of the electronic medium will allow for fast and simple article submission procedures, and it is anticipated that when immediacy of access is combined with the international scope of communications already extant through Internet, T.P.I will be able to provide a source of reviews of worldwide theatre productions that will be unmatched for timeliness. T.P.I will be a juried publication aiming for the highest standards of academic quality. THEATRE.PERSPECTIVES.INTERNATIONAL will be edited by two doctoral students at the University of Colorado - Boulder. David Reifsnyder holds an M.A. in theatre from Penn State University with a B.A. from Wheaton College. He has experience as an actor, director and professional company manager with an academic specialization in dramatic theory and criticism. E. James Zeiger is a member of Actors' Equity Association who has extensive production experience as an actor, director, stage-manager, and designer. His academic specialty is American theatre history. Mr. Zeiger holds an M.A. in theatre from the University of Colorado with a B.A. from the University of Missouri - Kansas City. The Board of Advisors of THEATRE.PERSPECTIVES.INTERNATIONAL is chaired by Dr. James Symons, currently chair of the Department of Theatre and Dance at the University of Colorado - Boulder and past president of ATHE. The advisory committee will also include Dr. Carole Brandt, chair of the Department of Theatre at Penn State University and current president of the Association for Theatre in Higher Education, and Richard Devin, the producing artistic director of the Colorado Shakespeare Fesitval. Margery Fernald, a practicing attorney who is also a doctoral candidate in theatre at C.U. will serve as legal counsel. Richard Rinkelstein, a well-known set designer, will be the publisher of T.P.I and will make the journal available to readers via the facilities of his computer bulletin board service, THEATRELYNX. THEATRELYNX has served the theatre community on an ever-expanding basis since October of 1991. Mr. Finkelstein will be responsible for all technical matters related to the electronic assembly and distribution of the journal. In addition to the journal itself, the editors of T.P.I will assemble a database of performance reviews from around the world that will afford readers instant access to information about productions they may be researching or planning to attend. Those reviews judged to meet the highest academic and schloarly standards will be featured in subsequent issues of T.P.I. An e-mailbox will also be established within THEATRELYNX to facilitate communications with the staff of T.P.I. The inaugural edition of THEATRE.PERSPECTIVES.INTERNATIONAL is planned for release on March 31, 1994 with the second issue to be dated June 30. See the following statement of editorial purpose for further information regarding submissions. The publication's initial call for papers will be issued later this month. THEATRE.PERSPECTIVES.INTERNATIONAL Statement of Editorial Purpose and Requirements for Submission EDITORIAL PURPOSE: To provide international theatre scholars and practitioners with a quarterly journal devoted to history, theory, criticism, reviews and dramaturgy that takes advantage of the immediacy of assembly and economy of delivery made possible by computer technology. The journal will contain articles of high academic quality usually focussing upon a central theme or related group of topics. The journal's secondary purposes include functioning as a central electronic source for dramaturgical and bibliographic information and for timely reviews of international theatrical productions. SPECIAL FEATURES: Editorials, bibliographies, play reviews, interviews, and transcriptions of discussions conducted using the unique capabilities of a worldwide computer network. The scope of subject matter to be kept as open-ended as possible so as to embrace adjacent areas of interest when appropriate, including discussions of the entire range of theatrical praxis, i.e. acting/directing methodology and design theory and criticism. INTENDED AUDIENCE: Theatre scholars and professional practitioners worldwide. SUBMISSIONS: Articles may only be submitted as eletronic text, using one of three methods: 1. Upload via the THEATRELYNX BBS at the University of Colorado - Boulder (303-492-4782) after January 24, 1994. New Users wishing information may log in with the command or may follow the instructions to become a regular user of THEATRELYNX. Initial questions should be directed to the sysop, Richard Finkelstein. 2. Upload via e-mail to the editors: David Reifsnyder (reifsnyd@ucsu.Colorado.EDU) or Jim Zeiger (zeigere@ucsu.Colorado.EDU). This option is currently online and operating. 3. Mail submissions on floppy disc (any format, Mac or PC): THEATRE.PERSPECTIVES.INTERNATIONAL Department of Theatre and Dance Campus Box 261 University of Colorado Boulder, CO 80309-0261 USA Voice: 303-492-7355 Floppy discs will not be returned. SUBSCRIPTIONS: Free of charge. Available by download through THEATRELYNX. Technical questions should be directed to the sysop, Richard Finkelstein. Delivery via telnet and gopher systems is expected to be available shortly. STYLE REQUIREMENTS: Articles should conform to the standards established by the Modern Language Association Handbook for Writers of Research Papers using parenthetical notation with an accompanying Works Cited, or endnotes with the note references enclosed in parenthesis. Due to the unique requirements of the electronic medium, footnotes will not be accepted. Preferred upload format is ASCII, but any Mac or PC format may be used. ========================================================================= Date: Mon, 31 Jan 1994 22:29:05 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0078 Re: Romantics Lists Shakespeare Electronic Conference, Vol. 5, No. 0078. Monday, 31 January 1994. (1) From: Mary-Katie Lindsey <924LINDSEY@MERLIN.NLU.EDU> Date: Sunday, 30 Jan 1994 14:41:43 -0600 (CST) Subj: Romantics list (2) From: Daniel Traister Date: Sunday, 30 Jan 1994 19:42:58 -0500 (EST) Subj: Re: SHK 5.0076 Q: Romantic Lists (1)---------------------------------------------------------------------------- From: Mary-Katie Lindsey <924LINDSEY@MERLIN.NLU.EDU> Date: Sunday, 30 Jan 1994 14:41:43 -0600 (CST) Subject: Romantics list There is indeed one -- NASSR -- North American Society for the Study of Romanticism. It is on English Romanticism. I do not know about French lit of the c19 or on Baudelaire. The address is: NASSR-L For members of the North American Society for the Study of ROmanticism. Scholarly discussions of Romantic literature. listserv@wvnvm.wvnet.edu listserv@wvnvm -- BITnet address If those don't work, send to dcstewa@wvnvm.bitnet (David C. Stewart) Since the description doesn't specifically say that it is only about English Romanticism, I could be mistaken. Certainly it seems as if all Romantic literature could be discussed. (I hope so.) If you are interested in more addresses, I recommend Eric Braun's _Internet Directory_; it seems to me to be the most complete bibliographic sourse on Net discussion lists. I got mine at Waldenbooks for about $25 (whew!). If you would like for me to look up any other addresses, please ask; I am glad to do so for anyone. Cheers, Mary-Katie 924lindsey@merlin.nlu.edu (2)---------------------------------------------------------------------------- From: Daniel Traister Date: Sunday, 30 Jan 1994 19:42:58 -0500 (EST) Subject: Re: SHK 5.0076 Q: Romantic Lists Kimberly Nolan, with a Miami e-mail address, asks: > I have been bragging about the vast knowledge of the participants on > SHAKSPER, so now one of my colleagues has asked me to put out a query. > Does anyone know of a good list for the European Romantics or for > 19th Century French literature? Just how specific do most of these > electronic conferences get? Could she find a list just for Goethe, or > Baudelaire? Any help or suggestion will be appreciated. While there is no special reason to assume that a list of Shakespearians will know the answer(s) to such a query, there is *every* reason to assume that someone in your own library's reference department *will* know it/them. I heartily recommend that you seek out Nora Jane Quinlan at your library. If she does not know how to answer this question herself, she will know someone at Miami who does. In any case, someone in that Department is also likely to be willing to introduce you to a gopher and thus to a kind of gateway to e-lists. The only excuse for posting so specific a reply to the entire list, need I add, is that, while the names of the resource people will obviously differ at other institutions, there is almost invariably someone in *your* library whose *business* it is to know how to answer just this sort of question. And they *are* resources whom it is occasionally worth meeting. Dan Traister, Special Collections Van Pelt-Dietrich Library University of Pennsylvania traister@pobox.upenn.edu ========================================================================= Date: Mon, 31 Jan 1994 22:47:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0080 Re: Gender Switching in Stage Productions Shakespeare Electronic Conference, Vol. 5, No. 0080. Monday, 31 January 1994. (1) From: James McKenna Date: Sunday, 30 Jan 1994 22:04:44 -0500 (EST) Subj: Gender Switching (2) From: Norman J. Myers Date: Monday, 31 Jan 94 10:19:34 -0500 Subj: Re: SHK 5.0073 Q: Stage Productions (1)---------------------------------------------------------------------------- From: James McKenna Date: Sunday, 30 Jan 1994 22:04:44 -0500 (EST) Subject: Gender Switching Dear Chris Daigle, ADO's Don John the bastard is a good candidate. His use of Hero becomes even uglier--and just what is the relationship between Don Joanne and her minions, Borachio and Conrad? In CE, either the father of the Antipholi or the Duke of Ephesus would probably work. The rest of the characters seem a lot of effort or not significant enough in reversal. Thanks for some fun speculation! James McKenna mckennji@ucbeh.bitnet (2)---------------------------------------------------------------------------- From: Norman J. Myers Date: Monday, 31 Jan 94 10:19:34 -0500 Subject: Re: SHK 5.0073 Q: Stage Productions I directed a "Shoestring Shakespeare" production of COE last year. Shoestring Shakespeare means that we do the plays in a small room and strip the production of most of the "necessary" trimmings so as to focus on the text. I was faced with the typical problem of more women auditioning than men. After casting the sets of twins, Adriana, Luciana, Abbess., Egeon, Duke, Courtesan, I found I had several women and only one man left of those deemed sufficiently adept. So I had these people play "everybody else". Women played Angelo, the first and second merchant (same actress), Guard and Luce and Headsman (same actress) and Dr. Pinch's attendants (Angelo and Second Merchant). It seemed to work well, and nobody assumed any particular comment was being made by having women play those male roles. Of course it all depends on what you want to do. I suppose in MND, for instance, you could make quite a comment by having Bottom played by a woman. Norman Myers Bowling Green State University ========================================================================= Date: Mon, 31 Jan 1994 22:45:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0079 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0079. Monday, 31 January 1994. From: William Godshalk Date: Sunday, 30 Jan 1994 16:52:34 -0500 (EST) Subject: Re: SHK 5.0074 Re: *MND*, *Lear*, and the Human Condition Richard Jordan and Sean Lawrence seem to be right on target. Of course, there are universal human experiences. Let's try hunger for one; the experience of a beating heart for another. Terence, do you know any humans who don't get hungry when deprived of food, or who do not have a heart (no metaphors, please)? Shakespeare's kings are constantly alluding to the different between their social identities as KING and their private selves, e.g., Richard II and Henry V. It's part of the tension in the histories plays. The only way we understand each other in a culture and across cultures is by shared experiences. In fact, that's how we understand the needs of other mammals, e.g., cats and dogs. Yours, Bill Godshalk ========================================================================= Date: Mon, 31 Jan 1994 22:58:38 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0081 Qs: Suggested Order for Reading; Bianca Bait Shakespeare Electronic Conference, Vol. 5, No. 0081. Monday, 31 January 1994. (1) From: Blair Kelly III Date: Sunday, 30 Jan 1994 18:30:57 -0500 Subj: Suggested order in which to read plays? (2) From: Ronald Dwelle Date: Monday, 31 Jan 94 09:43:32 EST Subj: Bianca Bait (1)---------------------------------------------------------------------------- From: Blair Kelly III Date: Sunday, 30 Jan 1994 18:30:57 -0500 Subject: Suggested order in which to read plays? Later this year the Washington Shakespeare Reading Group will finish its second cycle of reading the works of William Shakespeare. I would like to solicit suggestions from SHAKSPEReans on possible orders in which we might read our third cycle. Our first cycle was random order, our second cycle was in rough order in which the plays were written. Obviously, in the interests of variety, we would like to mix the histories, comedies, and tragedies, but other than that restriction, anything goes! Besides suggested orders for the entire canon, possible orders for subsets are also welcome - for example, read the history plays in order of the historical time line (although in the interests of variety, I would have to schedule some comedies and tragedies among the histories). And for any SHAKSPEReans who will be in the Washingon DC area, you are cordially invited to join us for a reading. Here is our upcoming schedule: Friday 4 Feb Measure for Measure Saturday 26 Feb Othello Friday 11 Mar All's Well that End's Well Friday 25 Mar Timon of Athens Friday 8 Apr Macbeth We meet in Memorial Hall of the Palisades Community Church, 5200 Cathedral Avenue NW, Washington DC, and begin promptly at 7:30 pm. --- Blair Kelly III bfkelly@afterlife.ncsc.mil Secretary, Washington Shakespeare Reading Group (2)---------------------------------------------------------------------------- From: Ronald Dwelle Date: Monday, 31 Jan 94 09:43:32 EST Subject: Bianca Bait I'm seeking historical/cultural info. How are we to regard Baptista's offering of Kate & Bianca, particularly the requirement that Kate be married off before the suitors can get at Bianca? In Shakespeare's day, would this have been thought of only as a ludicrous, farcical proposition? Or is this more an exaggeration of rights and duties that Baptista would have had? If so, are these "legal" rights and duties, or moral compunctions for a father in his position? Is Baptista a pure Elizabethan or would the audience have thought him Italian/continental for making this proposition? Does the absence of a mother affect the situation? Related, how are we to take the dowery difference--Petruchio takes in but Lucentio/Hortension/Gremio have to put out? (same questions as paragraph 2). (If this has all been clearly addressed in print and I've simply overlooked it, please point me the way.) Thanks in advance. ========================================================================= Date: Wed, 2 Feb 1994 10:21:38 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0082 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0082. Wednesday, 2 February 1994. (1) From: Terence Hawkes Date: Tuesday, 1 Feb 94 10:43 BST Subj: RE: SHK 5.0079 Re: The Human Condition (2) From: John Drakakis Date: Tuesday, 01 Feb 94 17:15:00 GMT Subj: SHK 5.0079 Re: The Human Condition (3) From: Michael Sharpston Date: Tuesday, 01 Feb 1994 20:39:00 -0500 (EST) Subj: RE: SHK 5.0074 Re: *MND*, *Lear*, and the Human Condition (4) From: David Schalkwyk Date: Tuesday, 2 Feb 94 11:21:47 SAST-2 Subj: The Human Condition (1)---------------------------------------------------------------------------- From: Terence Hawkes Date: Tuesday, 1 Feb 94 10:43 BST Subject: RE: SHK 5.0079 Re: The Human Condition Dear Bill Godshalk, Hunger -- yes, but hunger for what? There's no such think as free-floating trans-historical 'hunger'. Like all human experiences, it takes place within a specific culture at a specific time and place, and thus aligns itself with and is defined by specific notions of 'food'. You know as well as I do that what some cultures regard as 'food' is classified as 'inedible' by others. You also know that food is hedged about by all sorts of culture- specific prohibitions, inhibitions, desires and hatreds whose roots are in religious, political, economic commitments and beliefs -- some carrying the implication that hunger is a good thing, others that it is not. What you call 'hunger' is such a complex, variable, politically and religiously sensitive entity that it's surely unwise to assign a simple and universal 'meaning' to it. To do so is to drain away history, culture, political and social development and difference in pursuit of an arid 'sameness' whose own political commitments strike me as at least questionable. No doubt much of the above applies equally to defecation, a matter raised by another correspondent. My withers remain unwrung. Terry Hawkes (2)---------------------------------------------------------------------------- From: John Drakakis Date: Tuesday, 01 Feb 94 17:15:00 GMT Subject: SHK 5.0079 Re: The Human Condition On the question of "universal experience", Messrs Jordan, Lawrence and Godshalk seem to be confusing two things: (i) biological "facts" which have to do simply with the physiological operations of the organism- which aligns Bill Godshalk with "the needs of other mammals, e.g., cats and dogs"- and (ii) social and cultural experience which is mediated through language and which is historical and geographical. The latter cannot be reduced to some kind of quasi-physical fact which is true for all cultures at all times. So, when Terry Hawkes talks about there being no such thing as universal experience, it is in the context, surely, of literary representations of experience which are themselves culturally specific, AND which carry with them an affective power. The assumption that everybody else's experience is the same as that of Godshalk, Lawrence and Jordan, proposes, it would seem, a global community all of whose members, despite superficial differences, are characterized by their commitment to the same things! The politics of this position are quite fascinating. I think Edward Said called a version of it "orientalism". My response to their claim is simply: "Think so still, presumptuous, till experience change thy mind"! A happy Chinese New Year Bill John Drakakis (3)---------------------------------------------------------------------------- From: Michael Sharpston Date: Tuesday, 01 Feb 1994 20:39:00 -0500 (EST) Subject: RE: SHK 5.0074 Re: *MND*, *Lear*, and the Human Condition When I read Martin Mueller (SHK 5.0074) and "it is the professional malpractice of anthropologists to exaggerate the otherness of strange cultures", I was drawn to think of "Shakespeare in the Bush", Laura Bohannon, and my own earlier comments. By the way, I have been educated by those who have pointed out the relevant and special marital practices of Henry VIII in comparison to those in "Hamlet". There can of course be multiple resonances to a situation as archetypal as Hamlet, Gertrude, and Claudius. As Martin Mueller pointed out, it is doing an injustice to human beings if one does not accept both the universality and the individuality of their experience. Between individuals, across cultures, across time. Michael Sharpston msharpston@worldbank.org (4)---------------------------------------------------------------------------- From: David Schalkwyk Date: Tuesday, 2 Feb 94 11:21:47 SAST-2 Subject: The Human Condition We seem to have the same argument every month or so. In a post sent in October and again in a summarized form in November I suggested that the notions of an unchanging human condition verses radical historical and cultural incommensurability are false and debilitating alternatives. The issue is the way in which different historical periods and cultures instantiate relatively or eternally constant aspects of human behaviour as concepts or meanings. Looking at the issue in this way we see both change and constancy: but we don't make the mistake of assuming that a condition (even one as apparently incorrible as birth, death, hunger or defecation) is identical to a meaning. The facts of all these things may be the same but their significance may change. For example, compare them as *concepts* in the leafy suburbs I am fortunate enough to live in and the squatter camps a few kilometers away: what does hunger or cold mean to me and my children compared to the street kids, and how does the concept of defecation differ in a house with water-borne sewage and a shack with no toilet facilities whatsoever? Marx said: "Man must eat before he can think" (or something of that sort.) Is this true? Why don't we eat the locusts that destroy our crops? So, please let's stop confusing concepts and things, and let's stop preventing historical enquiry with dogmatic notions that there can be no points of conceptual contact across historical periods. (Sorry, I've had a bad holiday period, and thought I'd set SHAKsper to MAIL again to relax!) David Schalkwyk University of Cape Town ========================================================================= Date: Wed, 2 Feb 1994 10:27:19 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0083 Books at Virginia Shakespeare Electronic Conference, Vol. 5, No. 0083. Wednesday, 2 February 1994. From: Terry Belanger Date: Tuesday, 1 Feb 1994 23:39:52 -0500 Subject: [Books at Virginia] Subscribers to SHAKSPER may be particularly interested in one or more of the following 5-day non-credit courses offered this coming summer at BOOKS AT VIRGINIA: RARE BOOK SCHOOL 1994 (RBS): 21 HISTORY OF THE PRINTED BOOK. The production and impact of the printed book in the West since the 15th century. The transition from MS to printed book; technical and stylistic aspects of book production (paper, ink, type, presswork, illustration, binding); the professions of authorship, printing, and publishing; changing patterns of book distribution; the book as an economic, social, and cultural force. Aimed at those who have had little or no previous formal exposure to this field. Instructors: Alice Schreyer and Peter M. VanWingen. (18-22 July) 22 EUROPEAN DECORATIVE BOOKBINDING. An historical survey of decorative bookbinding in England and on the European Continent, concentrating on the period 1500-1800, but with examples drawn from the late 7th century to the late 20th century. Topics include: the emergence and development of various decorative techniques and styles; readership and collecting; the history of bookbinding in a wider historical context; the pitfalls and possibilities of binding research. Enrollment in this course is limited to those who have taken Nicholas Pickwoad's RBS course (see below, no. 43). Instructor: Mirjam Foot. (18-22 July) 36 ELECTRONIC FORMATS IN A RARE BOOKS ENVIRONMENT. Taking advantage of Alderman Library's computer instruction facilities, this course will provide practical training in the conversion of printed records to electronic formats. The course's emphasis will be on the character-based SGML texts, but it will also discuss image formats and strategies for making resources available on the Internet. Instructor: John Price-Wilkin. (25-29 July) 43 EUROPEAN BOOKBINDING, 1500-1800. How bookbinding in the post- medieval period developed to meet the demands placed on it by the growth of printing: techniques and materials employed to meet these demands; the development of temporary bindings (eg pamphlets and publishers' bindings); the emergence of structures usually associated with volume production in the 19th century; the development of decoration; the dating of undecorated bindings; the identification of national and local binding styles. Instructor: Nicholas Pickwoad. (1-5 August) 46 INTRODUCTION TO ELECTRONIC TEXTS. An introductory exploration of the range of research, preservation, and pedagogical tasks that can be performed with electronic texts. Topics include: finding and evaluating commercial and other e-texts; the creation of e-texts through OCR scanning and other methods; introduction to SGML tagging; introduction to text analysis tools; the management and use of online texts and related network resources. The course assumes familiarity with e-mail and basic computer skills such as word-processing, but no previous experience with electronic texts. Instructor: David Seaman. (1-5 August) 52 TYPE, LETTERING, AND CALLIGRAPHY, 1450-1830. The development of the major formal and informal book hands, the dominant printing types of each period, and their interrelationship. Topics include: the Gothic hands; humanistic script; the Renaissance inscriptional capital; Garamond and the spread of the Aldine Roman; calligraphy from the chancery italic to the English round hand; the neoclassical book and its typography; and early commercial typography. Instructor: James Mosley. (8-12 August) 54 INTRODUCTION TO DESCRIPTIVE BIBLIOGRAPHY. Introduction to the physical examination and description of books, especially of the period 1550-1875. The course is designed both for those with little or no prior exposure to this subject and for those with some general knowledge of the field who wish to be presented with a systematic discussion of the elements of physical description (format, collation, signings, pagination, paper, type, illustrations and other inserts, and binding). A major part of the course will consist of small, closely-supervised laboratory sessions in which students will gain practice in determining format and collation. Instructors: Terry Belanger and David Ferris. (8- 12 August) A total of 28 5-day courses will be offered on subjects ranging from the identification of illustration processes to collecting travel literature. TERRY BELANGER founded RBS in 1983 at Columbia University, where he had various positions in the School of Library Service. Since 1992, he has been University Professor and Honorary Curator of Special Collections at the University of Virginia. DAVID FERRIS is Curator of Rare Books at the Harvard University Law School Library, where one of his interests is the descriptive bibliography of early printed books. He has been connected with RBS since 1986 and its Associate Director since 1990. MIRJAM FOOT is Director of Collections and Preservation in The British Library. She is the author of many books and articles on the history of bookbinding, including STUDIES IN THE HISTORY OF BOOKBINDING (1993) and (with Howard Nixon) THE HISTORY OF DECORATED BOOKBINDING in England (1992). JAMES MOSLEY is Librarian of the St Bride Printing Library in London, the largest library of its kind in the English- speaking world. He has lectured widely in the United States on typographical subjects. He was Founding Editor of the JOURNAL OF THE PRINTING HISTORICAL SOCIETY. NICHOLAS PICKWOAD recently became Conservator at the Harvard University Library. He was formerly Adviser for Book Conservation to the National Trust in the United Kingdom. This will be the 14th time he has taught this celebrated course in RBS. JOHN PRICE-WILKIN is Systems Librarian for Information Services at the University of Virginia, before which he was Data Services Librarian at the University of Michigan, where he pioneered the provision of campus-wide electronic access to literary and linguistic texts. ALICE SCHREYER is Curator of Special Collections at the University of Chicago. She is the author of THE HISTORY OF BOOKS: A GUIDE TO SELECTED RESOURCES IN THE LIBRARY OF CONGRESS (1987). From 1988-93 she was Editor of RARE BOOKS AND MANUSCRIPTS LIBRARIANSHIP, a journal published by the Association of College and Research Libraries (ACRL), and she is a past chair of the ACRL's Rare Books & Manuscripts Section. DAVID SEAMAN is Coordinator of the Electronic Text Center at the Alderman Library, University of Virginia. He is the co- compiler (with John Kidd) of THE ELECTRONIC JOYCE. He lectures frequently on the use of electronic texts in the humanities. PETER M. VanWINGEN is Specialist for the Book Arts in the Rare Book and Special Collections Division at the Library of Congress, where he has been concerned with many aspects of the history of the book. He is a past chair of the Rare Books & Manuscripts Section of ACRL and former President of the American Printing History Association. The tuition for each RBS course is $525. Low-cost, air- conditioned dormitory housing will be offered on the Grounds of the University, and nearby hotel accommodation is readily available. Students are encouraged to take advantage of RBS's housing to arrive a few days before their course, or stay a few days later, in order to give themselves (and their families) a better chance to explore the Charlottesville area, which includes many sites of historic interest as well as various vacation attractions. For a copy of the RBS 1994 Expanded Course Descriptions sheet (providing further details about the courses offered this year) and an application form, write, fax, email, or telephone Rare Book School, 114 Alderman Library, University of Virginia, Charlottesville, VA 22903-2498: fax 804/924-8824; e-mail books@virginia.edu; telephone 804/924-8851. ========================================================================= Date: Thu, 3 Feb 1994 07:31:43 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0084 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0084. Thursday, 3 February 1994. (1) From: William Godshalk Date: Wednesday, 02 Feb 1994 18:01:10 -0500 (EST) Subj: Re: SHK 5.0082 Re: The Human Condition (2) From: Geoffrey T Wilson Date: Wednesday, 2 Feb 94 23:46:16 EST Subj: Re: The Human Condition (3) From: Jeff Zinn <0006382926@mcimail.com> Date: Wednesday, 2 Feb 94 22:19 EST Subj: [The Human Condition] (1)---------------------------------------------------------------------------- From: William Godshalk Date: Wednesday, 02 Feb 1994 18:01:10 -0500 (EST) Subject: Re: SHK 5.0082 Re: The Human Condition Dear Terence Hawkes, I wrote about the experience of hunger. Yes, hunger must be experienced by an animal in the body. I am talking about an experience that we label hunger. Hunger can not be free floating because it is a human experience and must be experienced by a human. You are quite right. If you agree that certain physiological events may be experienced by any human, we don't have a quarrel. I said nothing about the "meaning" of hunger, nor the literary expression of hunger. I think Norm Holland is correct when he emphasizes the physical, sensory basis on all experience. We can understand each other because we all have bodies. Animals experience hunger - they may and can experience hunger - outside of any cultural context. An animal that has been almost utterly isolated from its genetic kind will (I submit; I know this an article of faith.) experience hunger as a physical event. So I believe there are experiences that all humans share. That's all. No big whoop. I believe you will be able to see this. Yours, Bill Godshalk P.S. David Schalkwyc is, of course, the voice of reason. He's right. We have this same fight every other month. (David, I owe you an e-mail, but I got side tracked reading Thomas Pavel's FICTIONAL WORLDS, which covers a lot of the turf we were treading.) (2)---------------------------------------------------------------------------- From: Geoffrey T Wilson Date: Wednesday, 2 Feb 94 23:46:16 EST Subject: Re: The Human Condition As I understand the arguments of Joan Copjec and other Lacanian theorists, a *universal* subject must be posited in order to implement democracy: a population has to be reducible to a field of identical, homogeneous elements irrespective of individual cultural determinations before we can begin to think of equality, human rights, and enfranchisement. This necessary universalization is in danger of being obscured in the cultural relativism of Hawkes and Drakakis. The universal subject, however, cannot be based on empirical characteristics or some notion of "lived experience" like that articulated by Godshalk. It must be held in a state of nonpredication, existing exactly of nothing, a void. For once any culturally specific characteristics are assigned, people are excluded. By the way, the subject as void (or "subject of the unconscious") is precisely that which Lacan finds to be a function of the signifier. All people have always been "submitted to the signifier," so we can argue with historical rigor for a universal subject. It just can't be given characteristics. Geoffrey Wilson Dept. of English SUNY at Buffalo gwilson@acsu.buffalo.edu (3)---------------------------------------------------------------------------- From: Jeff Zinn <0006382926@mcimail.com> Date: Wednesday, 2 Feb 94 22:19 EST Subject: [The Human Condition] In Response to Schalkwyk, Godshalk, Jordan, Lawrence, etc. Ernest Becker in "Escape From Evil" draws on the works of anthropologist A.M. Hocart to make his very persuasive case that all cultures, yes *all*, respond to the fact of death with various strategies that deny death by establishing some form of immortality narrative. These strategies may take as many different forms as there are cultures - or people on the planet - but they function *universally* to endow the individual, and by extension the entire culture she/he populates, with a sense of purpose and worth. I think that at the center of all characters in plays can be found an immortality narrative that is being formed or changed or defended. Jeff Zinn 6382926@MCIMAIL.COM ========================================================================= Date: Thu, 3 Feb 1994 07:38:30 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0085 Qs: Comic Book Shakespeare; Shakespeare Ban Shakespeare Electronic Conference, Vol. 5, No. 0085. Thursday, 3 February 1994. (1) From: Nicholas Clary Date: Wednesday, 02 Feb 1994 14:52:54 -0500 (EST) Subj: Comic Book Shakespeare (2) From: Chris Kendall Date: Wednesday, 2 Feb 1994 20:50:27 -0700 (MST) Subj: Occupied Germany (1)---------------------------------------------------------------------------- From: Nicholas Clary Date: Wednesday, 02 Feb 1994 14:52:54 -0500 (EST) Subject: Comic Book Shakespeare In my seminar on Text Transmission/Transformation, a student has taken a particular interest in comic-book Shakespeare. Beyond the Classic Comics version of HAMLET, does anyone know of more recent comic-book versions of this play and where copies might be purchased. Thanks, Nick Clary clary@smcvax.smcvt.edu (2)---------------------------------------------------------------------------- From: Chris Kendall Date: Wednesday, 2 Feb 1994 20:50:27 -0700 (MST) Subject: Occupied Germany Recently, in our discussion of Shakespeare and Politics, mention was made of the banning of Shakespeare in occupied Germany. I have been searching for references to this event, ideally some kind of historical record of how and by whom the decision was made, though any kind of reference would be welcome. Can anyone help? ========================================================================= Date: Thu, 3 Feb 1994 07:44:52 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0086 Re: Vickers's Review; Shakespeare's Reading Shakespeare Electronic Conference, Vol. 5, No. 0086. Thursday, 3 February 1994. (1) From: William Godshalk Date: Wednesday, 02 Feb 1994 20:04:13 -0500 (EST) Subj: Brian Vickers and Q1 (2) From: William Godshalk Date: Wednesday, 02 Feb 1994 19:49:17 -0500 (EST) Subj: Re: SHK 5.0064 Q: Shakespeare's Reading (1)---------------------------------------------------------------------------- From: William Godshalk Date: Wednesday, 02 Feb 1994 20:04:13 -0500 (EST) Subject: Brian Vickers and Q1 Some while ago, someone (I can't remember who) asked about Vickers' review of the Holderness and Loughrey edition of the first quarto HAMLET. There's an interesting reply by Evert Sprinchorn (Dept. of Drama, Vassar) in TLS 21 Jan. 1994, p. 15. He points out a major problem with the theory of memorial reconstruction: actors generally have superior memories. He gives a good deal of evidence to substantiate this claim. If Q1 were indeed a version of the Q2 script, it could not have been the product of memorial reconstruction by actors. Actors would have done a much better job. So says Evert Sprichorn. Yours, Bill Godshalk (2)---------------------------------------------------------------------------- From: William Godshalk Date: Wednesday, 02 Feb 1994 19:49:17 -0500 (EST) Subject: Re: SHK 5.0064 Q: Shakespeare's Reading Elihu, You probably know Henry Anders, SHAKESPEARE'S BOOKS, who tried to do what you asked for, but didn't. It's a start. Are you proposing a joint project for the network? Or are you looking for a contract? I'll bet Garland would be interested. You can write to Phyllis Korper at Garland. Yours, Bill Godshalk ========================================================================= Date: Fri, 4 Feb 1994 11:35:59 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0090 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0090. Friday, 4 February 1994. (1) From: Al Cacicedo Date: Thursday, 3 Feb 1994 23:32:28 -0500 (EST) Subj: RE: SHK 5.0084 Re: The Human Condition (2) From: Richard Jordan Date: Friday, 4 Feb 1994 23:49:53 +1100 (EST) Subj: Re: SHK 5.0082 Re: The Human Condition (1)---------------------------------------------------------------------------- From: Al Cacicedo Date: Thursday, 3 Feb 1994 23:32:28 -0500 (EST) Subject: RE: SHK 5.0084 Re: The Human Condition Lord, we know what we are, but know not what we may be. Good night, ladies and gents, Al Cacicedo (alc@joe.alb.edu) Albright College (2)---------------------------------------------------------------------------- From: Richard Jordan Date: Friday, 4 Feb 1994 23:49:53 +1100 (EST) Subject: Re: SHK 5.0082 Re: The Human Condition Terence Hawkes writes: "What you call 'hunger' is such a complex, variable, politically and religiously sensitive entity that it's surely unwise to assign a simple and universal 'meaning' to it." The grounds of this debate have now been shifted in a rather deceptive way. Mr. Hawkes original claim was that there were no universal human experiences and that to claim otherwise was to ignore " history". In the face of several claims based on the universality of human biological necessities (all of which have social and individual consequences), Mr. Hawkes now speaks only of his objections to assigning universal "meanings" to such experiences. To say that there are universal human experiences, and to say that individuals and societies attribute different meanings to these experiences, is to say two different things which are not necessarily contradictory. Beyond that, the acknowledgement that there are SOCIAL meanings of experiences admits the possibility of the majority of individuals in a given society not only sharing experiences, but also placing the same significance on those experiences. It is also possible, and even demonstrable, that one society can in some cases see the same meaning in a human experience as its neighbor, in spite of other cultural differences between them. In other words, there ARE universal human experiences AND there can be a concensus about the significance of these experiences within and between different social groups. That such a concensus may not be universal is quite true, but this particular truth does not therefore discredit the study of that which is universal and shared in history and society. At best, it cautions us against making unqualified generalizations. ========================================================================= Date: Fri, 4 Feb 1994 11:38:42 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0091 Q: Herbs Shakespeare Electronic Conference, Vol. 5, No. 0091. Friday, 4 February 1994. From: Roy Flannagan Date: Friday,4 February 94, 10:11:56 EST Subject: [Query: Herbs] A query, please, on behalf of a graduate student: What is the best recent source of information on Shakespeare and herbal lore, plant lore, medicinal plants, herbal poisons, homeopathic remedies? Thanks from him and me. Roy Flannagan Ohio University ========================================================================= Date: Fri, 4 Feb 1994 11:25:17 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0088 Re: *Goodnight* Allusion; Shakespeare Ban Shakespeare Electronic Conference, Vol. 5, No. 0088. Friday, 4 February 1994. (1) From: Annalisa Castaldo Date: Thursday, 03 Feb 94 08:22:32 EST Subj: Re: SHK 5.0071 Q: *Goodnight Desdemona* Allusion (2) From: Michael Harrawood Date: Thursday, 3 Feb 1994 10:37:18 -0800 Subj: Re: SHK 5.0085 Qs: Comic Book Shakespeare; Shakespeare Ban (1)---------------------------------------------------------------------------- From: Annalisa Castaldo Date: Thursday, 03 Feb 94 08:22:32 EST Subject: Re: SHK 5.0071 Q: *Goodnight Desdemona* Allusion A somewhat late response to Michael's question about heads. Although I haven't seen *Goodnight Desdemona*, could it be a reference to the lines from *Othello* ? "And men whose heads did grow beneath their shoulders". 1.2, I believe, it's from the scene where Desdemona explains how Othello won her love with stories of his life. Annalisa Castaldo Temple University (2)---------------------------------------------------------------------------- From: Michael Harrawood Date: Thursday, 3 Feb 1994 10:37:18 -0800 Subject: Re: SHK 5.0085 Qs: Comic Book Shakespeare; Shakespeare Ban This is a message to Chris Kendall, re Shakespeare and Nazi Germany. I've never posted here before, so I hope it comes through. Chris. It might be fun to have your class watch Mephisto and to discuss the production of Hamlet they are working on at the end of that film. I did this a few years back with a 1B class here at Berkeley, and then showed them the Mel Gibson Hamlet, with special emphasis on the issue of overhearing and surviellance. I told my students that the Gibson Hamlet was the same versiou they were doing in Mephisto. This, naturally, provoked a lot of hot discussion and a few really good papers. Anyway, this is not really a historical record but it may help. Michael Harrawood ========================================================================= Date: Fri, 4 Feb 1994 11:31:15 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0089 Teaching Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0089. Friday, 4 February 1994. From: Steve Urkowitz Date: Thursday, 03 Feb 94 20:30:20 EST Subject: Teaching Shakespeare I'd like to recommend Peter Reynolds, PRACTICAL APPROACHES TO TEACHING SHAKESPEARE (Oxford University Press, 1991). Though I stripped down many of the introductory exercises to shorter and simpler forms that I could feel comfortable with, the physically active ways of engaging students with language through movement simply lit up my class yesterday. We were all bouncing and breathing through a sonnet, twenty different ways, till one final low voiced recitation came alive with a roomful of voices, together. Then I jumped to an introduction to Taming of the Shrew, working from another volume that comes from the same gang of educational hot-wirers. This was Michael Fynes-Clinton and Perry Mills CAMBRIDGE SCHOOLS SHAKESPEARE edition of SHREW (Cambridge UP 1992). They suggest having students work in groups to invent staging for the opening action. How about a leap through the classroom doorway, shoulder roll, "I'll pheeze you," and an angry hostess standing erect over the supine Sly? Drama being an art of significant juxtaposition. Even though I've done this kind of stuff before, going through the workshops with Peggy OBrien and the RSC folks, every time it is a leap of faith. Reynolds "Practical Approaches . . . " got me launched this time. Have other people noticed that Meredith Anne Skura's SHAKESPEARE THE ACTOR AND THE PURPOSES OF PLAYING outlines some of the anxieties and glories of teaching as a performing art? Another question: is there a convenient mail-order source for the British TV standard BBC-TV/TIME LIFE Shakespeare plays? I still balk at buying them at $100 a pop when they were on sale a few years back in England for about L-7. Ever, Urk ========================================================================= Date: Fri, 4 Feb 1994 11:18:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0087 Re: Comic Book Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0087. Friday, 4 February 1994. (1) From: Fran Teague Date: Thursday, 03 Feb 94 14:25:18 EST Subj: Re: SHK 5.0085 Qs: Comic Book Shakespeare; Shakespeare Ban (2) From: Karen Saupe Date: Friday, 04 Feb 1994 09:12:14 -0500 (EST) Subj: Re: SHK 5.0085 Qs: Comic Book Shakespeare (1)---------------------------------------------------------------------------- From: Fran Teague Date: Thursday, 03 Feb 94 14:25:18 EST Subject: Re: SHK 5.0085 Qs: Comic Book Shakespeare; Shakespeare Ban I have several comic book Shakespeare plays. Macbeth: The Folio Edition illus. by Von (NY: Workman, 1982). Twelfth Night, illus. John H. Howard (Ln: Oval Projects/Sidgwick & Jackson, 1985). Same pub also has Othello illus. by Oscar Zarate, King Lear illus. by Ian Pollock. As best I can tell, Workman started the series, then Oval Projects picked it up. The Macbeth is very nice, rather trad. illus w/ the text being the first folio unabridged. The TN has a more interesting illustration style, which works well. I like the Lear but have heard folks say they hate it. Addresses: Workman Pub. 1 West 39th Street, NY, NY 10018 (as of 1982) Oval Projects, 335 Kennington Rd, Ln SE11 4QE I also have MND, but it's at home so I can't provide illustrator info. And a student showed me a very nicely done original story about Shakespeare in the Shadow Man series(?). (2)---------------------------------------------------------------------------- From: Karen Saupe Date: Friday, 04 Feb 1994 09:12:14 -0500 (EST) Subject: Re: SHK 5.0085 Qs: Comic Book Shakespeare I don't think they've done Hamlet yet, but Workman Publishing has at least three comic-book plays: Othello, illustrated by Oscar Zarak (1983); Macbeth, by Von (1982); and King Lear, by Ian Pollock (1984). Full texts, great illustrations. The Folger bookstore has them; I don't know where else they might be available. (Has anyone ever used one of these as a classroom text, I wonder?) Karen Saupe University of Rochester -- saup@troi.cc.rochester.edu ========================================================================= Date: Sat, 5 Feb 1994 21:17:55 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0092 Re: Herbs Shakespeare Electronic Conference, Vol. 5, No. 0092. Saturday, 5 February 1994. (1) From: Michael Dobson Date: Friday, 04 Feb 94 10:47:41 CST Subj: Re: SHK 5.0091 Q: Herbs (2) From: John Mucci Date: Friday, 4 Feb 94 16:48:25-0500 Subj: Herbs and The Bard (3) From: John Cox Date: Friday, 04 Feb 1994 15:28:12 -0500 (EST) Subj: Re: SHK 5.0091 Q: Herbs (1)---------------------------------------------------------------------------- From: Michael Dobson Date: Friday, 04 Feb 94 10:47:41 CST Subject: Re: SHK 5.0091 Q: Herbs Re: Herbs In response to Roy Flannagan's request for a good 'recent' study of herbs in Shakespeare, let me suggest Eleanour Sinclair Rohde's "Shakespeare's Wild Flowers, Fairy Lore, Gardens, Herbs, Gatherers of Simples and Bee Lore", published by the Medici Society in 1935. Compared to the plays of Shakespeare it is certainly recent, and it may help his graduate student learn a style of prose accessible to people outside the MLA. Also it has lovely pictures. Michael Dobson (2)---------------------------------------------------------------------------- From: John Mucci Date: Friday, 4 Feb 94 16:48:25-0500 Subject: Herbs and The Bard A very complete but little known book is by Adelma Grenier Simmons entitled, "Plants of Shakespeare," which has each of the plants, herbs in particular, mentioned in the plays, described as to its medicinal or culinary properties, along with the passages from the plays in which each appears. A plan for a "Shakespeare Garden" is included for those interested in taking the trouble to raise one. It is published by Caprilands Private Press in Coventry, CT, and may be ordered from there. The price is less than $5, I believe. The subtitle of the book is Plans for a Shakespeare Garden; Herbal Plant Quotations from Shakespeare; Herbs of Shakespeare; Botanists of Shakespeare's Day. Ms Simmons is a noted authority on horticulture, and herbs in particular. John Mucci GTE VisNet (3)---------------------------------------------------------------------------- From: John Cox Date: Friday, 04 Feb 1994 15:28:12 -0500 (EST) Subject: Re: SHK 5.0091 Q: Herbs Charlotte Otten's book is the best on flora. I don't remember the title. John Cox ========================================================================= Date: Sat, 5 Feb 1994 21:29:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0093 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0093. Saturday, 5 February 1994. (1) From: Phyllis Gorfain Date: Friday, 04 Feb 1994 17:24:47 -0400 (EDT) Subj: Re: SHK 5.0090 Re: The Human Condition (2) From: Piers Lewis Date: Saturday, 05 Feb 1994 12:35:06 -0600 (CST) Subj: Human Condition (1)---------------------------------------------------------------------------- From: Phyllis Gorfain Date: Friday, 04 Feb 1994 17:24:47 -0400 (EDT) Subject: Re: SHK 5.0090 Re: The Human Condition I am grateful for the cogent and concise treatment Richard Jordan has offered for the vexing question of human universals. The difference between common experiences, inevitable human problems (of the death of others and one's own; distributions of wealth and goods; inheritance; kinship and non-marriageable partners; explanations for unjust suffering) and the ways those experiences are interpreted and evaluated, or the ways the problems are solved, not only provide ways to study the particular ways that persons and societies differ in regular ways, but also ways to compare them. The ways prestige attaches to particular activities, actors, or things can be as significant in "meaning" as is interpretation. I think the issue is really in how the claims of "universals" have been used ethnocentrically, ideologically, and smugly to mystify and celebrate values held by a cer- tain group dominating the discourse about meaning. So, once again, the issue is not the binary one of are there, or aren't there universals; but as R.J. shows, the multiplicity of ways that claims about universals are used, or the multiplicity of responses to particular common experiences. But that multiplicity need not lead to sloppy pluralism, but to rigorous comparison in historical, cultural terms. Gosh, I wish I were as clear as R.J. But, without editing, here are my thoughts. Classes start up again soon, so I will go back to lurking, I fear. Cheers, Phyllis Gorfain, Oberlin College. fgorfain@ocvaxa.cc.oberlin.edu (2)---------------------------------------------------------------------------- From: Piers Lewis Date: Saturday, 05 Feb 1994 12:35:06 -0600 (CST) Subject: Human Condition Listening to the arguments back and forth on this endlessly contested and contestable question, I wonder what's at stake. It sounds like a political or moral argument in disguise--politics by other means, so to speak. Is it? And the pragmatist in me asks: what practical difference might it make in the way we teach--*Lear* for example-- how or where we come down (if we come down at all) on 'universality'? ========================================================================= Date: Sat, 5 Feb 1994 21:44:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos Shakespeare Electronic Conference, Vol. 5, No. 0094. Saturday, 5 February 1994. From: Tom Jensen Date: Friday, 4 Feb 94 10:03:18 MST Subject: Query for VHS Video of BBC Shakespeare, *Chimes at Midnight* I'm very interested in aquiring personal copies on VHS of some of the BBC productions, particularly the 3 parts of *Henry VI*. I know that University libraries often have complete sets; does anyone know if they're available for private purchase and if so from whom? I'm also interested in Orson Wells' wonderful, uneven version of Henry IV parts 1 and 2 on VHS. Does anyone have any suggestions there? Thanks. Thomas Jensen Evans & Sutherland ========================================================================= Date: Sat, 5 Feb 1994 21:50:51 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0095 Re: Comic Book Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0095. Saturday, 5 February 1994. From: Hilve A. Firek Date: Friday, 4 Feb 94 17:47:52 EST Subject: Re: SHK 5.0087 Re: Comic Book Shakespeare I have the Classics Illustrated comic book of _Hamlet_. I believe the more pretentious title, though, is graphic novel. The illustrations are fantastic. ISBN 0-425-12026-0. The Berkley Publishing Group, 200 Madison Avenue, NY, NY 10016. -- Hilve Firek, hfirek@vdoe386.vak12ed.edu ========================================================================= Date: Sat, 5 Feb 1994 21:54:52 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0096 CFP: Theatre.Perspectives.International Shakespeare Electronic Conference, Vol. 5, No. 0096. Saturday, 5 February 1994. From: David Reifsnyder Date: Saturday, 5 Feb 1994 00:02:39 -0700 (MST) Subject: Call For Papers CALL FOR PAPERS and PERFORMANCE REVIEWS THEATRE.PERSPECTIVES.INTERNATIONAL THEATRE.PERSPECTIVES.INTERNATIONAL (T.P.I) invites submission of papers in the areas of theatre history, theory, criticism, and dramaturgy from theatre scholars and practitioners worldwide. Subject matter for the premiere issue of T.P.I will include all areas. The editors aim to present a representative sampling of current thought on a wide variety of topics, but will choose articles according to the quality of research presented and the manner of presentation. Writers of articles not used in this first issue may be asked for permission to hold their paper for inclusion in later editions. It is intended to keep the scope of T.P.I as open-ended as possible in order to include significant articles on the entire range of theatrical praxis, i.e. acting/directing methodology and design theory and criticism. One of the most exciting features of T.P.I is expected to be the publication of timely and meaningful reviews of productions seen around the world. Again, the quality of content and presentation will be of paramount importance, but it is intended that T.P.I eventually serve as an online clearing house of production reviews. A database will be established in conjunction with the THEATRELYNX BBS through which the entire catalogue of criticism can be accessed. Those reviews that represent the finest journalism and that address the most important new productions will be published in succeeding issues of T.P.I Timeliness is the key, as it is expected that readers will soon be able to get critical information on productions worldwide on a nearly next-day basis. SUBMISSIONS: Articles may only be submitted in electronic format, using one of three methods: 1. Upload via the THEATRELYNX BBS at the University of Colorado - Boulder (303-492-4782) after January 24, 1994. New users wishing information may log in with the command or may follow the instructions to become a regular user of THEATRELYNX. Initial questions should be directed to the sysop, Richard Finkelstein. 2. Upload via e-mail to the editors: David Reifsnyder (reifsnyd@ucsu.Colorado.EDU) or Jim Zeiger (zeigere@ucsu.Colorado.EDU). This option is now online and operating. 3. Mail submissions on floppy disc (any format, Mac or PC): THEATRE.PERSPECTIVES.INTERNATIONAL Department of Theatre and Dance Campus Box 261 University of Colorado Boulder, CO 80309-0261 Voice: 303-492-7355 Floppy discs will not be returned. ========================================================================= Date: Mon, 7 Feb 1994 08:28:51 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0098 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0098. Monday, 7 February 1994. From: Pat Buckridge Date: Monday, 7 Feb 1994 12:35:13 +1000 (EST) Subject: The Human Condition This is my first foray, so forgive me if I get the tone wrong. My initial reaction to the 'universality' debate was to cheer on the critics of Terence Hawkes, but this may have been irritation at the glib 'alterity' claims which are typical of a certain kind of Cultural Studies. But I've become increasingly uncomfortable at the certainty with which Richard Jordan et al have been asserting, contra Hawkes, a clear and absolute distinction between human experiences and the cultural meanings attributed to them by particular societies. Surely experience - even biolgical experience - is itself determined, to some extent, by its cultural meaning. Hunger, to continue with that example, may well be experienced differently by people for whom hunger has a redemptive meaning than by people for whom it is simply a state of painful deprivation. And how can one doubt that orgasm will be experienced differently if you believe each one shortens your life-span than if you think of it as a healthy release of tension? One has only to read the work of people like Marcel Mauss and Norbert Elias or, more recently, Peter Brown (The Body in History) and Thomas Laqueur (Making Sex) to see that physical experiences, and not just their cultural meanings, are indeed not universal. Of course, this doesn't warrant the Hawkesian assumption that they will always, or necessarily, or even usually, be different in different cultures. To that extent I agree with Jordan. Experiences *and* their meanings may well be substantially the same across different cultures. To assert otherwise is itself a universalising statement. Patrick Buckridge. ========================================================================= Date: Mon, 7 Feb 1994 08:24:46 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0097 Re: *Chimes at Midnight* Videos Shakespeare Electronic Conference, Vol. 5, No. 0097. Monday, 7 February 1994. (1) From: Janis Lull Date: Saturday, 05 Feb 1994 18:47:20 -0900 Subj: Re: Q: BBC and *Chimes at Midnight* Videos (2) From: Bernice W. Kliman Date: Sunday, 6 Feb 1994 06:39 EDT Subj: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos (3) From: Milla Riggio Date: Monday, 07 Feb 1994 07:35:37 -0500 (EST) Subj: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos (1)---------------------------------------------------------------------------- From: Janis Lull Date: Saturday, 05 Feb 1994 18:47:20 -0900 Subject: Re: Q: BBC and *Chimes at Midnight* Videos Anyone interested in a videotape of Wells's *Chimes at Midnight* should NOT buy it from Commedia Dell'Arte of Manorhaven, NY. The sound is very poor and as the catalog warns, all sales are final. (2)---------------------------------------------------------------------------- From: Bernice W. Kliman Date: Sunday, 6 Feb 1994 06:39 EDT Subject: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos Two valuable sources for tracking down videotapes are *Shakespeare on Screen* by Kenneth S. Rothwell and Annabelle Henkin Melzer, and the *Index* for the 17-year publication of *The Shakespeare on Film Newsletter,* now incorporated into *The Shakespeare Bulletin,* which makes available the *Index* as well as the complete run of issues of *SFNL*. *S on S* is available from Neal-Schuman Publishers in New York, and *The Shakespeare Bulletin* can be reached through James Lusardi and June Schlueter, Editors, Lafayette College, Easton, PA 18042. Bernice W. Kliman (3)---------------------------------------------------------------------------- From: Milla Riggio Date: Monday, 07 Feb 1994 07:35:37 -0500 (EST) Subject: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos To Thomas Jensen: Orson Welles' production of Chimes at Midnight is easily available on video. I bought it last year, but have the copy in my office and can't tell you now where I got it (others will do this, I feel sure). But I must warn you that obtaining it is at best a mixed blessing; the quality of the film and especially the sound track is so poor that you should be prepared to stand by the monitor and "translate" almost all that is said in the film. I understand that there are quarrels among those who own the rights to the film that have so far prevented the kind of restoration that Othello received. Until that happens, you may be better off to turnoff the sound and treat the video like a silent film! If no one else provides the purchasing information, I'll gather it later this week. Best, Milla Riggio ========================================================================= Date: Tue, 8 Feb 1994 08:31:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0099 Re: BBC and *Chimes at Midnight* Videos Shakespeare Electronic Conference, Vol. 5, No. 0099. Tuesday, 8 February 1994. (1) From: Tad Davis Date: Monday, 7 Feb 1994 09:46:53 -0500 (EST) Subj: Re: SHK 5.0097 Re: *Chimes at Midnight* Videos (2) From: Kenneth S. Rothwell Date: Monday, 7 Feb 1994 09:46:50 -0500 (EST) Subj: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos (1)---------------------------------------------------------------------------- From: Tad Davis Date: Monday, 7 Feb 1994 09:46:53 -0500 (EST) Subject: Re: SHK 5.0097 Re: *Chimes at Midnight* Videos Milla Riggio writes: > But I must warn you that obtaining it is at best a mixed blessing; > the quality of the film and especially the sound track is so poor that > you should be prepared to stand by the monitor and "translate" almost > all that is said in the film. I've had this same problem with all of Welles' Shakespeare films. It was a perennial problem for him; operating on low budgets across several continents, the sound quality was always the first to go. I found this to be true of the restored Othello as well, and it seriously hampered my enjoyment of that film. The complete text of the screenplay for Chimes is available, with photographs, notes, introduction, interviews, and many absorbing essays; edited by Bridget Gellert Lyons, Rutgers University Press, 1988. I recommend it highly. (This is where I first read Welles' opinion of Olivier's Henry V: "a bunch of people in fancy armor riding around a golf course.") Tad Davis davist@umis.upenn.edu (2)---------------------------------------------------------------------------- From: Kenneth S. Rothwell Date: Monday, 7 Feb 1994 09:46:50 -0500 (EST) Subject: Re: SHK 5.0094 Q: BBC and *Chimes at Midnight* Videos Dear Tom Jensen, For the BBC Shakespeare Plays, try Ambrose Video Publishing, 381 Park Ave.So. #1601, New York NY 10016. Call 800-526-4663. For Orson Welles, CHIMES AT MIDNIGHT, I think Facets Video, 1517 West Fullerton, Chicago, IL 60614 is a good bet. There are of course dozens of other dealers spewing out catalogs. Everything I say is subject to correction, since the market shifts and changes exasperatingly from one month to the next. Ken Rothwell ========================================================================= Date: Tue, 8 Feb 1994 08:39:49 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0100 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0100. Tuesday, 8 February 1994. From: William Godshalk Date: Monday, 07 Feb 1994 21:56:05 -0500 (EST) Subject: Re: SHK 5.0098 Re: The Human Condition I think we can agree with Pat Buckridge that not all human experiences are experienced by all humans. Men do not get pregnant, for example. But all live humans experience a beating heart. And I think we can be skeptical about an assertion that we all experience a beating heart in the same way. But we all have the experience, or we'd be dead. That's all, but it's a place to begin building a bridge out to other humans, eh? Bill Godshalk ========================================================================= Date: Wed, 9 Feb 1994 07:22:55 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0101 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0101. Wednesday, 9 February 1994. From: William Godshalk Date: Tuesday, 08 Feb 1994 12:56:35 -0500 (EST) Subject: Re: SHK 5.0100 Re: The Human Condition I had insomnia last night, and I remembered someone asking what was at stake in the Great Debate over the Human Condition. Since I couldn't sleep, I thought about that question, and I now think that the possibility of understanding is a stake. If someone from another culture comes to my office and says, "I hurt," and explains why, I think I can understand. I have experienced life and I know what it is to hurt. Those of us who reject Terence Hawkes's position do so because we want to establish a common ground for understanding. Hawkes would seem to be saying that we can only understand others who share our culture, and I'm not sure how narrowly he describes "culture." Is it possible that I just do not understand this Welshman and his Dragon? And if we cannot understand across cultures, we surely cannot understand across history. Shakespeare is doubly distanced from us by both time and by a different modus vivendi. And if we take this cultural isolationism one step further, we realize that each of us is subjectively isolated. The brain beneath the skull stands in absolute isolation. How can I understand what you feel, what you say? I reject this isolationist point of view because I believe that we can understand Shakespeare's plays. We may not live the way Shakespeare lived, but we can understand how and why a human could and would live as Shakespeare lived. Of course, Mr. Hawkes will tell me that I am totally deluded, totally determined by my culture into believing that I can understand. But since he is also caught inside his culture, completely time-bound, as myopic as the next scholar, how can he KNOW this? No, I'll keep arguing that we do have a basis in human experience for understanding each other and for the humans that have come before us. We eat and have eaten; we copulate and have copulated; and we die. Yours, Bill Godshalk ========================================================================= Date: Wed, 9 Feb 1994 08:06:47 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0102 Another Landmark for SHAKSPER Shakespeare Electronic Conference, Vol. 5, No. 0102. Wednesday, 9 February 1994. From: Hardy M. Cook Date: Wednesday, February 9, 1994 Subject: Another Landmark for SHAKSPER Dear SHAKSPEReans, On October 3, 1993, I announced that SHAKSPER's membership had passed the 400 mark. I am pleased to announce today that as of Friday, February 4, 1994, SHAKSPER has more than 500 members. This phenomenal growth reflects the vitality of our conference. With this growth comes new ideas, new questions, and new perspectives from which we all benefit. On the administrative side, however, more members can mean more work for me as your editor and for the University of Toronto's LISTSERV Maintainer, Steve Younker, to whom we all owe an enormous debt. To reduce the number of error messages that are sent to me and to Steve Younker, it particularly important that if you are going to be away from your accounts for an extended period that you use the NOMAIL option and that if your account is going to become inactive that you SIGNOFF at that address. I have every expectation that SHAKSPER will continue to grow and thrive. Below you will find the current version of the SHAKSPER Announcement, which you can download to share with colleagues and friends who may be interested in joining us. Let me close by thanking all of you for making SHAKSPER the exciting international conference it is. Thanks, Hardy M. Cook Editor ``````````````````````````````````````````````````````````````````````````````` S H A K S P E R: The Global Electronic Shakespeare Conference SHAKSPER is the international electronic conference for Shakespearean researchers, instructors, students, and those who share their academic interests and concerns. It currently involves more than 500 SHAKSPEReans (many of whom are prominent scholars), from Australia, Brazil, Denmark, Finland, France, Germany, Great Britain, Ireland, Israel, Japan, Korea, New Zealand, South Africa, Switzerland, Taiwan, Canada and the United States. SHAKSPER has been mentioned in *Canadian Humanities Computing*, *REACH*, the *Shakespeare Bulletin*, the *Shakespeare Newsletter*, the *SAA Bulletin*, *Cahiers Elisabethaines*, *Shakespeare Jahrbuch*, a NCTE volume on teaching Shakespeare, *Shakespeare Quarterly*, and many more places. Like the national and international Shakespeare Association conferences, SHAKSPER offers announcements and bulletins, scholarly papers, and the formal exchange of ideas -- but SHAKSPER also offers ongoing opportunities for spontaneous informal discussion, eavesdropping, peer review, and a fresh sense of worldwide scholarly community. Furthermore, all these benefits are yours without any travel or expense, beyond whatever you or your institution may have to pay for electronic mail itself. The SHAKSPER Fileserver offers conference papers and abstracts, an International Directory of Shakespeare Institutes, biographies of conference members, and a variety of announcements and bibliographies. Members of a number of seminars at the upcoming Shakespeare Association of America Conference will find their colleagues ready to share papers, comments, and strategies in advance. The daily SHAKSPER digests are organized by subject for the reader's convenience, based on the model of the Bitnet seminar HUMANIST. Conference announcements, Shakespeare Association bulletins, member notes and queries, book and theatre reviews, textual debate, discussion of lecture strategies -- SHAKSPER has already logged all this and much more. (And although computer technology plays an obvious role in the medium of discussion, it does not dominate the actual content of SHAKSPER's discussion.) Technically, SHAKSPER is a Listserv "list" running under VM/CMS on an IBM 4381 at the University of Toronto, Canada. It is known as on NetNorth/CAnet in Canada; Bitnet in the United States, South America and Asia; EARN in Europe, Africa, and Asia; ANSP in Brazil; and GULFNET in the Arabian Peninsula. The list editor, Hardy M. Cook, is an Associate Professor of English at Bowie State University in Maryland, and can be contacted at or . No academic qualifications are required for membership in SHAKSPER, and anyone interested in English Literature, the Renaissance, or Drama is welcome to join us. Write to the editor, or issue the command "TELL LISTSERV@utoronto SUB SHAKSPER firstname lastname," and you will receive a more detailed information file with further instructions for becoming a SHAKSPERean. (SHAKSPER is not open to automatic subscription, but no one is refused.) ========================================================================= Date: Thu, 10 Feb 1994 07:22:00 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0103 Re: The Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0103. Thursday, 10 February 1994. (1) From: James Schaefer Date: Wednesday, 09 Feb 1994 09:59:10 -0500 (EST) Subj: Re: SHK 5.0101 Re: The Human Condition (2) From: David McFadden Date: Wednesday, 9 Feb 1994 12:55:37 -0500 Subj: Insomnia (3) From: Nina Walker Date: Wednesday, 9 Feb 1994 12:58:30 -0500 (EST) Subj: Re: SHK 5.0101 Re: The Human Condition (1)---------------------------------------------------------------------------- From: James Schaefer Date: Wednesday, 09 Feb 1994 09:59:10 -0500 (EST) Subject: Re: SHK 5.0101 Re: The Human Condition Bill: You've been going out on a limb the past few days and taking the fire on behalf of a lot of your fellow humanists. I, for one, am grateful, and will stick my neck out, too. I know that there is a strong case to be made that we are all (each of us) different from one another and that the specific quality of those differences is worth study. But it is easier to see differences than to see similarities (the old cognitive question: how do we know that that straight-backed wooden thing in the library and that overstuffed ugly green thing in the livingroom are both "chairs"?). The object of our study should be (yes, I know that is a prescriptive statement) how we forge a society out these many differences: what do we share in common (heartbeat, death, etc.) and (here is where the study of differences comes in) what can we learn about life from the responses of others to those common experiences -- responses that may be completely different from our own, or that may be similar, but so much better stated than our own halting efforts. Perhaps it takes a leap of faith to be a humanist these days (or ever); if so, _credo_. Jim Schaefer schaefej@guvax.georgetown.edu (202) 687-4478 (2)---------------------------------------------------------------------------- From: David McFadden Date: Wednesday, 9 Feb 1994 12:55:37 -0500 Subject: Insomnia Bill Godshalk: Good heavens, sir, I hope your insomnia wasn't induced by the Great Absolute Debate. I should think the opposite would be the case, for one of the several Great Absolutes in the human condition is that the Great Absolute Debate is deadly boring. To allow it to keep you awake at night would be playing right into the hands of these young whippersnappers who are forever going around moaning and groaning and weeping and wailing that there are no absolutes. It's positively evil, it is, the way they are allowed to go around like that, trying their utmost to upset our complacency, with their chains, leather jackets, tattoos, shaved heads and their fake airs of Wagnerian romanticism. Doesn't Martin Amis have a good go at these guys in one of his recent novels? Well, they're not going to upset my complacency. If I lose sleep it'll be for a better reason than that, for it's axiomatic that there are absolutes in the human condition, and beyond that, and anyone who thinks otherwise is an absolute idiot. David W. McFadden (3)---------------------------------------------------------------------------- From: Nina Walker Date: Wednesday, 9 Feb 1994 12:58:30 -0500 (EST) Subject: Re: SHK 5.0101 Re: The Human Condition Finally, it seems to me, Mr. Godshalk hits the point, driven to it by Piers Lewis's pertinent question. Let me add to it by submitting 1) Without universal experience none of us would be reading Shakespeare; 2) Without universal experience Shakespeare would not have written (or perhaps could not have written.) Before you ignore these large assumptions Mr. Hawkes, please answer me this: Why do YOU read Shakespeare? What do you expect to gain? Why would you teach Shakespeare? Using your logic, what good could students possibly gain from the study? Beyond that, why would anyone bother with anthropology and, since you appear to be its champion, history? Sincerely, Nina Walker ========================================================================= Date: Thu, 10 Feb 1994 07:35:20 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0104 Universality Shakespeare Electronic Conference, Vol. 5, No. 0104. Thursday, 10 February 1994. From: Michael Sharpston Date: Wednesday, 09 Feb 1994 13:26:00 -0500 (EST) Subject: Universality: Changes in What is Perceived I am taking the liberty of submitting a cross-posting from Arthurnet. In the debate on universality, perhaps my error, but I did not see mention of the fact that different ages can perceive the same material (King Arthur, Hamlet) differently, and that this can have the effect of *preserving* the topicality and relevance of such material. I remember being struck by how literary criticism of Hamlet in particular tends to tell one more about the critic than the character in Shakespeare (Bernard Shaw and TS Eliot come to mind in this connection, but that is from memory). So is the universality of Shakespeare (for the faithful) somehow illusory? Or do different facets of the jewel catch the eye of different beholders? Michael Sharpston msharpston@worldbank.org ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ From: hck1@cornell.edu (Lisa Cameron Krakowka) Date: Thu, 3 Feb 1994 19:34:00 EST Subject: Re: American Arthuriana >Mark writes: >The more important question, it seems to me, is why Arthur and not >Charlemagne or Robin Hood or Siegfried. My own view is that Arthur's >actions can admit of a variety of motives, so that his personality can be >varied to suit the particular time of the writer. Thus, Geoffrey wanted >a military leader, and Arthur fit the bill; T. H. White wanted a >pacifist, and Arthur fit the bill. But his actions remained essentially >the same. He is a great expression of the culture of a society. Even >Marion Bradley's book reflects her own time more than Arthur's own. I'm convinced that Arthur's longevity is directly related to exactly this. He has a unique ability to span the ages and suit the societal needs of the times. He's a chameleon of sorts...yet the truly wonderful part of the legends is that they are "set" (the stories are already defined) but they too have this ability to span the ages. Here's this hero who's dated back to the (approximate) 5th century, but his problems are the same as those we're having today..we can relate to them very easily. They and he appeal to the common human psyche above and beyond cultural/societal differences related to the time of publication. Just my two cents... Lisa ========================================================================= Date: Thu, 10 Feb 1994 07:40:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0105 The Pacific Northwest Renaissance Conference Shakespeare Electronic Conference, Vol. 5, No. 0105. Thursday, 10 February 1994. From: Robert Knapp Date: Wednesday, 9 Feb 94 16:00:53 U Subject: The Pacific Northwest Renaissance Conference The Pacific Northwest Renaissance Conference Reed College, Portland OR 18-19 March 1994 beating the bounds: the formation and interaction of the disciplines in early modern europe Plenary Speakers: Lorraine Daston Professor of History and History of Science Department of History, University of Chicago "Curiosity in Modern Science" Lorraine Helms San Francisco Clown School A True History of Shakespeare's English Chronicles, with Various Reflections on Theatre, Scholarship, Memory, and Lament, and including A New Play, Never Before Presented, of Queen Margaret Thomas Laqueur Professor of History Department of History, University of California at Berkeley `And none else of name': Remembering the Dead from Shakespeare to the Great War For registration information, please contact: Robert S. Knapp Department of English Reed College Portland, OR 97202 FAX 503-777-7769 knapp@reed.edu ========================================================================= Date: Thu, 10 Feb 1994 07:46:54 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0106 Psychotic Macbeth Shakespeare Electronic Conference, Vol. 5, No. 0106. Thursday, 10 February 1994. From: Robert F. O'Connor Date: Thursday, 10 Feb 1994 10:32:15 +1000 Subject: Psychotic Macbeth Dear SHAKSPEReans, John Bell, formerly of the RSC, now runs a privately-funded group, the Bell Shakespeare Company, here in Australia. Over the past few years they have toured extensively, usually performing three plays in repertory. This year they are performing 'The Taming of the Shrew' and 'Macbeth'. , the common theme being the issue of marriage. In a recent interview, Bell - who will be playing Macbeth - stated that he was: "researching serial killers and sex murderers because I think those things are very much part of _Macbeth_ . . . I have been struck by the number of couples, men and women teams, who have engaged in serial killing, perversion and ambitious takeovers because of the impotence of the marriage, a relationship that is hollow at its centre." I have read a number of psychoanalytic critiques of 'Macbeth' lately, and I can certainly see the connections that could be established between serial killers or sex offenders and the sexual violence in the play, but I can't help but think that this kind of approach over-psychologises Macbeth's motivations - as did a local production I saw last year which drastically reduced the appearances of the Weird Sisters. I would like to know what other SHAKSPEReans think of Bell's proposition, or if similar approaches have been tried in recent productions overseas. ta Robert F. O'Connor ========================================================================= Date: Fri, 11 Feb 1994 09:48:06 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0107 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0107. Friday, 11 February 1994. (1) From: David Schalkwyk Date: Thursday, 10 Feb 94 13:58:06 SAST-2 Subj: Re: SHK 5.0100 Re: The Human Condition (2) From: Gareth M. Euridge Date: Thursday, 10 Feb 94 12:25:34 EST Subj: Re: SHK 5.0103 Re: The Human Condition (3) From: Jeffery Taylor Date: Thursday, 10 February 1994, 11:23:25 CST Subj: Universals (4) From: Terence Hawkes Date: Friday, 11 Feb 94 10:35 BST Subj: RE: SHK 5.0101 Re: The Human Condition (5) From: Terence Hawkes Date: Friday, 11 Feb 94 11:55 BST Subj: RE: SHK 5.0103 Re: The Human Condition (1)---------------------------------------------------------------------------- From: David Schalkwyk Date: Thursday, 10 Feb 94 13:58:06 SAST-2 Subject: Re: SHK 5.0100 Re: The Human Condition > I think we can agree with Pat Buckridge that not all human experiences are > experienced by all humans. Men do not get pregnant, for example. But all live > humans experience a beating heart. And I think we can be skeptical about an > assertion that we all experience a beating heart in the same way. But we all > have the experience, or we'd be dead. > > That's all, but it's a place to begin building a bridge out to other humans, > eh? > > Bill Godshalk > Bill, You (and others) might be interested in the following remark from Wittgenstein, who is usually credited with starting all this relativist rot in the first place (see E. Gellner, for example): "The common behaviour of mankind is the system of reference by which we interpret an unknown language", _Philosophical Investigations_, 206. David Schalkwyk (2)---------------------------------------------------------------------------- From: Gareth M. Euridge Date: Thursday, 10 Feb 94 12:25:34 EST Subject: Re: SHK 5.0103 Re: The Human Condition I know that there is such a thing as universality, the human condition, because The Ohio State Univ. bulletin tells me it exists - the blurb for intro to Shakespeare informs me that I am supposed to teach/convey/transmit it to undergrads, but, more seriously, and perhaps more pedagogically relevantly, does not that human condition also change dependent upon our ages? For example, as a child I seem to remember that "hunger," in all its various possible constructs, was a far more pressing "reality" to me then than now. But, more than this, I find it increasingly hard to understand what my students (18-20 yrs) find most interesting, most recognizable, in Shakespeare. I have little time for the gushings of Romeojulietesque love, and yet find, say, sonnet 138 a far more telling representation of human experience, the complexities of our relationships with others. My students, however, seem to respond to the former far more readily than they do to the latter, which perhaps understandably, leaves them perplexed, confused, and uninterested. Can I "understand" Lear, for example, when I am in my twenties, or must I perhaps wait until I too share his age, live in the construct of that age? (3)---------------------------------------------------------------------------- From: Jeffery Taylor Date: Thursday, 10 February 1994, 11:23:25 CST Subject: Universals No need for anger here. There simply are NO UNIVERSALS to human experience. Anyone who believes that there are has not thoroughly examined the Mulitcultural / Cultural Relativist position. All human experience is mediated by cultural meanings and is embedded in context. For humanist to ignore these assertions without examining the evidence is silly. Idealists have been arguing for Universals for 2500 years to no avail. Why can't we be interested in Shakespeare without the existence of universals?? Idealists do usually just get angry when their positions are attacked rather than showing real arguments. This is not religion here folks; this is academics. If you are going to militate against Popper, Douglas and Geertz please arm yourselves first with weapons more powerful than arrogant insistance. I challenge anyone (on or off the list) to come up with ONE instance of Universal human experience. The beauty of Shakespeare is in the works themselves, not some Universal appeal. We can fear the resplendent divergence of humanity or we can enjoy it. But why fear the lack of formal systems in our lives when we can enjoy the creative processes of existence instead? Jefferey Taylor Southern Illinois University at Carbondale. (4)---------------------------------------------------------------------------- From: Terence Hawkes Date: Friday, 11 Feb 94 10:35 BST Subject: RE: SHK 5.0101 Re: The Human Condition I'm sorry if my remarks have caused Bill Godshalk to have insomnia. Oddly enough, his tend to have quite a different effect on me. >>If someone from another culture comes to my office and says, "I hurt," and explains why, I think I can understand. I have experienced life and I know what it is to hurt.<< Gosh, Bill. Of course, we post-modernists simply curl our lips and tell them we never change grades. Feelin' no pain-- T. Hawkes (5)---------------------------------------------------------------------------- From: Terence Hawkes Date: Friday, 11 Feb 94 11:55 BST Subject: RE: SHK 5.0103 Re: The Human Condition Dear Nina Walker: >>Mr. Hawkes, please answer me this: Why do YOU read Shakespeare? What do you expect to gain? Why would you teach Shakespeare? Using your logic, what good could students possibly gain from the study? Beyond that, why would anyone bother with anthropology and, since you appear to be its champion, history?<<< 1. He'd probably do the same for me. 2. Riches, fame. A new CD player would be nice. 3. Because he couldn't spell, or punctuate, and hadn't read most of the authors on the National Curriculum. Bit of a disgrace, really. 4. Using my logic, not a lot. How's yours doing? 5. Well, call me a sentimental old baggage, Nina, but both subjects do offer to tell us a bit about (I wonder if you're ready for this?) the DIFFERENCES between folk. Actually, so (I just KNOW you're not ready for this, but we champions brook no delays) does the study of SHAKESPEARE. PS I need a good grade. T. Hawkes ========================================================================= Date: Fri, 11 Feb 1994 09:55:15 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0108 Theater Guide Shakespeare Electronic Conference, Vol. 5, No. 0108. Friday, 11 February 1994. From: Daniel Traister Date: Thursday, 10 Feb 1994 12:05:47 -0500 (EST) Subject: Announcing New Theater Guide (NOTE: This message is being cross-posted. Apologies for duplications) *ANNOUNCING* ___________________________________________________________________ _Guide to Theater Resources on the Internet_ By Deborah A. Torres and Martha Vander Kolk School of Information and Library Studies University of Michigan ___________________________________________________________________ The guide, which is about 47K, is available in the following ways: anonymous FTP: host: una.hh.lib.umich.edu path: /inetdirsstacks/theater:torresmjvk Gopher: via U. Minnesota list of gophers menu: North America/USA/Michigan/Clearinghouse of Subject-Oriented Resource Guides/All Guides or Guides on the Humanities/Theater; D.Torres, M. Vander Kolk Gopher .link file: Name=Clearinghouse of Subject-Oriented Internet Resource Guides (UMich) Type=1 Port=70 Path=1/inetdirs Host=una.hh.lib.umich.edu Uniform Resource Locators (URLs) for WWW/Mosaic: http://http2.sils.umich.edu/~lou/chhome.html or gopher://una.hh.lib.umich.edu/00/inetdirsstacks/theater%3atorresmjvk This guide is the product of a course entitled _Internet: Resource Discovery and Organization_ taught by Dr. Joseph W. Janes and Louis Rosenfeld, Ph.D. student of the School of Information and Library Studies, University of Michigan, Ann Arbor, MI. Students in the course were instructed in Internet tool usage and resource discovery approaches with the goal of creating ASCII text guides identifying and evaluating the quality of the resources in specific subject areas. Some of these guides will be available as HTML documents as well. Comments and feedback regarding this guide are welcome. Both Deb and Martha will be away for a week during the Holidays, so there may be a delay in responding to e-mail sent during this period. Another guide to theater resources we like to mention is: __________________________________________________________________ Ken McCoy's _Guide to Internet Resources in Theatre and Peformance Studies_ Ken's guide also is available in the Clearinghouse of Subject-Oriented Resource Guides. _________________________________________________________________ Thank you to all of you in cyberspace who helped us with this project. ***************************************************************** Deborah A. Torres | sils.theater.project@umich.edu Martha Vander Kolk | sils.theater.project@umich.edu School of Information and Library Studies University of Michigan ========================================================================= Date: Sat, 12 Feb 1994 11:47:38 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0110 Spinoffs Again Shakespeare Electronic Conference, Vol. 5, No. 0110. Saturday, 12 February 1994. (1) From: Skip Shand Date: Friday, 11 Feb 1994 13:30 EDT Subj: Spin-offs Again (!) (2) From: Christine Mack Gordon Date: Friday, 11 Feb 1994 12:55:43 -0600 Subj: SPINOFF BIBLIO (1)---------------------------------------------------------------------------- From: Skip Shand Date: Friday, 11 Feb 1994 13:30 EDT Subject: Spin-offs Again (!) This is to announce three new spin-offs by one of our own, David McFadden, who has three new poems in the current issue of *The Malahat Review* 105 (Dec.93): "Timon of Athens", "Much Ado About Nothing", and "Blue Angel" (much Marlene, of course, but much Sonnet 32, too). Nifty poems. I took the "Much Ado" poem into my closing class on the play yesterday, read it to the class a few times, and let it open up corners of the play we hadn't been right into. My students liked the poem a lot, and they were fascinated to listen to a poet reading the play and reading the film and talking about a need for the "imaginative bower" at the centre of comedy, the place "Where Don John, a man of few words, Can freeze our hearts and kill our love." (2)---------------------------------------------------------------------------- From: Christine Mack Gordon Date: Friday, 11 Feb 1994 12:55:43 -0600 Subject: SPINOFF BIBLIO Here are a few things that could be added: under the Henriad: the director of *My Own Private Idaho* is Gus Van Sant Kenneth Branagh, *Henry V* (screen adaptation, London: Chatto & Windus, 1989) under Macbeth: the director of *Men of Respect* is William Riley under The Merchant of Venice: two related novels are Faye Kellerman, *The Quality of Mercy* (Ballantine Books, 1989) Erica Jong, *Serenissima* (Houghton Mifflin, 1987) Much Ado About Nothing Kenneth Branagh, *Much Ado About Nothing* (screenplay, introduction, and notes; New York & London: Norton, 1993) under Miscellaneous: Anthony Burgess, *Nothing Like the Sun* (novel, Ballantine Books, 1965) Cowell, Stephanie, *Nicholas Cooke* (novel, 1993) Regards, Chris Gordon/English, University of Minnesota [The SPINOFF BIBLIO file has been updated based upon the information in these two posting. If David or Skip would send me the names of the individual poems, I will make a separate entry for each. --HMC] ========================================================================= Date: Sat, 12 Feb 1994 11:51:52 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0111 TDR: The Journal of Performance Studies Shakespeare Electronic Conference, Vol. 5, No. 0111. Saturday, 12 February 1994. From: Date: Friday, 11 Feb 1994 13:27:14 -0500 (EST) Subject: Announcement - TDR: the journal of performance studies Dear listowner: we thought your subscribers would be interested in knowing about the latest issue of TDR. If you agree, please post the following announcement to your list. Thanks. ...you probably heard of us, but when is the last time you read... __________________________________________________________________ ________________ _____________ _____________ /_______________/| /____________ \ /____________ \ |||||||||||||||||/ |||||||||||||\ \ |||||||||||||\ \ |||| | |||| | |||\ \ |||| | |||\ \ |||| | |||| | |||\ \ |||| |______||||/ |||| | |||| | |||| | ||||/______||||/ |||| | |||| | ||||/ |||||||||||||\ \ |||| | |||| |______||||/ |||| | ||||\ \ |||| | ||||/______||||/ |||| | ||||\ \ ||||/ ||||||||||||||/ ||||/ ||||\/ __________________________________________________________________ The Journal of Performance Studies T140 (Winter 1993) TDR is the only journal that explores the diverse world of performance with an emphasis on the intercultural, interdisciplinary and experimental. It covers theater, dance, entertainment, media, sports, aesthetics of everyday life, politics, games, play, and ritual. TDR is edited by Richard Schechner of the Department of Performance Studies, New York University, and published quarterly by MIT Press. Now, TDR has joined the Internet community! The TDR_FORUM: on the discussion list Perform-L, you can participate in a forum that will focus the the latest issue with both contributing authors and fellow readers. See instructions below. You can browse through a sample article on the Electronic Newsstand. You can subscribe through MIT or the Electronic Newsstand. See directions below. Check out our table of contents: ------------------------------------------------------------------- // In this issue (T140 - Winter 1993) \\ ---------------------------------------- - Towards the 21st Century - TDR Comment by Richard Schechner (editor) - Performing the Texts of Virtual Reality and Interactive Fiction - by J. Yellowlees Douglas - Magister Macintosh: Shuffled Notes on Hypertext Writing - by Richard Gess - The Word Becomes You: interview with Anna Deavere Smith - by Carol Martin - Anna Deavere Smith: Acting as Incorporation - by Richard Schechner - Shapiro and Shaliko: Techniques of Testimony - by Richard Kramer - Shaliko in Pictures, Shapiro in Words - by Leonardo Shapiro - Leaving Town Up and Down - by Leonardo Shapiro - Babilonia in Buenos Aires: An Interview with Javier Grosman - by Elzbieta Szoka - Operation Mallfinger: Invisible Theatre in a Popular Context - by Jonathan M. Gray - Casting the Audience - By Natalie Crohn Schmitt - Happenings in Europe in the '60s - by Gunter Berghaus - Book review essays by Richard Trousdell, Edith Turner, and David J. DeRose Each TDR issue is provocative in content, with photographs, artwork, and scripts illustrating every article. The journal, founded in 1955, is 7 x 10, and a 184 pages per issue. ----------------------------------------------------------------------- // Join our electronic TDR_Forum on Perform-L \\ ------------------------------------------------ We invite you to join us in a discussion of the latest issue of TDR, featuring an article by Richard Gess - "Magister Macintosh: Shuffled Notes on Hypertext Writing." Meet the author and fellow subscribers. To subscribe to perform-l, send e-mail to: mailserv@acfcluster.nyu.edu, no subject, the only message being "sub perform-l yourrealname". To download Gess's artictle via anonymous ftp: ftp acfcluster.nyu.edu, cd perform get tdrgess.txt. quit To get Gess's article via e-mail: Send e-mail to: mailserv@acfcluster.nyu.edu Leave subject blank Put only one line in the letter: send [anonymous.perform]tdrgess.txt ----------------------------------------------------------------------- // Come browse and subscribe \\ ------------------------------- 1. The Electronic Newsstand You can browse through an article from our latest issue on the Electronic Newsstand. On Gopher, go to: massachusetts/MIT/Interesting Sites to Explore/Electronic Newsstand/all titles/TDR:The Drama Review/ To subscribe to TDR through the Electronic Newsstand, send your name and address to: the_drama_review@enews.com. Or call: 1-800-40-ENEWS. 2. MIT Press Online You can explore the MIT Press Online Catalogue and obtain subscription information: telnet techinfo.mit.edu. Choose: Around MIT/MIT Press/ journals/arts/. Through Gopher go to: USA/massachusetts/ MIT. To subscribe to TDR through MIT, send e-mail to: journals-orders@mit.edu. MIT Press Journals, 55 Hayward Street, Cambridge, MA 02142-1399 USA. Tel: 617/253-2889 Fax: 617/258-6779. ========================================================================= Date: Sat, 12 Feb 1994 11:33:53 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0109 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0109. Saturday, 12 February 1994. (1) From: David Scott Wilson-Okamura Date: Friday, 11 Feb 94 9:22:34 CST Subj: Re: SHK 5.0107 Re: Universals and the Human Condition (2) From: Barbara Simerka Date: Friday, 11 Feb 1994 10:38:13 -0500 (EST) Subj: Re: SHK 5.0107 Re: Universals and the Human Condition (3) From: Christine Mack Gordon Date: Friday, 11 Feb 1994 12:42:18 -0600 Subj: the human condition et al. (4) From: Gardner Campbell Date: Friday, 11 Feb 1994 15:29:33 -0800 (PST) Subj: Humanity again (5) From: William Proctor Williams Date: Friday, 11 Feb 94 18:16 CST Subj: Re: SHK 5.0107 Re: Universals and the Human Condition (6) From: William Godshalk Date: Friday, 11 Feb 1994 20:46:25 -0500 (EST) Subj: Re: SHK 5.0107 Re: Universals and the Human Condition (1)---------------------------------------------------------------------------- From: David Scott Wilson-Okamura Date: Friday, 11 Feb 94 9:22:34 CST Subject: Re: SHK 5.0107 Re: Universals and the Human Condition > No need for anger here. There simply are NO UNIVERSALS to > human experience. Anyone who believes that there are has not > thoroughly examined the Multicultural / Cultural Relativist > position . . . > For humanists to ignore these assertions without examining the > evidence is silly. Idealists have been arguing for Universals > for 2500 years to no avail . . . > Idealists do usually just get angry when their positions > are attacked rather than showing real arguments. This is not > religion here folks; this is academics. If you are going to > militate against Popper, Douglas and Geertz please arm > yourselves first with weapons more powerful than arrogant > insistence . . . No need for anger here. There simply ARE UNIVERSALS. Anyone who believes otherwise has not thoroughly examined the Idealist position. For Cultural Relativists to ignore these assertions without examining the evidence is silly. If you are going to militate against 2,500 years of Idealism please arm yourself first with weapons more powerful than the mere invocation of names like *Popper, Douglas and Geertz.* Yours humbly, David Wilson-Okamura (2)---------------------------------------------------------------------------- From: Barbara Simerka Date: Friday, 11 Feb 1994 10:38:13 -0500 (EST) Subject: Re: SHK 5.0107 Re: Universals and the Human Condition As I read Jefferey Taylor's contribution to this debate, I began to behave rather like a sports fan, saying "right on" and even lifting a clenched fist in the spirit of comradeship his denial of universals evoked--until I got to the dread phrase "The beauty of Shakespeare is in the works themselves, not some Universal appeal" Suddenly, I felt as if I were experiencing a time warp, transported to an earlier generation, where the only possible argument against TIMELESS beauty was indeed the appeal to the FORMAL beauties of "the work." How did this anachronism manage to sneak into a debate that is being waged on a totally different terrain? Barbara Simerka Davidson College (3)---------------------------------------------------------------------------- From: Christine Mack Gordon Date: Friday, 11 Feb 1994 12:42:18 -0600 Subject: the human condition et al. Well, it certainly is delightful to jump into the middle of this discussion. As a new member of the conference, passionate lover of Shakespeare, supporter of the possibility that we have much in common as human beings as well as significant differences, I find it energizing to hear everyone talking about these issues. I have become rather tired of those who desperately want to ignore our common humanity and label us all very careful (I have only half-facetiously suggested that I have a t-shirt made that reads: female, politically incorrect feminist, Catholic by birth, Jew by choice, Taoist by inclination, Polish-American, working class origin, advanced degree in English literature to make sure everyone knows precisely who I am). But most of the time I don't think about these varied aspects of my self, though I certainly respond to life out of them and their interactions. The older I get, the more I want to bridge differences, learn from them, and share the many things I believe we do have in common. It's a pleasure to meet you all. Chris Gordon, English, University of Minnesota (4)---------------------------------------------------------------------------- From: Gardner Campbell Date: Friday, 11 Feb 1994 15:29:33 -0800 (PST) Subject: Humanity again In reply to Professor Hawkes, I cannot see how differences can be perceived at all, much less said to matter (aside from the possibility of conning gullible students into subsidizing my CD habit), unless *shared* experience exists. *Shared* experience. Can we talk about that, instead of about universals? As several folks have rightly noted, talk about universals is, in one way or another, an expression of dogma. Now, of course, one's dogma may actually be true--one can hope that belief is belief in *something*, and not simply a delusion--but leave that question aside for the moment. Instead, can we talk about *shared* experience, not "universal experience"? *Shared* experience may not be "universal," and the meaning or significance ascribed to shared experience may not *itself* be shared (though there's nothing to say it *cannot* be, or probably *won't* be, or certainly has never been); the fundamental question, however, is not "can we know infallibly?" but "can we know at all?" That is, whether any experiences are or can be universal (and I'm not saying what I think about *that*, just now anyway), *are* there such things as non-trivial *shared* experiences? And if there are, how can we know them? And if not, how do we know *anything*? And if there are, and we can know them--by inferring and studying difference, mind you, as much as we infer and study similarity-- how may we attend to them and assess their importance to our own lives in all our communities, intellectual, academic, political, religious, familial, etc.? Two more thoughts in this insufferably abstract post. The claim that there are NO universals is of course itself a universalist claim. Easy point. Nevertheless: is Professor Hawkes willing to assert that there is no such thing as *shared experience*, that every identity forms itself in absolute experiential isolation? The final thought. If there is no such thing as shared experience, if our own lives have absolutely nothing in common with anyone else's in Jacobean London--let alone in our classrooms, our homes, or our political alliances--then what in the world do the poor actors do when they walk out on a stage and utter lines? What of the *actors*? Never mind the writers and readers. If there is no significant shared experience, why be an actor? *How* be an actor? And why should an audience pay good money to see people gamely (or gullibly) sustain the illusion of spoken, witnessed, lived community? Enough, or too much. Gardner Campbell Campbell@teetot.acusd.edu (5)---------------------------------------------------------------------------- From: William Proctor Williams Date: Friday, 11 Feb 94 18:16 CST Subject: Re: SHK 5.0107 Re: Universals and the Human Condition Well, it is good to see Terry H. laying about with both hands, and it is tough on those who would bring order out of chaos, but would it not be helpful if we adopted, at least in Shakespeare studies, two rules? RULE ONE: There are NO rules. RULE TWO: Anyone who disagrees must construct and defend RULE ONE. I hope this helps; I can't see how it could hurt. William Proctor Williams Department of English Northern Illinois University DeKalb, IL 60115 TB0WPW1@NIU.BITNET (6)---------------------------------------------------------------------------- From: William Godshalk Date: Friday, 11 Feb 1994 20:46:25 -0500 (EST) Subject: Re: SHK 5.0107 Re: Universals and the Human Condition One more shot in the Great Debate. I forgot about breathing. I'll bet ya that all live humans breathe. So breathing is a universal experience among living humans. Of course, as far as I know, rocks don't breathe, so "universal" is really the wrong word. Yes, quite wrong. But there are common human experiences. I find it counterintuitive to think otherwise. If we do not have common experiences, then the category of "human" must be thrown out. Your friend, Bill Godshalk ========================================================================= Date: Sun, 13 Feb 1994 13:39:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0112 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0112. Sunday, 13 February 1994. (1) From: Luc Borot Date: Saturday, 12 Feb 1994 20:00:07 +0100 Subj: NO RULES!!!! (?) (2) From: Jefferey Taylor Date: Saturday, 12 February 1994, 23:51:36 CST Subj: Breathing Universals, Expelling Singularities (3) From: Piers Lewis Date: Sunday, 13 Feb 1994 10:31:03 -0600 (CST) Subj: human condition (1)---------------------------------------------------------------------------- From: Luc Borot Date: Saturday, 12 Feb 1994 20:00:07 +0100 Subject: NO RULES!!!! (?) Dear all, I am really grateful to WP Williams for the gust of fresh air which he brought into the 'universal' v/ 'idio(t?)syncratic' controversy that's been raging on this list for some time. Dogmaticism had never been a feature of this list's discussions until Prof T Hawkes joined in, and this may be considered as THE novelty which his provocations introduced amongst us. One may prefer healthier provocations and innovations... But let me try to be more positive than the late discussions have been I am back to SHAKSPER after about four months, and I am discovering an unpleasant atmosphere of ideological denunciation. Never before to my knowledge had anyone insulted another member of this list before T. Hawkes did so a few days ago in response to exarcerbated list-fellows who did not deserve contempt for disagreeing with him (nor anyone for disagreeing with anyone else in a democratic intellectual context, unless the existence of dictatorships should be a cause for behaving as if there were no such thing as democracy and toleration). If cultural relativism is anything to go by, as a French Professor of 17th-century English political ideas, Paris-born, working near the Mediterranean sea, of working-class origin and holding university degrees, a heterosexual socialist voter and practicing Catholic, whisky tippler and pipe-smoker, only 9 years old in 1968, what should my position be if those contradictory determinations were to impose anything on me? I was brought up in the state-schools of France, where the main principle of education is what we term 'laiciti', viz. ideological, political and religious neutrality, so that everyone can go to the same school, be a citizen of the republic and choose his/her ideas and beliefs according to his/her conscience in due respect for other people's beliefs, whether they were citizens of the same country, members of the same 'race' or not. We never have any 'assemblies', salute to the colours, religious services or even religious education in the curriculum. And we fare none the worse for it! All political parties (except the National Front of course) favour 'Integration' against communitarianism. I wish members of this list became more addicted to the spirit of 'laiciti', as they seeemed to be some time ago. It is important to debate theoretical matters in connection with literary works, but please let us not confuse this SHAKSPER list with a political forum. There is enough politics in the Shakespearean texts to fight with without adding our present disagreements. As we shall disagree anyway, let us disagree on something that we are 'here' to discuss. I also discovered today in a post that 'text' could be perceived by some as a reactionary concept, as if a descriptive concept could be ideologically connotated, or a methodological approach morally objectionable. Text as textual scholars study it or as the structuralists and formalists study it and theorize it are two different things, and they are legitimate objects, since there are people who produce intelligent and fruitful research with them, and which they are as free to study as any person to sow roses or potatoes in their garden if they've got one, or eat flesh, eggs or fish on Fridays or avoid pork meat. Be tolerant of each other's work and opinions, or this list is likely to become some folk's battlefield or exclusive hunting ground, as in feudal days. Feudal priviledges were abolished in my country on August 4th 1789, so let's not do as if academic thought was not free from them. Sense of humour seems to have been replaced by irony and sarcasm: this is not my conception of intellectual debate; I'm sure others share this view. Last 2 points: I was told that UNESCO (one more universalist thinggum some will say) declares 1995 'year of toleration'; I agree that those 'years of something' are nothing very efficient. Let's give it more serious thought than UNESCO ever will: if there are countries and parties and journals where toleration is a word without substance, let's hope that our list(s) won't become the same because of the sheer silence of those who dare not oppose the overbearing intolerance of a few people. A last thing: REMEMBER SALMAN, and keep wondering every day what you've done for him, and if you've done nothing to promote toleration, you missed something. Terence Hawkes: you CAN & MUST voice your ideas but why insult people when they react? Why invite violent provocation with violent provocation? Strong ideas deserve debate, but don't require hammering if there's some truth in them; persuasion's the thing. Remember Salman next time you drink somebody's health: February 14th (I'm writing this on the 12th) is the 5th anniversary of the fatwa, so let's not make it legitimate by excommunicating each other. And as my Montpellier colleague Francois Rabelais would have said in the 1530-s: buvez frais (drink your wine --or ale, or milk-- cool...). Yours for all that, Luc **************************************************** *Luc Borot * *Centre d'Etudes et de Recherches Elisabethaines * *Universite Paul Valery * *Montpellier (France) * **************************************************** (2)---------------------------------------------------------------------------- From: Jefferey Taylor Date: Saturday, 12 February 1994, 23:51:36 CST Subject: Breathing Universals, Expelling Singularities I'll admit I was feeling devious the other day in my rant against idealism and universals, and thanks to David Wilson-Okamura for supplying the correct response (which was half my point after all.) We must have a dialogue, even if just in non-sound bites between us. For example, Barbara Simerka points out that saying the beauty of Shakespeare is in the work itself could be read as an appeal to formalism. But I rather intended it as nominalism or pragmatism: Aureolus says "omnis res est se ipsa singularis et per nihil aliud"-- "everything is individual by virture of itself and by nothing else." (Panofsky's trans.) Shakespeare's work is what it is, not a reflection of a great universal spirit. What beauty one finds in it has to do with one's own context, and, obviously, many people find no beauty in Shakespeare at all, and there's no reason why they should. I do. Yes, we can have shared experience, and need to in order to have meaning in experience, but that does not mean that meaning, then, bubbles up from a universal source. If you look hard enough you can find human beings who have very little in common with you or anyone else that might be reading this off a computer screen. With apologies to Dr. Godshalk, let me suggest that an appeal to common biology, such as breathing or pain, is an often tried but flawed appeal. For one, there are people who are very different from the rest of the world who live and breathe in places where we would not be able to breathe well enough to live. But more important, the appeal to biology ignores the observation that the meanings we attach to experience are determined by our contexts and choices. A breath is not a singular, universal thing: first breath, last breath, a gasp of joy or fear, or gassed in a damp fox-hole or on a campus in protest, or the smell of a rose by any name. But let me choose pain for a thought experiement: three people of similar biology experience similar damage to their noses is three different contexts. The first woman is having her nose pierced by a friend for esthetic reasons in a flat in NY. The second woman is having her nose pierced by a shaman who is thereby initiating her into adulthood for which moment she has been preparing all her life and fasting these past three days. The third woman is being assaulted by a lunatic jabbing a pin in her nose at a bus stop. The similarity of signals from the pain receptors of these three individuals is trivial, the context and attached meanings are what the experience really is for each of them. When I breathe I usually take no note of it and so it does not fall in the realm of meaningful experience. If I focus on my respiration, I'll probably construct it as my blood receiving oxygen and expelling carbon dioxide, something that I don't believe Shakespeare had in mind when using the word 'breath.' And I am finally out of e-breath. Jefferey Taylor Southern Illinois University (3)---------------------------------------------------------------------------- From: Piers Lewis Date: Sunday, 13 Feb 1994 10:31:03 -0600 (CST) Subject: human condition Remember Alice's conversation with Humpty Dumpty in THROUGH THE LOOKING GLASS? Humpty Dumpty has been taking satisfaction in the fact that every year you have 364 opportunities for un-birthday presents, "and only ONE for birthday presents." And he adds: "There's glory for you." "I don't know what you mean by 'glory,'" Alice said. Humpty Dumpty smiled contemptuously. "Of course you don't--till I tell you. I meant 'there's a nice knock-down argument for you'!" "But 'glory' doesn't mean 'a nice knock-down argument'," Alice objected. "When I use a word," Humpty Dumpty said in a rather scornful tone, "it means just what I choose it to mean--neither more nor less." "The question is," said Alice, "whether you CAN make words mean different things." "The question is," said Humpty Dumpty, "which is to be master-- that's all." If reality is 'socially constructed,' as they say, so's language. And Humpty Dumpty is correct. ========================================================================= Date: Sun, 13 Feb 1994 13:42:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0113 Ohio Shakespeare Conference -- Hotel Rooms Shakespeare Electronic Conference, Vol. 5, No. 0113. Sunday, 13 February 1994. From: William Godshalk Date: Saturday, 12 Feb 1994 22:44:26 -0500 (EST) Subject: Ohio Shakespeare Conference - Hotel Rooms The Ohio Shakespeare Conference (March 3-5) Our block of rooms at the Cincinnatian Hotel has now been made available to the general public, and March 3 is sold out. I have been informed that the Westin Hotel (1-800-228-3000) still has rooms available. The Cincinnati Terrace Hilton (1-513-381-4000) did have some rooms at $75 last week. Also the Omni Netherland Plaza (1-800-843-6664) may have some rooms. But if you wish to attend the Conference and if you wish to stay in downtown Cincinnati, you must act quickly. The Cincinnati Wine Festival (with an influx of California wine makers) begins on March 3. And rooms are going fast. On the morning of February 11, the Cincinnatian still had 25 rooms available for March 3. By this afternoon (February 12), they were gone. I'm glad I made my reservations early! Bill Godshalk Secretary, 1994 Ohio Shakespeare Conference PS If you do need help finding a room, you can call me at 513-281-5927, and I'll do my best. I was able to help someone this afternoon. ========================================================================= Date: Mon, 14 Feb 1994 08:29:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0114 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0114. Monday, 14 February 1994. (1) From: William Proctor Williams Date: Sunday, 13 Feb 94 18:52 CST Subj: Re: SHK 5.0112 Re: Universals and the Human Condition (2) From: William Godshalk Date: Sunday, 13 Feb 1994 22:04:40 -0500 (EST) Subj: Re: SHK 5.0112 Re: Universals and the Human Condition (3) From: Nate Johnson Date: Monday, 14 Feb 1994 02:06:29 -0500 Subj: [Universals Discussion] (1)---------------------------------------------------------------------------- From: William Proctor Williams Date: Sunday, 13 Feb 94 18:52 CST Subject: Re: SHK 5.0112 Re: Universals and the Human Condition All my words mean +exactly+ what I say they mean. Anyone who disagrees is looking for a fat lip! I find this discussion of the "Human Condition" pointless. What is Human? What is the Condition? Who cares? We all get up in the morning and, if we are lucky, go in to teach our Shakespeare classes; if we are unlucky we go in to teach our Comp. classes. Can we, at least, live in the real world rather than the rather exclusive world that Mr. Hawkes lives in. Have a nice day!! William Proctor Williams Department of English Northern Illinois University DeKalb, IL 60115 TB0WPW1@NIU.BITNET (2)---------------------------------------------------------------------------- From: William Godshalk Date: Sunday, 13 Feb 1994 22:04:40 -0500 (EST) Subject: Re: SHK 5.0112 Re: Universals and the Human Condition I have a question. If all human experience is culture specific and culture relative, how is the worldwide study of science possible? If any and all human observations are culture specific, how can any interpretation be falsified? Francis Crick in THE ASTONISHING HYPOTHESIS seems to be saying that all human brains work in the same way. If brains can be observed working in the same way, the varying thoughts that we humans have are all generated in the same way. Why emphasize different cultures? Why not emphasize the similarities of the human brain? In fact, why don't we get back to discussing the texts (I risk being called a right-wing pig by the Dragon Son of Mona), the texts, I say, of Shakespeare? I just got done reading The Wells/Taylor MACBETH, with interpolations from Middleton. Or, did Shakespeare write the songs which Middleton later adapted for THE WITCH? Anybody want to discuss? Bill Godshalk (3)---------------------------------------------------------------------------- From: Nate Johnson Date: Monday, 14 Feb 1994 02:06:29 -0500 Subject: [Universals Discussion] I find the universal vs. not discussions, Luc Borot's passionate plea for dispassion included, really very entertaining. What are 500 people doing on this list and why do tempers run so high over a writer who's been dead for hundreds of years? The very existence of this ongoing discussion seems, in itself, worth taking into account. Two little bits of cultural flotsam keep popping into my head whenever I read my SHAKSPER e-mail these days. First, Bob Dylan's line: "It ain't no use talkin' to me / It's just the same as talkin' to you." Second, the great controversy in physics, "It's a wave!" "No, stupid, it's a particle..." "No, it's a wave!" --Nate Johnson ========================================================================= Date: Mon, 14 Feb 1994 08:37:39 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0115 Salman Rushdie Anniversary Shakespeare Electronic Conference, Vol. 5, No. 0115. Monday, 14 February 1994. From: Luc Borot Date: Sunday, 13 Feb 1994 13:56:30 +0100 Subject: Salman Rushdie [This posting appeared on SHARP-L Society for the History of Authorship, Reading & Publishing" .] >THE FOLLOWING STATEMENT IS BEING ISSUED FEBRUARY 14, 1994, THE >FIFTH ANNIVERSARY OF THE FATWA AGAINST SALMAN RUSHDIE. LIBRARIES >AND BOOK STORES WILL BE DISTRIBUTING COPIES OF THE STATEMENT TO >THEIR PATRONS. IF YOU WOULD LIKE TO RECEIVE COPIES TO DISTRIBUTE, >PLEASE CONTACT THE OFFICE FOR INTELLECTUAL FREEDOM OF THE AMERICAN >LIBRARY ASSOCIATION AT U24803@UICVM.UIC.EDU OR 1-800/545-2433 X4223. > >On February 14, 1989, the religious leader of one country issued >a death threat against a citizen of another country. Five years >later Salman Rushdie is still a man with no fixed address. > >The novel that provoked the death sentence, The Satanic Verses, >continues to be available in bookstores and libraries throughout >the United States and many other countries. But Rushdie is in >hiding, still writing nearly every day, making public >appearances on occasion - but effectively under threat, marked >as with an incandescent X on his chest and back. > >His novel is a cultural epic and so is the controversy. It >involves the anger of Britain's immigrants from Pakistan, India >and other countries. It bears strongly on the American >tradition of free expression. It includes riots and >book-burnings. It has involved mullahs, presidents, >demonstrators, diplomats -- and a murdered Japanese translator, >Hitoshi Igarashi. And it is linked to the continuing impact of >world Islam on the consciousness of the West. > >Now the world has grown smaller around this man. He is >distanced from the people who have nourished his work and >severed from the very texture of spontaneous life, the tumult of >voices and noises, the random scenes that represent the one >luxury writers thought they could take for granted. > >Not any more. > >He is alive, yes, but the principle of free expression, the >democratic shout, is far less audible than it was five years ago >-- before the death edict tightened the binds between language >and religious dogma. > >In a real sense Rushdie has become a messenger between readers >and writers. He reminds us all how sensitive and precious this >collaboration is, how deeply dependant on individual thought and >free choice. Every book carries the burden of giving offense. >But there is an intimate contract between the two participants, >a joint effort of mind and heart that allows for thoughtful >differences and that thrives on the prospect of understanding >and conciliation. > >This is where the spirit of Rushdie lives, in the narrow passage >between the writer who works in solitude and the reader whose >own living space or park bench or plane seat is "the little room >of literature" -- in Rushdie's own phrase - - the place that >will not be completely open until all marked writers are free >people again. > >What can we do? We can think about him. Try to imagine his >life. Write it in our minds as if it were the most unlikely >fiction. > >And we can hope that our government and others will exert due >pressure to return Salman Rushdie -- and all other threatened >writers -- to the world. His world and ours. More than ever it >is one place, and a shadow stretches where a man used to stand. > > >This statement is endorsed by > >THE RUSHDIE DEFENSE COMMITTEE USA > >a coalition of the major literary and civil liberties groups in >the U.S. that campaigns for the rescinding of the Iranian decree >calling for the death of Salman Rushdie and all those associated >with his novel The Satanic Verses, and for the withdrawal of the >bounty on Rushdie's head. > >COMMITTEE MEMBERS ARE American Booksellers Association, American >Booksellers Association Foundation for Free Expression, American >Library Association, Association of American Publishers, >Association of Author's Representatives, Author's Guild, The >Council of Literary Magazines and Presses, Dramatists Guild, >Feminists for Free Expression, International Writer's Center, >Human Rights Watch, Lawyers Committee for Human Rights, The >Literary Network, National Campaign for Freedom of Expression, >National Coalition Against Censorship, National Writers Union, >PEN American Center, PEN Center USA West, Washington Institute >of Writers > >CO-CHAIRS Louis Begley & Ambassador Nicholas Veliotes >COORDINATOR Siobhan Dowd > >THIS STATEMENT IS ALSO SUPPORTED BY, American Institute of >Graphic Arts, Poetry Society of America > >IF YOU ARE INTERESTED IN SUPPORTING THE COMMITTEE'S WORK, PLEASE >WRITE TO, Rushdie Defense Committee, PEN American Center, 568 >Broadway, Suite 401, New York, NY 10012 ========================================================================= Date: Mon, 14 Feb 1994 08:44:54 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0116 Miscellaneous Questions Shakespeare Electronic Conference, Vol. 5, No. 0116. Monday, 14 February 1994. From: Nate Johnson Date: Monday, 14 Feb 1994 02:19:50 -0500 Subject: Miscellaneous Questions 1. Does anyone know anything about the (anonymous?) poem "Much adoe about somethinge / or / rather much adoe about Nothinge"? It's manuscript 1706 in the Cambridge University Library (available on microfilm). Judging by the handwriting, it's mid to late 17th century. The poem begins "What have I heere a ladie Poet found / an other Sappho or Semproma..." It's quite a long poem and I'm wondering if it has been edited or transcribed before and whether anyone has ideas on who the author might be. 2. Can anyone recommend a "good" (well-written and well-thought-out) *negative* review of Branagh's *Much Ado*? I want to give my Freshman seminar one positive and one negative review. 3. I'm going to teach the "Text vs. Performance" debate as part of the same seminar and I'd like suggestions on accessible, well-written essays advocating each side. We will, of course, complicate the distinction a little, but that will come later... Any suggestions, sent either to the list or directly to me, will be appreciated! --Nate Johnson ========================================================================= Date: Tue, 15 Feb 1994 08:07:07 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0117 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0117. Tuesday, 15 February 1994. (1) From: Sean Lawrence Date: Monday, 14 Feb 1994 10:29:10 -0400 Subj: Another posting on universals, hopefully the last. (2) From: Piers Lewis Date: Monday, 14 Feb 1994 09:00:37 -0600 (CST) Subj: [Re: Universals and the Human Condition] (3) From: Richard Jordan Date: Tuesday, 15 Feb 1994 22:28:25 +1100 (EST) Subj: Re: SHK 5.0112 Re: Universals and the Human Condition (1)---------------------------------------------------------------------------- From: Sean Lawrence Date: Monday, 14 Feb 1994 10:29:10 -0400 Subject: Another posting on universals, hopefully the last. To all and sundry: Thank god for the voices of reason on this list, piping in from Montpellier and elsewhere. Whether or not there are universals, is universally difficult to determine. Hey, there's one! Seriously, whether we can understand Shakespeare's ideas because we all derive from the same essential seed of Adam or mind of God, or because those of us claim to have some inkling of Shakespeare, however vague, just construct things in similar ways is more or less irrelevant to our appreciation of the text. The point is that we get some sort of resonance, so that we can comprehend the ideas and emotions being evoked, but which is nevertheless subversive, or at any rate different, enough to cause us thought, as it probably was for the original audience itself. I like to think that the Shakespeare-beyond- all-other-Shakespeares (to forego the usual debate about constructions of the authorial presence) probably wanted it that way. Over the years, SHAKSPER has given me some hope for electronic text as a medium. While in most other forums, the loudest, most obnoxious people tend to dominate, we have a tradition of mutual acceptance and 'laiciti', as Luc would put it, "fair play" as George Orwell would put it, or "sitting together at the table of brotherhood" as Martin Luther King, Jr., would put it. The fact that such compromise, give and take, what you will, exists in our virtual, though nevertheless very real, community is a good omen for the future of true communication, despite whatever limits are imposed by the medium. Furthermore, it borders on a damn necessity in our age of multiculturalism and global awareness. Naive as it may seem, I tend to think the world would become a better place if it would learn more from our ideal little republic of letters. Naive but sincere, I remain, Yours virtually, Sean Lawrence. (2)---------------------------------------------------------------------------- From: Piers Lewis Date: Monday, 14 Feb 1994 09:00:37 -0600 (CST) Subject: [Re: Universals and the Human Condition] Thank you, Luc Borot, for that eloquent, lucid and surprisingly gentle reproof to Terence Hawkes. Mr. Hawkes likes to play the mischievous wit, it seems, and may not know how nasty he sounds. Thank you also for reminding us of the sufferings of Salman Rushdie-- and how little we in the U.S. have done in this matter is worse than that of any other western nation, for reasons that are probably related to the decline of civility you have noted in our list, which, perhaps, will be temporary because of your fine letter. Piers Lewis (3)---------------------------------------------------------------------------- From: Richard Jordan Date: Tuesday, 15 Feb 1994 22:28:25 +1100 (EST) Subject: Re: SHK 5.0112 Re: Universals and the Human Condition Jefferey Taylor writes: "there are people who are very different from the rest of the world who live and breathe in places where we would not be able to breathe well enough to live. But more important, the appeal to biology ignores the observation that the meanings we attach to experience are determined by our contexts and choices." In _The Merchant of Venice_, Shylock asks Solanio and Salerio a series of questions, at the opening of Act 3: "Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not bleed: If you tickle us do we not laugh? If you poison us do we not die? And if you wrong us shall we not revenge?" Shylock's questions address the same problem which we are considering in our current debate: i.e. are there any universal human qualities, experiences and/or values that transcend cultural differences? Shylock's questions may be hypocritical, as his treatment of Christians seems mainly to focus on the last shared characteristic he mentions, revenge. Or Shakespeare may be directing these questions ironically toward members of his audience, some of whom would have seriously regarded Jews as devils rather than human beings (see Joshua Trachtenberg, _The Devil and the Jews_,1943). Nevertheless, it is possible, and valuable, to take these questions in a straightforward way. If we do so, the answer implied by the responses of Jefferey Taylor and other supporters of absolute cultural relativity is No, a Jew's pain is not necessarily the same thing as a ChristianUs pain. Carried to its logical extreme, this becomes: A Jew's death is not necessarily the same thing as a Christian's death. Luc Borot has made a valuable contribution in calling attention to the ethical aspects of this argument, which have so far been ignored. The denial of the universal in human experience is repugnant to logic and to biological science but also to ethics. It is repugnant to logic, because if the human race has no universal characteristics, there is no human race; if a class has no universal defining characteristics it is not a class. Absolute cultural relativism could claim the existence of different and alien races, but not of a human race. The basis of such claims as have been made here for universal human experience within the sphere of biology seems to me important and telling; and it is understandable that the supporters of relativity are not generally prepared to admit biological universality, since if we all share significant biological experiences, then it is quite possible that the social and personal consequences of those experiences might also have universal aspects to them. But, to paraphrase a noted author, Death is death, in spite of all controversy. Place a corpse before a Christian, a Jew, and an atheist, and they may well disagree about the meaning of death, but only a madman or a mystic among them would deny the fact of the biological end of life. All men are mortal is the classical major premise that makes us all one UNIVERSAL human race (and miraculous exceptions simply prove the rule). But the ethical consequences of denying universal humanity are horrendous. If, as some of us here have claimed, there are only shared experiences and values, but no universal ones, then it becomes possible to conceive of the existence of two societies (or of two individuals) with no shared qualities, i.e. with NO shared humanity If you find, or believe you have found, a society or an individual where there exists nothing in common with yourself, then -- as someone else in this discussion has already claimed -- there are no rules. If there are no universal human experiences or values linking us, then the persecution of aliens CANNOT be attacked ethically on the basis of a shared humanity; for there would be no such thing. For a Nazi to kill a Jew as an alien intruder in German society would be as justifiable as for a farmer to kill a fox in his hen house. The Jap, the Hun -- these caricatures have been the products of war propaganda machines which have aimed to make it possible to pull the trigger on the alien enemy without the guilt that would accompany doing the same thing to a human being whose humanity we believed we shared; they have succeeded because they have effectively eliminated the belief in universal human qualities in the enemy. As for the practical consequences of this debate, the value of which has been questioned, I would say two things: 1. Usefulness in the classroom is not a valid test of truth or value; this world is full of interesting things that have no pedagogic use (thank God!). 2. If you want to read _Lear_ as if its images of death, age, love, parent-child relationships, etc have no universal significance, no one will stop you, but why you would waste your time on a play about one silly old man who buggered up his life so badly is beyond me. Finally, to those who have posted angry messages claiming to be bored by this discussion: the Del key in most mail and news services deletes messages at the point after the subject heading has been listed but before the message is read. ========================================================================= Date: Tue, 15 Feb 1994 08:24:18 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0118 Rs: Middleton's Mac.; Psycho Mac.; Poem; Review Shakespeare Electronic Conference, Vol. 5, No. 0118. Tuesday, 15 February 1994. (1) From: James McKenna Date: Tuesday, 15 Feb 1994 00:27:21 -0500 (EST) Subj: Middleton's Macbeth (2) From: Lonnie J Durham Date: Monday, 14 Feb 1994 10:58:31 -0600 (CST) Subj: Bell's Psychotic Macbeth (3) From: Nancy W. Miller Date: Monday, 14 Feb 94 10:04:23 EST Subj: Re: SHK 5.0116 Miscellaneous Questions (4) From: Michael Skovmand Date: Tuesday, 15 Feb 94 09:25:51 MET Subj: Re: SHK 5.0116 Miscellaneous Questions (1)---------------------------------------------------------------------------- From: James McKenna Date: Tuesday, 15 Feb 1994 00:27:21 -0500 (EST) Subject: Middleton's Macbeth I'll bite: Do songs usually appear in Middleton's recognized plays? If rarely, then we may have a pattern--that is, songs often appear in Sh's plays, so it seems likely that Middleton was engaging in his (according to Taylor and Wells) favorite activity of putting Sh to work for his own ends. Mack mckennji@ucbeh.bitnet (2)---------------------------------------------------------------------------- From: Lonnie J Durham Date: Monday, 14 Feb 1994 10:58:31 -0600 (CST) Subject: Bell's Psychotic Macbeth I know that there is no practical way to rank the relative quality of various interpretive emphases, but it seems to me that casting *Macbeth* in the light of current "social crisis" obsessions is not only trivializing, but represents chrono- and cultural centrism with a vengeance. If Lear's and Macbeth's are simply examples of Dysfunctional Families, the public can get their curiousities satisfied much more directly from Oprah or Donahue. Personally, I believe that Tragedy as an art form must be ACHIEVED by an audience (as an act of interpretation), rather than its being an inherent quality of the work, and the possibility of that achievement is undermined by the production's pointing too blatantly toward pathologies (even Mary Bess Campbell's fine, old-fashioned humours theories). The audience is simply let off the hook by being invited to attribute the terrors of existence to a few "abnormal" types. What tragic proportions can we attribute to a couple who may have averted their "problems" through a timely visit to the marriage counselor? But look at the METAPHYSICAL questions raised by the Macbeths' deeds. Lady Macbeth's madness may be given its current psychological label, but the significance of that madness is that she has struck through the fabric of cultural meaning to catch a glimpse of a world of mere animal competition, mere breeding, bleeding and dying, in her attempt, ironically, to clothe herself and her husband in more substantial robes of cultural significance. Her obsessive washing is an attempt to eradicate the stain of mortality (very like the little hand in Hawthorne's "The Birthmark") and its link with empty linear time ("Tomorrow and tomorrow") that she glimpsed in the bleeding carcass of what had once been a KING. Similarly, I take Macbeth's obsession to be a magnificently magnified version of EVERY culture (speaking of a likely shared value): the attempt to give this existence meaning by linking it with some invisible cosmic plan or pattern. Hasn't he committed a cosmically significant crime? Hasn't he been promised a MIRACULOUS retribution for that crime? Are these Halloween effects and prophetic quibbles all he is going to see of the face of that avenging God? I mean, if you were going to be assured once and for all that what humans do to one another matters somewhere beyond this existence, wouldn't you be tempted to force this fugitive, peek-a-boo God into a clear manifestation of himself? Such acts, I submit, are not simply the result of psychic maladjustment, but one form of the continuing human quest to track down (in a kind of reversal of THE HOUND OF HEAVEN) that slippery old deity. To my mind, this is a project of true tragic proportions. Lonnie Durham U.of Minn. (3)---------------------------------------------------------------------------- From: Nancy W. Miller Date: Monday, 14 Feb 94 10:04:23 EST Subject: Re: SHK 5.0116 Miscellaneous Questions Can Nate Johnson give me more info about the "much ado" poem? In particular, who is this lady poet it appears to be praising? Which microfilm is it on (not U of M if it's a ms.?) Thanks in advance. Nancy W. Miller nmiller@magnus.acs.ohio-state.edu (4)---------------------------------------------------------------------------- From: Michael Skovmand Date: Tuesday, 15 Feb 94 09:25:51 MET Subject: Re: SHK 5.0116 Miscellaneous Questions re: negative review of Branagh's Much Ado: Richard Corliss, Time Magazine, May 10 1993. Michael Skovmand Dep't of English U. Of Aarhus Denmark ========================================================================= Date: Tue, 15 Feb 1994 14:08:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0119 1992 World Shakespeare Bibliography Shakespeare Electronic Conference, Vol. 5, No. 0119. Tuesday, 15 February 1994. From: James Harner Date: Monday, 14 Feb 1994 9:45:15 -0600 (CST) Subject: 1992 World Shakespeare Bibliography The +World Shakespeare Bibliography+ for 1992 is now at the printer. Thanks to hard-working group of international contributors, a superb office staff, and two new 486/66 computers, we have trimmed some four months off the annual production schedule. Work on the 1993 volume is well along. As usual, I want to encourage all SHAKSPER subscribers to send along copies of--or at least a citation for--their essays (scholarly and popular), reviews of books or productions, electronic media, books, and other. SHAKSPEReans will also be interested to learn planning is well along for an augmented CD-ROM cumulation of the annual volumes. (Eventually, the project will encompass 1900-present.) I hope to have a trial disk (covering at least 1990-92--and perhaps a few earlier years) ready by the end of 1994 (and at a price that individual users can easily afford). Right now, I am planning to have a hypertext-linked product that will run in the Windows environment. I would certainly welcome suggestions from SHAKSPER subscribers about features they would like to see incorporated into the CD-ROM package. Jim Harner (jlh5651@venus.tamu.edu) Editor, World Shakespeare Bibliography ========================================================================= Date: Wed, 16 Feb 1994 10:42:59 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0120 Re: Psychotic *Macbeth* Shakespeare Electronic Conference, Vol. 5, No. 0120 Wednesday, 20 February 1994. From: Ron Macdonald Date: Tuesday, 15 Feb 1994 10:46:45 -0400 (EDT) Subject: RE SHK 5.0118: Psycho Mac Let me offer strong agreement with Lonnie Durham's protest against the dysfunctional tragic protagonist. The audience is, indeed, "let off the hook by being invited to atrribute the terrors of existence to a few `abnormal' types." An older version, making reductive use of a distorted Aristotelianism, identifies the hero's "flaw"-- always a moral failing-- to explain his regrettable but, after all, wholly avoidable demise. Oedipus, you see, was culpably angry, or proud, or guilty of one or more of the other Seven Deadly Sins, and, by way of punishment, the gods drove him to unspeakable deeds. And quite right they were, too. Luckily, forewarned is forearmed, so we can rest easy. And so a genuinely appalling text, one which affords an authentic glimpse of the abyss, is neatly contained by being rendered as a sort of Attic Poor Richard. Or Poor Tom, for that matter: "Keep thy foot out of brothels, thy hand out of plackets, thy pen from lenders' books, and defy the foul fiend" (_King Lear_, III.iv.96-98). Edgar as Tom 'o Bedlam suggests a regimen of clean living as a straightforward fix for human suffering, while all around him rage catastrophic events that resist any fix whatever. Shakespeare arranges to internalize traditional good counsel not that we may follow it, but that we may see how utterly impotent it is in the face of the experience the play serves up. A similar strategy is evident (less successfully, perhaps) in _Romeo and Juliet_, where Friar Lawrence, who has a fresh solution every time fate provides another twist, may be a way of internalizing in order to dismiss the attitude that finds in tragedy missed opportunities and botched stratagems that better handled would have avoided the deplorable mess tragic protagonist tend to make of things. There may be at least some justice (there is certainly no sense) in the surprisingly wide-spread and durable notion that the tragedy of the young lovers can be blamed on the Friar. My favorite instance comes from Nancy Mitford's character Uncle Matthew in _The Pursuit of Love_. This is the man, remember, who claims to have read only one book in his life, _White Fang_, and found it so terribly good that any other would be more or less bound to let him down. He is taken at one point to a provincial production of _Romeo and Juliet_ by his wife and daughter, and Fanny, a niece and the novel's narrator reports: It was not a success. He cried copiously, and went into a furious rage because it ended badly. "All the fault of that damned padre," he kept saying on the way home, still wiping his eyes. "That fella, what's 'is name, Romeo, might have known a blasted papist would mess up the whole thing. Silly old fool of a nurse too, I bet she was an R.C., dismal old bitch." As an antidote, an observation of Stephen Booth's: "Theories of the nature of tragedy are more important to us than theories of the nature of other things because theories of tragedy keep us from facing tragedy itself." --Ron Macdonald ========================================================================= Date: Wed, 16 Feb 1994 10:51:34 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0121 Qs: Kingship; The Duke in MM Shakespeare Electronic Conference, Vol. 5, No. 0121 Wednesday, 20 February 1994. (1) From: Chantal Payette Date: Tuesday, 15 Feb 1994 11:06:11 EST Subj: question on kingship (2) From: Michael Sharpston Date: Sunday, 06 Feb 1994 13:25:00 -0500 (EST) Subj: The Duke in "Measure for Measure"; Bobby Ray Inman (1)---------------------------------------------------------------------------- From: Chantal Payette Date: Tuesday, 15 Feb 1994 11:06:11 EST Subject: question on kingship Hi, This is my first posting to this list, so I am a bit nervous. I would really appreciate it if someone, anyone, could give me a few hints or ideas concerning kingship and authority in any of or all of - Macbeth - Edward II - Richard III - King Lear What I am doing is research on the aspects of Kingship within one of these plays and it's comparison to historical reality. I haven't exactly created a proper thesis yet (if anyone has any ideas?;)) but I am working on it. I think perhaps after acquiring some concrete information through research, the thesis would become clearer. Thanks very much, Chantal Payette ITS Robarts Library University of Toronto chantal@vax.library.utoronto.ca (2)---------------------------------------------------------------------------- From: Michael Sharpston Date: Sunday, 06 Feb 1994 13:25:00 -0500 (EST) Subject: The Duke in "Measure for Measure"; Bobby Ray Inman Courtesy of Blair Kelly III, I have just been at a reading of Measure for Measure. I was struck by the Duke's sentiments in the following passage: No might nor greatness in mortality Can censure 'scape: back-wounding calumny The whitest virtue strikes. What king so strong Can tie the gall up in the slanderous tongue? Act III Sc ii ll. 200-203 and also this other passage, where to my perception there is no connection to the immediate context: O place and greatness! millions of false eyes Are stuck upon thee: volumes of report Run with these false and most contrarious quests Upon thy doings: thousand escapes of wit Make thee the father of their idle dream, And rack thee in their fancies! Act IV Sc i ll. 61-66 Clearly, Lucio has got to the Duke with his comments. I could not help hearing echoes of Bobby Ray Inman. I must admit that I had not realized previously that The Washington Post was very likely one of Shakespeare's key sources, almost up there with Holinshed. Does anyone know of a good and convincing character analysis of the Duke? My thanks in advance. Michael Sharpston msharpston@worldbank.org (The views expressed here, especially in regard to Shakespeare's sources, are strictly my own, and do not reflect those of my employer). ========================================================================= Date: Wed, 16 Feb 1994 11:11:26 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0122 Re: Universals and the Human Condition Shakespeare Electronic Conference, Vol. 5, No. 0122 Wednesday, 20 February 1994. (1) From: Jefferey Taylor Date: Tuesday, 15 February 1994, 10:52:04 CST Subj: Sorry to keep it going, but... (2) From: Barbara Simerka Date: Tuesday, 15 Feb 1994 15:54:44 -0500 (EST) Subj: Re: SHK 5.0117 Re: Universals and the Human Condition (3) From: Michael Dobson Date: Tuesday, 15 Feb 94 17:27:07 CST Subj: Re: SHK 5.0117 Re: Universals and the Human Condition (4) From: Al Cacicedo Date: Tuesday, 15 Feb 1994 23:40:35 -0500 (EST) Subj: RE: SHK 5.0117 Re: Universals and the Human Condition (5) From: Pat Buckridge Date: Wednesday, 16 Feb 1994 15:26:32 +1000 (EST) Subj: Ethics and the Human Condition (1)---------------------------------------------------------------------------- From: Jefferey Taylor Date: Tuesday, 15 February 1994, 10:52:04 CST Subject: Sorry to keep it going, but... I'm sorry to keep this argument about Universals going, but I cannot sit still while Relativism is accused of the being the source of all bigotry and racism. Quite to the contrary, it is the Idealism of Plato that insists that since we are all the same I can easily judge whether you are an Alpha Beta Gamma or Delta and therefore can decide what fate you deserve. It is Idealism that insists Rushdie must die. It is Idealism that has been the enemy of democracy and open discourse since its beginning. As soon as one claims that they can identify Universals they can claim that they have the knowledge to decide who is good and who is bad, whose ideas reflect the Universal good and whose are trash. Yes we can get something we call scientific truth by limiting our focus--that's why it's science and not the humanitities. Publically demonstrable probability is science, by the pragmatist definition (which has been the foundation for science this century!) If there are Universals, then why haven't we been able to agree on Shakespeare these past centuries in the same way we come to agree on science?? ALSO: if we are going to discuss and deliberate then there will be intolerance, ideology, anger, and so on. These things are part of our lives and need not lead to terrible crimes. At the risk of quoting a rational empiricist, Mills did say that truth emerges from the clash of adverse ideas. And clash I will with anyone who wants to blame pragmatism and multiculturalism for the crimes of Idealism. I've had enough of this debate too--it stinks of the Eurocentrism that has been and remains the heavy handed and arrogant defender of Plato's elitism and those who still "pray in the dark in the Sciences' church" (P. Hammill). Jefferey Taylor Southern Illinois University (2)---------------------------------------------------------------------------- From: Barbara Simerka Date: Tuesday, 15 Feb 1994 15:54:44 -0500 (EST) Subject: Re: SHK 5.0117 Re: Universals and the Human Condition The ethical considerations Richard Jordan rightly emphasizes, as well as the notes of harmony from Luc Borot and Sean Lawrence are valid reasons to argue towards the existence of universals. However, the problem always remains, if we emphasize the shared experience, if we homogenize experience, then there is the risk of marginalization, of exclusion. Perhaps a continual debate of this subject is beneficial, (despite the fact that some readers are tired of this and certainly the discussion need not continue HERE ad infinitum) in order to avoid the extremes that result from "settling" the issue in favor of either term, universalism or relativism. Barbara Simerka (3)---------------------------------------------------------------------------- From: Michael Dobson Date: Tuesday, 15 Feb 94 17:27:07 CST Subject: Re: SHK 5.0117 Re: Universals and the Human Condition Dear SHAKSPER -- Nobody is keener than I am to see this particular debate peter out, and one reason for its unhelpfulness is the fact, pace various recent contributors, that it is *ethically* empty -- it is just as possible to commit atrocities in the name of Universal Human Truth as it is to do so in the name of cultural particularity. Aesthetically, however, it seems to be far easier to be po-faced and self-righteous on behalf of universals; in face of a looming and censoring totality of disapproval, can I just say that I'd rather be insulted by Terence Hawkes than praised by some of his adversaries any day of the week? Michael Dobson (4)---------------------------------------------------------------------------- From: Al Cacicedo Date: Tuesday, 15 Feb 1994 23:40:35 -0500 (EST) Subject: RE: SHK 5.0117 Re: Universals and the Human Condition To whom it may concern: I would like to share Sean Lawrence's optimism. It's nice to think of ourselves sitting at our keyboards like Arthur's knights at a round table of open-minded camaraderie. And on many subjects, of course, the optimism is not misplaced. On matters of fact, of reference, and of local interpretation this list serves an invaluable function. However, I also think it obvious that the perspective by now associated with Terence Hawkes-- and in some ways any point concerned with almost any branch of contemporary theory--is not given so tolerant a hearing. To be sure, as several netters (a lexicographical colleague of mine tuned me into that term) have pointed out, Mr. Hawkes is not the most temperate of e-mailers and seems to revel in the flames he invites. But even when it is not Mr. Hawkes who posts a historicist note, the reactions are pretty violent--and, irony of ironies, the vehemence of the response tends to be attributed to the historicist, who is then chastised for troubling the limpid stream of our discourse. Again as several netters have noticed, the vehemence of the dialogue gives away the quasi-religious character of the controversy. What is "at stake" in this argument is the very possibility of TRUTH, and as Milton says, the wars of truth are always hard fought. As I see it, the issue is not a dead cert on either side of the question. A few days ago, Jeffrey Taylor referred us to the nominalist/realist controversy. Surely that tells us that we will not, and perhaps in principle no one ever will resolve the issue. Certainly a medium such as e-mail seems to me incapable of adding much to the question. I for one have decided to delete unread any further postings headed "universal" or "human condition." Praying for nature's first green, Al Cacicedo (alc@joe.alb.edu) Albright College (5)---------------------------------------------------------------------------- From: Pat Buckridge Date: Wednesday, 16 Feb 1994 15:26:32 +1000 (EST) Subject: Ethics and the Human Condition Two points in this unending but fascinating discussion: 1. Richard Jordan writes that 'the ethical consequences of denying universal humanity are horrendous'. It could as easily be maintained that the consequences of insisting upon it are at least equally horrendous. Two consequences follow inexorably from the attempt to ground non-injurious behaviour towards others in 'shared experiences and values'. The first is that it provides no grounds for not engaging in injurious behaviour towards those others (e.g.non-human species) with whom (presumably) there can be no such common experiences and values. I am not as comfortable as he is with the farmer and the fox example, but I can't really see why, using his ethical framework, he would object to the killing of whales, dolphins or African elephants (though I'm sure he does). The second consequence is that non-injurious behaviour towards other human beings is thereby made hostage to the NON-discovery of scientifically undeniable biological differences between groups. Whether one is prepared to say that such discoveries have already been made or not - and I have no opinion on this question - it is plainly an everpresent, even imminent, possibility that such evidence of significant differences WILL be found. What will Richard Jordan do then? Adopt the usual old humanist strategy of declaring that science - the troublesome areas of it anyway - is irrelevant to human values? The only logical alternative would be to say that no ethical imperatives exist between the groups thus differentiated. The way out of this univiting dilemma, I suggest, is to base ethically sensitive interaction between individuals and species on something other than actually shared characteristics. Like respect for difference and a recognition of shared *interests*. Maybe Gene Roddenberry had it right all those decades ago with the Prime Imperative! 2. I suppose it's a matter of taste, but I thought Terence Hawkes's reply to his tormentors was very funny, and Luc Borot's reaction a bit pious. I know humour can be an instrument of aggression and all that, but it would be a great pity if people came to feel they couldn't engage in a bit of light-hearted banter over the electronic airwaves without calling down such heavy artillery on themselves. (Sorry about the metaphor). And what does any of this have to do with teaching Shakespeare? Perhaps quite a lot. I neither read nor teach Shakespeare for the 'human values' to be found there, but because it's great writing. I happen to think that an ability to appreciate (nay, love) great writing - to have a sense of what's great about it - is a genuinely valuable item of cultural capital which I can (sometimes) pass on to (some) students. And the apprehension of greatness seems to me to involve not just the recognition of shared experiences or values in the writing (you can get that in the editorial of your preferred newspaper) OR in the newness and strangeness of the language AND the ethics AND the politics - but in a fusion (or maybe a dialectic) of both. Nothing very profound there, but at least it's a rationale that doesn't actively encourage students to pretend to 'spontaneities' they don't really feel, but can learn. Patrick Buckridge Griffith University, Brisbane. ========================================================================= Date: Wed, 16 Feb 1994 11:22:21 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0123 Re: Negative *Ado* Review Shakespeare Electronic Conference, Vol. 5, No. 0123 Wednesday, 20 February 1994. From: Diana Akers Rhoads Date: Tuesday, 15 Feb 94 22:47:48 EST Subject: Re: SHK 5.0116 Miscellaneous Questions Nate Johnson: For a good negative review of Branagh's *Much Ado* see Richard Ryan, "Much Ado About Branagh," *Commentary* (October 1993): 52-55. --Diana Akers Rhoads ========================================================================= Date: Thu, 17 Feb 1994 08:59:17 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0124 CATH 1994: Reminder Shakespeare Electronic Conference, Vol. 5, No. 0124. Thursday, 17 February 1994. From: Stuart Lee Date: Wednesday, 16 Feb 94 15:23 GMT Subject: CATH 94 : Reminder Just a reminder that the deadline for the Call for Papers for CATH 94 is nearly at hand. If you have any questions please contact the organisors below. Stuart Lee **************** CATH '94 "COURSEWARE IN ACTION" Computers and Teaching in the Humanities Glasgow University 9 - 12th September, 1994 CALL FOR PAPERS CATH is the annual forum of the Computers in Teaching Initiative Centre for Textual Studies and the Office for Humanities Communication. It provides an opportunity for those using computers in humanities teaching and research to discuss new developments, achievements, and methods in the field. The theme of this year's conference is "Courseware in Action". Papers are welcomed which concentrate on the practical applications of courseware in the classroom. In particular submissions are invited on the following topics: -courseware development -practical issues pertaining to the implementation of CAL in the classroom -evaluation procedures We would especially welcome papers from those new to the subject of humanities computing. The conference will be made up of a series of sessions. Each session will last 90 minutes and will include three papers. Submissions are invited for individual papers (lasting 20 minutes with 10 minutes for questions) or for entire sessions. Furthermore, if you would like to organise a workshop presentation, or classroom simulation, then please contact the organisers directly for more information [It is expected that each workshop or simulation will last approximately two hours]. During the conference there will also be a software fair. If you would like to show material at this, then please contact the organisers as soon as possible to discuss hardware and software requirements. Format of Submissions 1) All submissions (paper or electronic) should begin with the following information: TITLE: Title of paper AUTHOR(S): Names of authors AFFILIATION: Of author(s) CONTACT ADDRESS: Full postal address E-MAIL: Electronic mail address of main author (for contact), followed by other authors (if any) FAX NUMBER: Of main author PHONE NUMBER: Of main author 2) Length: -Individual papers: abstracts should be 300 - 500 words. -Sessions: The proposer should submit a statement of approximately 300 - 500 words describing the overall topic, and also include abstracts of 300 - 500 words for each of the papers in the session. 3) Guidelines for Electronic Submission of Abstracts: These should be plain ASCII files, not word-processor files, and should not contain TAB characters or soft hyphens. Paragraphs should be separated by blank lines. Headings and subheadings should be on separate lines and be numbered. Footnotes should not be included and endnotes only where absolutely necessary. References should be given at the end. Choose a simple markup scheme for accents and other characters which cannot be transmitted by electronic mail and include an explanation of the scheme after the title information and before the start of the text. Electronic submissions should be sent to: CATH94@VAX.OX.AC.UK with the subject line " Submission for CATH94". 4) Paper submissions: Submissions should be typed or printed on one side of the paper only, with ample margins. Two copies should be sent to the organisers. 5)Deadline for submission of abstracts or workshop proposals: Tuesday March 1st All enquiries and submissions should be directed to: CATH 94 Centre for Humanities Computing Oxford University Computing Services 13 Banbury Road Oxford OX2 6N UK Telephone: 0865-273221 Fax: 0865-273221 E-Mail: CATH94@VAX.OX.AC.UK ========================================================================= Date: Thu, 17 Feb 1994 09:20:33 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0126 Re: Negative *Ado* Reviews Shakespeare Electronic Conference, Vol. 5, No. 0126. Thursday, 17 February 1994. From: Luc Borot Date: Wednesday, 16 Feb 1994 22:38:59 +0100 Subject: Re: SHK 5.0123 Re: Negative *Ado* Review I remember that we were rather divided last Spring when the film was opening in our respective countries at the time of the Cannes festival; by digging in the logbooks of SHAKSPER for the months of May to June or July, there may be a series of spirited and contradictory argument about the film. I think I remember the main grudge was the US star-casting (but can 'Batman' and 'Dracula' be coutercasted, when they are there because they 'were' Batman and Dracula? I wish they had been coutercasted, like Robert Stevens as Falstaff in 1+2H4 by Adrian Noble at the RST some years ago: he was swell --because he had to look swollen--). Yours as ever, and I hope I'm not called 'pious' by some because I recommended you all to get yourselves a fresh drink of wine to avoid getting angry! I hope Terence Hawkes will agree that Prohibition WAS an ABSOLUTE Bad Thing with all the requisite idealistic capitals. And we'll agree around a cup and everything will be fine; I hope we shall prove him right by not drinking the same stuff because our metabolisms don't agree and we were not brought up (or didn't bring ourselves up) to the same slushing habits. The cup's the thing, and whatever's in it, the drinking together is what matters. Let's conclude it by making a joke of a serious matter, knowing that like all sensitive and intelligent people, we are able to get too angry about ideas because they are not mere abstractions to us but condition lots of other things, and that we must be careful about each other's sensibilities. It may be the thing most to observe in a state of complete freedom of speech. The main drawback with e-mail is that it doesn't carry humour and jest through as the voice does. Add to this my poor control of Igngliche... OOOps! sorry: I've been pious again... Luc **************************************************** *Luc Borot * * * *Centre d'Etudes et de Recherches Elisabethaines * *Universite Paul Valery * *Montpellier (France) * **************************************************** ========================================================================= Date: Thu, 17 Feb 1994 09:17:16 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0125 Re: Friar Lawrence; Duke Vincentio; Kingship Shakespeare Electronic Conference, Vol. 5, No. 0125. Thursday, 17 February 1994. (1) From: Michael Dobson Date: Wednesday, 16 Feb 94 13:02:11 CST Subj: Re: SHK 5.0120 Re: Psychotic *Macbeth* (2) From: Robert Burke Date: Wednesday, 16 Feb 1994 21:25:07 -0500 (CDT) Subj: Re: SHK 5.0120 Re: Psychotic *Macbeth* (3) From: William Proctor Williams Date: Wednesday, 16 Feb 94 14:57 CST Subj: Re: SHK 5.0121 Qs: Kingship; The Duke in MM (4) From: William Godshalk Date: Wednesday, 16 Feb 1994 23:09:07 -0500 (EST) Subj: Re: SHK 5.0121 Qs: Kingship; The Duke in MM (1)---------------------------------------------------------------------------- From: Michael Dobson Date: Wednesday, 16 Feb 94 13:02:11 CST Subject: Re: SHK 5.0120 Re: Psychotic *Macbeth* Dear SHAKSPER -- Re: Friar Laurence, Vincentio, &c. With all due respect to Ron MacDonald, whose contribution on this subject I greatly admired, is Uncle Matthew *completely* wrong about Friar Laurence? I was cast in the role once years ago, and was of course determined to make sure no-one in the audience was in any doubt that the Friar was *the* crucial figure of the play -- and I was surprised at how much rope the text allowed me to hang myself with. Unlike that insignificant twit Romeo, for example, the Friar actually gets to *converse* with Juliet in the tomb, and it takes only a modicum of coarse acting to make this the emotional climax of the play -- the Friar gibbering in terror, Juliet resolutely taking charge, an embrace which grotesquely parodies Romeo's farewell, &c&c -- not a dry eye in the house. Not a placid critic, mind, but some sacrifices have to be made for Art. This brings me to the recent query about Duke Vincentio in M for M, holes & corners & all, another hooded role which only really seems to work when played by a wholly unself-critical actor who loves the sound of his own voice and genuinely thinks the Duke is the hero of the piece. The only Duke I ever saw who seemed absolutely made for the part was Daniel Massey (c.1984 at the RSC, with Juliet Stevenson as Isabella) -- minimum self-knowledge, maximum self-congratulation. Anyone contemplating a production in the Chicago area? Offers welcome. Michael Dobson (2)---------------------------------------------------------------------------- From: Robert Burke Date: Wednesday, 16 Feb 1994 21:25:07 -0500 (CDT) Subject: Re: SHK 5.0120 Re: Psychotic *Macbeth* When Ron McDonald points to the Friar's bumbling, he strikes a responsive chord in me. Years ago I had the chance to play Friar Lawrence in a local Kansas City production. I had to worry about how to present his lines to Romeo, and later to Juliet. When I realized that he was clutching at straws, trying the first thing that came to mind, I felt I had found the clue. Is that why the nurse, who may be an R. C. bitch, stands in awe of the Friar's learning -- is Shakespeare having some fun here, and can we????? (3)---------------------------------------------------------------------------- From: William Proctor Williams Date: Wednesday, 16 Feb 94 14:57 CST Subject: Re: SHK 5.0121 Qs: Kingship; The Duke in MM The two speeches in MM that Michael Sharpston mentions are treated at some length by Gary Taylor and John Jowett in their +Shakespeare Reshaped+ (I think that is the correct title?) (1993). William Proctor Williams Department of English Northern Illinois University DeKalb, IL 60115 TB0WPW1@NIU.BITNET (4)---------------------------------------------------------------------------- From: William Godshalk Date: Wednesday, 16 Feb 1994 23:09:07 -0500 (EST) Subject: Re: SHK 5.0121 Qs: Kingship; The Duke in MM Chantal Payette and Michael Sharpston will perhaps get us back to talking about Shakespeare and the 16th/17th centuries. I'm not sure what you are up to, Chantal, but you might begin looking at studies of Shakespeare's history plays. Are you interested in how Shakespeare uses his historical sources, or how his plays seem to reflect contemporary (i.e., early modern) English or European history? Or both? Or none of the above? Now, the Duke in MEASURE FOR MEASURE (whose name is never spoken in the play), has he ever been satisfactorily explained? I used to think that I could explain him using the concepts of freedom and restraint (1.2.117ff.). The Duke begins in restraint: "I'll privily away. I love the people,/But do not like to stage me to their eyes" (67-68). To begin, he watches. About the middle of the play, he begins to act, and by the end he is staging himself - and chasing Isabella. That's a quick sketch of my youthful description. Now I'd say there's much more to him. Lucio does get under his skin, and strangely the Duke seems tohave to ask Escalus about himself. As a kind of reality check? Ego boost? And later he (the Duke) asks the provost why he (the Duke) didn't take care of the Barnardine problem. Shouldn't the Duke know why? What's going on here? In other words, I think there are many questions about the Duke and his actions. What about Mariana for example? When she sees him coming dressed as the friar, she says, "Here comes a man of comfort, whose advice/Hath often stilled by brawling discontent" (4.1.8-9, Wells and Taylor, ed.). So, he dresses up like a friar fairly often and sneaks out to the moated grange, where he offers comfort to Mariana. And now he wants to get her into bed with Angelo and marry her off. Now, when I dress up in my friar's habit to visit young ladies, I'm up to no good; I admit it. And so I'm suspicious of this Duke who likes to dress up (and watch, too)! (My wife just asked, "It's all a fake. You aren't a friar?") Is Mariana pregnant? Is the shy Duke the father? Does Mariana really love Angelo inspite of her torrid affair with the Friar/Duke? And will the Duke be able to win the love of the very moral little nun, better known as Isabella? What's really going on in Vienna? I'll answer these questions and more in my next iunstallment of "The Underside of the Duke, or Steaming on the Danube." Yours, Bill Godshalk (PS I am not an idealist. I'm a relativist. Humans are relative to evolution on this planet, in this solar system. And humans make culture; culture does NOT make humans. I'm also an atheist. I do not believe that Culture is God.) PPS Hey, Al Cacicedo! Did I fake you out? ========================================================================= Date: Thu, 17 Feb 1994 09:23:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0127 Re: Universals and Science Shakespeare Electronic Conference, Vol. 5, No. 0127. Thursday, 17 February 1994. From: Joanne Merriam Date: Thursday, 17 Feb 1994 00:52:28 -0400 Subject: Universals and Science Much as I weary of this discussion's annoying dualism and ideological entrenchment, and hesitant as I am to add fuel to the flames, I couldn't let J.Taylor's comment about science pass. He said: "Yes we can get something we call scientific truth by limiting our focus - that's why it's science and not the humanities." I would argue that "scientific truth" is not arrived at by limiting our focus (or only temporarily), any more than narrowing down a thesis topic implies that "artistic truth" is narrow.... but perhaps that is beside the point. What really bothered me about this statement was, that it seemed to dismiss scientific truth as irrelevant to the arguement at hand, while I believe it is very relevant indeed. If it is true that we are simply ruled by chemicals (or, actually, ruled by chemicals in an extremely complicated way) then it would follow that, since we are all ruled by the same chemicals and the same processes, physical reality must cut across cultural boundaries. Perhaps this does *not* mean that there are any universal human truths; I don't know. But it is, at least a starting point. I think if we hope to come to any kind of an answer about these Great Questions, we can't start out by ignoring huge chunks of knowledge. Does anybody know if the Elizabethans would have seen the sciences and the humanities as such separate disciplines as we tend to? It seems to me that math and music were commonly paired subjects.... Joanne Merriam (ilion@ac.dal.ca) ========================================================================= Date: Fri, 18 Feb 1994 12:31:10 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0128 Star Trek Shakespeare Electronic Conference, Vol. 5, No. 0128. Friday, 18 February 1994. From: Kimberly Nolan Date: Thursday, 17 Feb 1994 10:16:31 -0500 (EST) Subject: Star Trek Just a quick Note. The members of Star Fleet are governed by the Prime Directive. Followers of the "Next Generation" and Patrick Stewart will no doubt remember that the P.D. has been violated--most recently by Pual Sorvino as a scientist studying a culture in the "early stages of development" who were living on a dying planet. Sorvino did "trick" the crew into preserving this culture, but ultimately Picard seemed to approve the act. Now--what all of this has to do with Shakespeare studies is another question entirely. Live Long and Prosper, Kimberly Nolan Univ. of Miami ========================================================================= Date: Fri, 18 Feb 1994 13:56:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0129 Duke Vincentio; Psycho Macbeth Shakespeare Electronic Conference, Vol. 5, No. 0129. Friday, 18 February 1994. (1) From: Terry Craig Date: Thursday, 17 Feb 1994 10:15:52 -0500 (EST) Subj: The Duke in MM (2) From: James McKenna Date: Thursday, 17 Feb 1994 10:28:34 -0500 (EST) Subj: macpsychbeth (1)---------------------------------------------------------------------------- From: Terry Craig Date: Thursday, 17 Feb 1994 10:15:52 -0500 (EST) Subject: The Duke in MM Daniel Massey has written an essay about playing the Duke. It's in *Players of Shakespeare 2* published by Cambridge UP. Cheers to all and thanks to Luc-- Terry Craig (2)---------------------------------------------------------------------------- From: James McKenna Date: Thursday, 17 Feb 1994 10:28:34 -0500 (EST) Subject: macpsychbeth The psycho Macbeth does diminish consideration of the horrors of the world. It also puts a wall between us and Macbeth. I think this is unnecessary. (I want to note, however, that RICHARD III does overtly what we're supposing MACBETH to do. Macbeth is, like Richard of Gloucester, a career soldier with little to do in "this piping time of peace." However, unlike Richard, whose conscience seems atrophied almost nothing, Macbeth has a very active conscience.) It seems consistent with the text to view Macbeth and Banquo in similar light--both voice the existence of unacted horrors within them. Yet Macbeth is cursed with someone who encourages him to bring those horrors into the world. How different is that from each of us? And how nearly might that describe the birth of much of the world's horror. See also Marlowe's analysis of Kurtz in HEART OF DARKNESS. James McKenna mckennji@ucbeh.bitnet ========================================================================= Date: Fri, 18 Feb 1994 14:02:07 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0130 [was 5.130] Re: Universals Discussion Shakespeare Electronic Conference, Vol. 5, No. 0130. Friday, 18 February 1994. From: Rick Jones Date: Thursday, 17 Feb 94 14:28:07 EST Subject: Re: SHK 5.0122 The topic that won't die. I confess to being profoundly ambivalent toward this whole "universals" debate. I'm intrigued by the topic and believe a number of interesting and provocative points have been made from a wide range of perspectives. Of course, since I personally pay essentially by the word for e-mail received (whether I read it or not), this is growing into an expensive -- and increasingly tedious -- habit. Still, there is more to be said, and I for one am willing to prolong the topic's inevitable death throes. First of all, as several people have mentioned, to assert that there are no universals is itself a profoundly universalist position. This leads me to wonder whether the chart we use to locate our respective positions with respect to this issue ought to be not a simple yes/no, or even a spectrum, but rather a circle. Towards one point on the circle converge the two universals, universal human experience and complete cultural determination. Moving away from that point in either direction, we enter more ambivalent (and, for me, more fruitful) ground of "mostly x, but some y". Second, I'd like to suggest a way out of the yes/no dilemma about universal human experience. To me, it is counter-intuitive to suggest that we share nothing universal. That is to say, there is such a thing as universal human experience. But (dare I say this?) the experience of the experience is probably (inevitably?) culturally influenced (determined?). In other words, pain and hunger exist for everyone, but how I interpret those concepts is different than it would be for someone from a different heritage than mine. So what I *believe* pain to be isn't what other folks *believe* it to be. BTW, isn't interpretation what we, as scholars/actors/directors/whatever, DO? Third, didn't we have a discussion a few weeks ago about why the SHAKSPER list is more "civilized" than many others? Hmmm... Fourth, to everyone of whatever ideological stripe who insists on employing reductio ad absurdum arguments with which to show the alleged fallacies of a competing point of view: We're not buying. Get a life. Rick Jones strophius@aol.com ========================================================================= Date: Fri, 18 Feb 1994 14:05:32 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0131 Q: *King Lear*: 1.4 Business Shakespeare Electronic Conference, Vol. 5, No. 0131. Friday, 18 February 1994. From: Tom E. Hodges Date: Thursday, 17 Feb 1994 14:31:55 GMT-6 Subject: *King Lear*: 1.4 BUSINESS In *King Lear* 1.4 after Kent-in-disguise has answered Lear's "Dost thou know me, fellow?" with "No...," when does Kent "recognize" this old man as king? That is, at what point and by what business does the actor convey to Lear that he now sees him as king rather than as anonymous old man? Kozintsev, Elliott, Miller, and Brook understandably take liberties in their movie versions of *KL*, but what do the RSC or others consider traditional business for this part of the scene? I have considered the following: having Kent kneel at his line "Authority." seems effective. Or what about having Kent kneel at that later moment when Lear asks Oswald, "...who am I, sir?" perhaps while throwing back his cape or hood and revealing for the first time some regal attire? Then as Oswald dawdles in his response, the kneeling Kent is conveniently placed for the "tripping up." Or am I foolishly snagged on this need-to-kneel notion? Folks, I apologize if my questions replay previous discussions on SHAKSPER. If they do, do you recall the date? Or an article or book you might suggest? Thanks, Tom Hodges English Department Amarillo College Amarillo, Texas 79178 ========================================================================= Date: Fri, 18 Feb 1994 14:10:02 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0132 Roman Plays at UCLA Shakespeare Electronic Conference, Vol. 5, No. 0132. Friday, 18 February 1994. From: Martin Zacks Date: Friday, 18 Feb 1994 09:36:26 -0800 (PST) Subject: Roman Plays at UCLA Let me pass on to those who may be in Los Angeles on February 25, information on a Shakespeare symposium: Shakespeare's Roman Plays. A Symposium Friday, February 25, 1994. Melnitz Theater (Room 1409), UCLA. Sponsored by the Center for Medieval & Renasissance Studies, UCLA Schedule Morning Registration The Politics of Restoration Revision of Shakespeare Richard Kroll, UC Irvine The Verbal & the Visual in Titus Andronicus Brian Gibbons, University of Munster High Roman Fashion Michael Warren, UC Santa Cruz Afternoon Inventing, Arranging, & Delivering the Memory of Caesar with Style Lawrence Green, USC Performing the Roman Plays Michael Hackett, UCLA Discussion & preview of a forthcoming production of Titus Andronicus Alissa Welsch, UCLA For further information call the Center at (310) 825-1880 I have found this yearly symposium to be informative and well run. In the past five years they have presented some great papers, particularly on Measure for Measure and Midsummer Night's Dream. Martin Zacks lalalib@class.org ========================================================================= Date: Sat, 19 Feb 1994 14:29:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0133 Psycho Macbeth; Parting Shot (Universals) Shakespeare Electronic Conference, Vol. 5, No. 0133. Saturday, 19 February 1994. (1) From: Gardner Campbell Date: Friday, 18 Feb 1994 13:38:59 -0800 (PST) Subj: RE: SHK 5.0129 Duke Vincentio; Psycho Macbeth (2) From: William Godshalk Date: Friday, 18 Feb 1994 23:12:18 -0500 (EST) Subj: Re: SHK 5.0129 Duke Vincentio; Psycho Macbeth (3) From: Al Cacicedo Date: Friday, 18 Feb 1994 23:52:50 -0500 (EST) Subj: Parting shot (1)---------------------------------------------------------------------------- From: Gardner Campbell Date: Friday, 18 Feb 1994 13:38:59 -0800 (PST) Subject: RE: SHK 5.0129 Duke Vincentio; Psycho Macbeth I too dislike a psycho Macbeth, which is why I find the Nicol Williamson/ BBC *Macbeth* nearly unendurable. Could it be that Macbeth's troubles with the subjunctive, in all its rhetorical/metaphysical/psychic ramifications, are at the heart of him? I find I.vii.1-2 uncanny, revealing, and profoundly troubling (for Macbeth and for me) in this regard. Gardner Campbell Campbell@teetot.acusd.edu University of San Diego (2)---------------------------------------------------------------------------- From: William Godshalk Date: Friday, 18 Feb 1994 23:12:18 -0500 (EST) Subject: Re: SHK 5.0129 Duke Vincentio; Psycho Macbeth I think Jim McKenna is correct about Banquo, who is also dreaming about the Weird Sisters in his spare time. But had Banquo been married to the nameless Lady, would he have turned into a serial murderer? I have me doubts. Macbeth is a dark and brooding man from the beginning of the play, and he likes "unseaming" other warriors. He's a poetic sociopath. Banquo seems more open, and he has a son. Macbeth has no children. Now, if Macbeth is psychotic, does that fact diminish the horror of the play? Not for me. I find serial murderers genuinely horrifying - and puzzling. Most murderers do not find murder compelling. They do it once, and never do it again. Rehabilitating murderers is probably a waste of our money. But serial murderers ARE different, and the series initiated by Macbeth when he kills Duncan (or Macdonwald) is progressive. Each murder is different, and each less rational, more puzzling. Macbeth may not be the standard "tragic hero," but maybe Shakespeare was really writing a gangster play, looking at events from the point of view of, say, a Claudius. Of course, Claudius is the usual kind of murderer. Hamlet forces him into attempting a second murder, etc. I'm not at all sure that a tragic hero has to have "universal" (that bad word, again) appeal. Bill Godshalk (3)---------------------------------------------------------------------------- From: Al Cacicedo Date: Friday, 18 Feb 1994 23:52:50 -0500 (EST) Subject: Parting shot To Bill Godshalk: Bullseye! ========================================================================= Date: Sat, 19 Feb 1994 14:41:32 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0134 Re: Star Trek Shakespeare Electronic Conference, Vol. 5, No. 0134. Saturday, 19 February 1994. (1) From: Gardner Campbell Date: Friday, 18 Feb 1994 13:52:57 -0800 (PST) Subj: RE: SHK 5.0128 Star Trek (2) From: William Godshalk Date: Friday, 18 Feb 1994 22:05:39 -0500 (EST) Subj: Re: SHK 5.0128 Star Trek (1)---------------------------------------------------------------------------- From: Gardner Campbell Date: Friday, 18 Feb 1994 13:52:57 -0800 (PST) Subject: RE: SHK 5.0128 Star Trek And speaking of *Star Trek: The Next Generation*: Does the title "To Thine Own Self" qualify an episode as an Official SHAKSPER spinoff? I thought the episode especially interesting in light of our recent discussions of identity, universals, alterity, and cultural determinism. In my ready room, Gardner Campbell U. of San Diego Campbell@teetot.acusd.edu (2)---------------------------------------------------------------------------- From: William Godshalk Date: Friday, 18 Feb 1994 22:05:39 -0500 (EST) Subject: Re: SHK 5.0128 Star Trek Kimberly Nolan, What are your coordinates in the galaxy? Your star date? I think I know exactly what your message was about. J.-L. Picard ========================================================================= Date: Sat, 19 Feb 1994 14:48:35 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0135 The Oxford Editors and *MM* Shakespeare Electronic Conference, Vol. 5, No. 0135. Saturday, 19 February 1994. From: William Godshalk Date: Friday, 18 Feb 1994 22:55:28 -0500 (EST) Subject: The Oxford Editors and MEASURE FOR MEASURE I would not send anyone to the Oxford editors (Jowett and Taylor) as the first place to go. Jowett's edition of MEASURE FOR MEASURE is a unique blend of conservative and radical, as if the entire Oxford COMPLETE WORKS, ed. Wells and Taylor. I have a bone to pick with Jowett. Back in 1972 in SHAKESPEARE QUARTERLY 23, I published a little note, "'The Devil's Horn': Appearance and Reality," explaining two lines in MEASURE FOR MEASURE (II.iv.16-17): "Let's write good Angell on the Deuills horne/'Tis not the Deuills Crest." This is the Folio version, the only authority for this play. I explained the lines in the following words: "Angelo concludes that he will write 'good Angel' (i.e. his own appearance of goodness, his 'gravity') on the 'devil's horn' (i.e. his evil sexual desires for Isabel). Form and place (the illusion of good) will conceal the reality of his evil; and the people will be deceived into believing (contrary to fact) that the 'devil's horn' is not the 'devil's crest.' Those deluded by false seeming will genuinely believe that evil is not evil. This explanation, which is Warburton's and Johnson's, gains support in the rest of the play" (204). I spend, in the note, more time explaining "devil's horn" and "devil's crest." However, I submit that the above passage is a reasonable and adequate explanation of the lines. Jowett in WILLIAM SHAKESPEARE: A TEXTUAL COMPANION (p. 471, s.v. 2.4.17/936) says that the Folio version "lends itself to no convincing gloss." I take that to mean that he rejects my "gloss" without naming me. If Jowett finds my explanation unconvincing, he should explain why. He simply says that "editors' attempts to explain 2.4.16-17/935-6 are contorted and contradictory" (471). Since I was not commenting as an editor, is my little note on the passage excluded? I realize that this is a minor point, but Mr. Jowett's edition is built on a series of similar judgments, it seems to me. In any case, I would be interested in your judgment of this little controversy, a controversy that I thought I had laid to rest twenty-two years ago! Ah, the vanity of human suppositions! Yours, Bill Godshalk ========================================================================= Date: Sat, 19 Feb 1994 14:54:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0136 Re: *Lear*: 1.4 Business Shakespeare Electronic Conference, Vol. 5, No. 0136. Saturday, 19 February 1994. From: Martin Zacks Date: Friday, 18 Feb 1994 21:18:06 -0800 (PST) Subject: Tom Hodges and Lear I don't think there is a problem with Kent ever seeing Lear as an anonymous old man. His entry is with horns, knights and attendants, and he begins giving orders with his first line. Lear immediately asks five or six questions of Kent, and with his knights surrounding Kent, this could almost be in the form an interrogation. My own view is that Kent's answers should mimic his standing up to Lear in 1.1 and instead of kneeling, just bowing his head at the point of "authority" would be enough. Or even look Lear straight in the eye when he says authority. It's a long time between "authority" and tripping Oswald. I picture it more effective to have the circle of Lear's knights either freeze or back off at Lear's striking of Oswald. Then before Oswald can do anthing, have Kent rush towards him and trip him. Thanks for the opportunity to give you my ideas on the scene. Life provides too few opportunities to direct Lear. Martin Zacks lalalib@class.org ========================================================================= Date: Mon, 21 Feb 1994 08:41:40 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0137 Interviews Requested Shakespeare Electronic Conference, Vol. 5, No. 0137. Monday, 21 February 1994. From: J. Scott Kemp Date: Saturday, Feb 19 17:34:05 1994 Subject: Help Requested! Dear Colleagues, I am researching how lit lists have changed the way our discipline discusses, and therefore, learns about English/Literature. Can you point me to publications, e-mail texts, or offer your own writings on the subject for consideration? **Would you permit me to interview you about your experiences?** Please respond to: scott@micronet.wcu.edu ASAP as my deadline is May 1! I know that you value this medium as an important part of your on-going development/education/instruction, and that is specifically what this research is designed to get at. Sincerest thanks, J. Scott Kemp Western Carolina University scott@micronet.wcu.edu ========================================================================= Date: Mon, 21 Feb 1994 08:49:30 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0138 Qs: Shakespeare on Gopher; *Ado* Video Availability Shakespeare Electronic Conference, Vol. 5, No. 0138. Monday, 21 February 1994. (1) From: Michael S. Hart Date: Saturday, 19 Feb 94 17:32:49 CST Subj: Shakespeare on Gopher (2) From: Jim Swan Date: Sunday, 20 Feb 1994 21:56:33 -0500 (EST) Subj: Branagh's *Much Ado* (1)---------------------------------------------------------------------------- From: Michael S. Hart Date: Saturday, 19 Feb 94 17:32:49 CST Subject: Shakespeare on Gopher Would any of you be kind enough to identify the paper source from which was taken the Shakespeare on Gopher at upenn.edu. We have succeeded in getting someone at upenn.edu to send us the files, and now we need to do the copyright work necessary to prove the files are indeed in the Public Domain. We are also working on many of the other materials at upenn.edu, if any of you happen to have knowledge pertaining them. Thanks, Michael S. Hart (2)---------------------------------------------------------------------------- From: Jim Swan Date: Sunday, 20 Feb 1994 21:56:33 -0500 (EST) Subject: Branagh's *Much Ado* Is there any word about when Branagh's *Much Ado* will appear in the video stores? I'm teaching the play in two weeks and would very much like to use the movie. Jim Swan (SUNY/Buffalo) projim@ubvms.cc.buffalo.edu ========================================================================= Date: Mon, 21 Feb 1994 08:57:07 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0139 Re: Psycho Macbeth Shakespeare Electronic Conference, Vol. 5, No. 0139. Monday, 21 February 1994. (1) From: Brian Pedaci Date: Sunday, 20 Feb 94 18:34:56 -0500 Subj: re: SHK 5.0133 Psycho Macbeth (2) From: James McKenna Date: Sunday, 20 Feb 1994 19:39:48 -0500 (EST) Subj: macpsychbeth redux (1)---------------------------------------------------------------------------- From: Brian Pedaci Date: Sunday, 20 Feb 94 18:34:56 -0500 Subject: re: SHK 5.0133 Psycho Macbeth Just to throw another monkey wrench into the works, does anyone else find it problematical to assume that modern psychoanalytic diagnoses are counter to Shakespeare's wishes when he casts a great many of them under the influence of "humors" which are beyond their control? How does an Elizabethan understanding of melancholy correspond to a modern diagnosis of depression? Or choler and, say, sociopathic behavior? I do not presume to know enough to make the connections, but it seems a worthy consideration when dealing with the question of Elizabethan psyches... --Brian Pedaci (2)---------------------------------------------------------------------------- From: James McKenna Date: Sunday, 20 Feb 1994 19:39:48 -0500 (EST) Subject: macpsychbeth redux Okay, right. Serial murderers are horrifying; I erred to imply that they were not. I meant, though, that thinking Macbeth a psychotic reduces our idea of horror in the world to the belief that it is something that psychotics do, not what ordinary people do when circumstances are right--or very, very wrong. Yes, Dr. Godshalk, Macbeth and Banquo are different men, and it is unlikely that Banquo would have gone Macbeth's road--for the reasons you specified. It is the mechanics of the mind that I am concerned with, though, and I think the text presses us to see that evil is not just evil men with evil thoughts. It is the thoughts that many--all--of us have taking root in a mind and being acted out. Hence Lady Macbeth's incitement. Yes, Macbeth seems fond of legal killing and his murder spree is only a change of venue. But, again, perhaps we can avoid the psychotic approach by recognizing that soldiering is still an honored profession, despite all our pacifistic posturing. We continue to train millions of men to murder in one set of circumstances, and we then hope they behave civilly in others. Is Macbeth one of those who became confused? My point overall is to keep Macbeth solidly in the realm of common experience, so that his destruction does not drift toward becoming a macabre decoration. Yours till the hurly-burly's done, James McKenna mckennji@ucbeh.bitnet ========================================================================= Date: Mon, 21 Feb 1994 09:02:23 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0140 Rs: Parting Shot; Oxford Editors Shakespeare Electronic Conference, Vol. 5, No. 0140. Monday, 21 February 1994. (1) From: William Godshalk Date: Saturday, 19 Feb 1994 20:32:20 -0500 (EST) Subj: Re: SHK 5.0133 Psycho Macbeth; Parting Shot (Universals) (2) From: William Proctor Williams Date: Sunday, 20 Feb 94 12:37 CST Subj: Re: SHK 5.0135 The Oxford Editors and *MM* (1)---------------------------------------------------------------------------- From: William Godshalk Date: Saturday, 19 Feb 1994 20:32:20 -0500 (EST) Subject: Re: SHK 5.0133 Psycho Macbeth; Parting Shot (Universals) To Al Cacicedo: Is bullseye a euphemism? Bill Godshalk (2)---------------------------------------------------------------------------- From: William Proctor Williams Date: Sunday, 20 Feb 94 12:37 CST Subject: Re: SHK 5.0135 The Oxford Editors and *MM* I think that no one could believe that I have ever been a supporter of the New Oxford Shakespeare. It simply gets too many things wrong. I am also, by and large, a supporter of many of the things William Godshalk stands for and expresses. But, that good old Shakespearean "but", Taylor and Jowett's +Shakespeare Reshaped+ is a first-rate piece of scholarship and I could no more dimiss it out of hand than I could W.G.'s article in +SQ+ in 1972. We need, on this list and in our profession, much more light and much less heat. Or so I believe. William Proctor Williams TB0WPW1@NIU.BITNET ========================================================================= Date: Mon, 21 Feb 1994 10:10:37 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0141 "Much Ado About Something" Shakespeare Electronic Conference, Vol. 5, No. 0141. Monday, 21 February 1994. From: Nate Johnson Date: Sunday, 20 Feb 94 02:05:33 EDT Subject: "Much adoe about somethinge" Here's more information on the "Much Ado About Something" poem in belated response to Nancy Miller. I think I may have mis-cited the manuscript in my original posting. Let me take this chance to repeat my request for information about the poem. Much adoe about somethinge or rather much adoe about Nothinge What have I heere a ladie Poet found another Sappho or Semproma and native (borne) upon our Brytish ground: another rare Divine fulcoma. Tis so, I see it witnest with myne Ieys and her sweete straynes with myne doe Sympathize Well met then ladie in th'accrostick measure Ile tread it with yow (if yow please) a space and think (if youle beleeve me) Europes treasure t'a Citizen could yeelde no greater grace then lett him kisse your hands, but in ??? on whome the Muses every minnet weight It's a long poem, taking up around 30 leaves, and I haven't read the whole thing through yet. The reference to "th'accrostick measure" is the only clue I've found so far as to the possible identity of the addressee. Are there any "ladie poets" in the 17th century by the name of "Wiatt" or something close? There's a list of names and birthdates in the same manuscript, but no Wiatt. Here's a more complete citation for the manuscript and film: Sloane MS 1708, British Library Film: Britains Literary Heritage series Harvester Microform British Literary Manuscripts for the British Library, London. Series One: The English Renaissance: Literature from the Tudor Period to the Restoration c. 1500-c.1700 Part One: Manuscripts selected from Sloane MSS 20-3943 and Additional MSS 4128-10305 Reel Six At Cornell, it's Cornell University Libraries Film 5903, Reel 6. That might be useful for interlibrary loan. ========================================================================= Date: Mon, 21 Feb 1994 10:14:42 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0142 Q: Graduate Assistants and Workloads Shakespeare Electronic Conference, Vol. 5, No. 0142. Monday, 21 February 1994. From: Jim Swan Date: Sunday, 20 Feb 1994 21:59:24 -0500 (EST) Subject: Teaching Assistants and Workload This isn't directly relevant to the focus of the LIST, but for any of us who teach graduate students it's important: The Graduate Student Employees Union (GSEU) won recognition last year as the the bargaining unit for teaching assistants in the SUNY system. A contract has just been ratified and, in response, some administrators are acting vindictively and punitively. As if to say, "OK, so you won--now we're going to show you what it means." The war zone is *workload*, which the contract defines as 20 hours per week. In most units within the Faculty of Arts & Letters at SUNY/Buffalo (where I serve as Associate Dean for Graduate Programs), the tradition has been that a TA wholly responsible for a class (English Composition, Beginning Spanish, Art Studio) fulfills the obligation of the assistantship. Now there's a move to quantify everything and to say that teaching a class takes less than 20 hours, that a TA will have other duties as well. Personally, I find this repugnant--it's Taylorism on the march, and it has no place in graduate education. To bolster my argument I need information, and I would be grateful if you would answer a few questions: 1) At your institution, what are the duties of a TA? How are they defined? Are they quantified by the hour? Or by the course? 2) Are your teaching assistants unionized? 3) What is the _net_ annual stipend paid to a full-time TA? That is, net of fees, tuition, health insurance, etc. Some institutions pay good stipends but then require students to pay for mandatory health insurance. In fact, does your campus supply health insurance, or do students have to pay for it? 4) Is workload a war zone for faculty too? Are your faculty unionized? I really need answers to the first question--it's the crucial one. If you have figures for the third one, so much the better. But don't hesitate to reply if you can't answer the third question. Please circulate this message as widely as possible--to colleagues, to other LISTs, wherever. Thanks. Jim Swan English Department 306 Samuel Clemens Hall State University of New York Buffalo, NY 14260 Office: (716) 645-2711 E-mail: projim@ubvms.cc.buffalo.edu ========================================================================= Date: Tue, 22 Feb 1994 11:09:49 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0144 Re: Psycho Macbeth From: BOE::HMCOOK "Hardy M. Cook" 22-FEB-1994 11:06:40.76 To: MX%UT CC: HMCOOK Subj: SHK 5.0144 Re: Psycho Macbeth Shakespeare Electronic Conference, Vol. 5, No. 0144. Tuesday, 22 February 1994. (1) From: Kenneth S. Rothwell Date: Monday, 21 Feb 1994 09:17:51 -0500 (EST) Subj: Re: SHK 5.0139 Re: Psycho Macbeth (2) From: Kenneth M. McKay Date: Monday, 21 Feb 1994 11:09:01 -0500 (EST) Subj: Re: SHK 5.0139 Re: Psycho Macbeth (3) From: Terence Martin Date: Monday, 21 Feb 94 14:25:32 CST Subj: Macbeth (1)---------------------------------------------------------------------------- From: Kenneth S. Rothwell Date: Monday, 21 Feb 1994 09:17:51 -0500 (EST) Subject: Re: SHK 5.0139 Re: Psycho Macbeth Brian Pedici's query about psychoanalytical interpretations of MACBETH and the humors theory of Shakespeare's time intrigues me. As one who has long kept a copy of Burton's ANATOMY OF MELANCHOLY at bedside to cheer himself up on cold winter nights in the North Country, I feel a fatal urge to respond. What we have in humor theory and in modern psychological jargon is simply a different set of labels for the same problems. As I see it the one is no less or more silly than the other. Personkind seeks reassurance in the face of ultimate catastrophe and must come up with these explanations of (I don't want to say it) THE HUMAN CONDITION. Ken Rothwell (2)---------------------------------------------------------------------------- From: Kenneth M. McKay Date: Monday, 21 Feb 1994 11:09:01 -0500 (EST) Subject: Re: SHK 5.0139 Re: Psycho Macbeth I am ill at these numbers, having, among other excuses, only just tuned in to SHAKSPER, but I am puzzled by the suggestion that Macbeth be kept within the common domain by recognizing him, possibly, as one who has become confused re differences between sanctioned and unsanctioned killing. What of Lady Macbeth? I don't recall any suggestion that she had been in a position to become morally confused in this way. But I am more concerned with the idea that Macbeth is or should be in the "common domain." Common?--yes, in the sense of being commonly accessible (Even as the experience realized in Sonnet 129 --a paradigm of tragedy--is commonly accessible or intelligible), but, journalists' patter apart, the experience of Macbeth as tragedy is not "common" or ordinary. It seems to me that to assimilate Macbeth to ordinary contemporary mass experience ("another casualty of war") denies the distinctiveness of the tragedy from which its significance is inseparable. The lust of Sonnet 129 is immediately accessible, but, as realized in the sonnet, it is also distinct from the "common domain": ordinary lust may be informed by the sonnet, but the lust of the sonnet has behind it something other than bad toilet training, bad parenting, repression, inadequate penal systems, poor role models, and the influence of the contemporary entertainment industry. OK, that's enough for a first time! Ken McKay kmckay@spartan.ac.BrockU.CA (3)---------------------------------------------------------------------------- From: Terence Martin Date: Monday, 21 Feb 94 14:25:32 CST Subject: Macbeth I completely agree with James McKenna's comments that seeing Macbeth as some kind of pschotic nut limits the value of the character. All too often psycho babble enables people to avoid recognizing their own relationship to the evil in this world, now or in Shakespeare's day. Terence Martin UM - St. Louis ========================================================================= Date: Tue, 22 Feb 1994 11:39:31 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.01445 Q: Ophelia and Gertrude Shakespeare Electronic Conference, Vol. 5, No. 0145. Tuesday, 22 February 1994. From: Mary-katie Lindsey <924LINDSEY@MERLIN.NLU.EDU> Date: Monday, 21 Feb 1994 15:22:20 -0600 (CST) Subject: Desperately Seeking Ophelia and Gertrude Hullo All -- I am doing my paper this semester on feminist criticism of Gertrude and Ophelia in Hamlet, and have found much. However, any suggestions are welcome. A couple of questions: 1. Besides Millais' Siddal portrayal of Ophelia, one by Burne-Jones I think (Ophelia dressed in white, wearing a crown of twigs, picking up sticks, a circular picture), and one by another c19 artist of the play-within-a-play, do the rest of y'all know of any other pictorial representation of the two women? This would be most helpful. 2. How has character critical thought changed? I looked at Robinson's Hamlet bibliography and saw that much, if not all of the criticism there was dependent on the two women's relationships to others -- rarely ever were they evaluated as independent figures, strong, weak, merciful, victimized, etc. They were always depicted as someone's wife, someone's daughter, etc. How did this come about? What has been done along this thread? I mean, of depicting them and writing about them as themselves as women, not just as hangers-on or dependents to the men. 3. I am going to write about Ophelia and Gertrude as acting out the more negative aspects of Jungian archetypes -- the negative, I-don't-wanna-grow-up Kore, Persephone, Hera, etc., intertwining this with discussions of how they have been victimized by dysfunctional views of female sexuality (motherhood only), as well as how their actions contribute to their unbecoming and their undoing physically and psychologically. Has anything been done remotely on any or all of these threads? Thanx to everyone. If anyone wants a more precise labelling of the portraits and painters, I will be glad to supply the names, dates, etc. Cheers, Mary-katie 924lindsey@merlin.nlu.edu ========================================================================= Date: Tue, 22 Feb 1994 13:09:25 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0143 Re: *Ado* Video Availability From: BOE::HMCOOK "Hardy M. Cook" 22-FEB-1994 11:09:16.05 To: MX%"Shaksper@utoronto.bitnet" CC: HMCOOK Subj: SHK 5.0143 Re: *Ado* Video Availability From: BOE::HMCOOK "Hardy M. Cook" 22-FEB-1994 10:48:34.15 To: MX%UT CC: HMCOOK Subj: SHK 5.0143 Re: *Ado* Video Availability Shakespeare Electronic Conference, Vol. 5, No. 0143. Tuesday, 22 February 1994. (1) From: Kimberly Nolan Date: Monday, 21 Feb 1994 09:15:15 -0500 (EST) Subj: Re: Q: *Ado* Video Availability (2) From: Paul Budra Date: Monday, 21 Feb 1994 08:41:29 -0800 (PST) Subj: Re: *Ado* Video Availability (3) From: A.G. Bennett Date: Monday, 21 Feb 1994 16:35 EDT Subj: Re: *Ado* Video Availability (4) From: Norman J. Myers Date: Monday, 21 Feb 94 13:37:11 -0500 Subj: Re: *Ado* Video Availability (1)---------------------------------------------------------------------------- From: Kimberly Nolan Date: Monday, 21 Feb 1994 09:15:15 -0500 (EST) Subject: Re: Q: *Ado* Video Availability In response to Jim Swan's question about the Branagh *Much Ado*--my video store has the release date listed as 2/26 which should provide enough time for screening and a lesson plan! Kimbrely Nolan Univ. of Miami (2)---------------------------------------------------------------------------- From: Paul Budra Date: Monday, 21 Feb 1994 08:41:29 -0800 (PST) Subject: Re: *Ado* Video Availability The Branagh _Much Ado_ is being released on March 2nd up here in Canada. The guy at my local store says he can order copies for around $20. Not a bad deal. Paul Budra SFU (3)---------------------------------------------------------------------------- From: A.G. Bennett Date: Monday, 21 Feb 1994 16:35 EDT Subject: Re: *Ado* Video Availability As far as I know, _Much Ado_ will apear in video stores on March 2 (and I'll be the first in line here to get a copy!). Hope you manage to get it on time! Cheers, Alex Bennett (bennett@binah.cc.brandeis.edu) (4)---------------------------------------------------------------------------- From: Norman J. Myers Date: Monday, 21 Feb 94 13:37:11 -0500 Subject: Re: *Ado* Video Availability Our local video store promises it about 3/2 NM ========================================================================= Date: Wed, 23 Feb 1994 07:11:45 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0146 [was 4.0146] Re: Ophelia and Gertrude Shakespeare Electronic Conference, Vol. 5, No. 146. Wednesday, 23 February 1994. (1) From: James Schaefer Date: Tuesday, 22 Feb 1994 12:52:23 -0500 (EST) Subj: Re: SHK 5.01445 Q: Ophelia and Gertrude (2) From: Michael Dobson Date: Tuesday, 22 Feb 94 12:10:07 CST Subj: Re: SHK 5.01445 Q: Ophelia and Gertrude (3) From: Luc Borot Date: Tuesday, 22 Feb 1994 19:59:45 +0100 Subj: Re: SHK 5.01445 Q: Ophelia and Gertrude (4) From: William Godshalk Date: Tuesday, 22 Feb 1994 20:10:31 -0500 (EST) Subj: Re: SHK 5.01445 Q: Ophelia and Gertrude (1)---------------------------------------------------------------------------- From: James Schaefer Date: Tuesday, 22 Feb 1994 12:52:23 -0500 (EST) Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude Ms. Lindsey: While it may seem unfair that much has been written about Hamlet as an "individual" while little has been written about Ophelia or Gertrude except as they exist in relationship to others, my own view is that all that Hamlet exegesis is itself misguided: drama is, at its core, about relationships. Attempts to slice a character out of his or her context within a play and to stand that character up as an independent psychological entity serves only to create a "counter-character," a separate creation only distantly related to that of the playwright. We want to identify with these characters, but the farther we extrapolate from their text, the more our pictures of them become merely self-portraits. It is only through the _interactions_ of these individual characters (not "individuals) that they come alive: we come to know them _through_ those same interactions. Gertrude Stein caught it exactly in her essay, "Plays": I came to think that since each one is that one and that there are a number of them each one being that one, the only way to express this thing each one being that one and there being a number of them knowing each other was in a play. If we remove them from that nest of interactions, they cease to exist. Hamlet is no less than "chiefest courtier, cousin, and our son" -- but also, no more. (Which suggests what I think about attempts to psychoanalyze him or Lady Macbeth or Lear.) Jim Schaefer schaefej@guvax.georgetown.edu (2)---------------------------------------------------------------------------- From: Michael Dobson Date: Tuesday, 22 Feb 94 12:10:07 CST Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude Re: Ophelia and Gertrude In response to Marie-Katie Lindsey's query about Gertrude and Ophelia, reluctant as I am to aid and abet a Jungian reading of anything, there are interesting portraits of Ophelia -- both visual and literary -- in Mary Cowden-Clarke's *Girlhoods of Shakespeare's Heroines* (the date of which I have scandalously forgotten -- c.1870). There is some useful criticism in Marianne Novy's anthology *Women's Re-Visions of Shakespeare* (c.1990). (3)---------------------------------------------------------------------------- From: Luc Borot Date: Tuesday, 22 Feb 1994 19:59:45 +0100 Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude Reply to: Desperately Seeking Ophelia and Gertrude Mary Katie, You ask in your first question about other portraits of your two case-studies, and here are my suggestions: I think there was a discussion some months ago (or about a year ago) on this list concerning the portraits. If there is a possibility to search the texts of the logbooks of SHAKSPER (HARDY THIS IS A QUESTION TO YOU FOR US ALL!!) you might obtain the information. I personally can't remember the answers that were given then. I know of a literary version, Brecht's "Ertrunkene Maegdchen" (the drowned maid) is an echo to other German poems on the Ophelia theme, in close connection with the pictorial versions. I can try to look them up in one of my old student-days German poetry anthologies if you're interested. As regards your second question, which ends on the problem of male domination or dependency, there was an interesting scenic treatment of it at the RST in Stratford last Spring, dir. Adrian Noble, starring K Brannagh, Joanne Pearce as Ophelia and Jane Lapotaire as Gertrude. In an interview with Brannagh, I obtained the interesting answer that their interpretation of the Hamlet- Ophelia relationship for that particular production was that they had got seriously involved sexually. There is a reciprocal relationship in that case and no H>O domination. That Gertrude is dominated by Claudius is obvious at the beginning, but here retreat into devotion after the death of Polonius marks a strong breach and a kind of independence of spirit, in its own kind of course, and not very active. As regards your 3rd query, I would like to remind you that the best portrayals of dramatic characters are their theatrical embodiments on a stage. Nothing can go beyond this: that's what they were meant for in the first place. I hope this helps. Nb 44 (Oct 93) of *Cahiers Elisabethains* includes several papers around *Hamlet* performance criticism, started in a Folger seminar of 1993 by Jean-Marie Maguin and Lois Potter. One of the contributors is Ann J. Cook; I apologize to the others I don't remember just now. Yours, Luc [To Luc et al.: LISTSERV does have a Database Function; unfortunately, I have not as yet figured out how to use it. Instead, I suggest that you first search the Discussion Indexes, which are organized by year (DISCUSS INDEX_1, 2, 3, 4, 5). Then you can either ordered appropriate logs from LISTSERV with the GET command or read the logs on the University of Toronto's GOPHER server (VM) and mail desired logs to yourself. By the way, SHAKSPER's logs are now organized by weeks of the month. Thus SHAKSPER LOG9402D, the current log, contains the discusion of the fourth week of February 1994. --HMC] (4)---------------------------------------------------------------------------- From: William Godshalk Date: Tuesday, 22 Feb 1994 20:10:31 -0500 (EST) Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude First, you may wish to look at Julia Dietrich's HAMLET bibliography, too. Second, check Herbert R. Coursen's THE COMPENSATORY PSYCHE: A JUMGIAN APPROACH TO SHAKESPEARE. Bill Godshalk ========================================================================= Date: Wed, 23 Feb 1994 07:16:55 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0147 [was 4.0147] Re: *King Lear*: 1.4 Business Shakespeare Electronic Conference, Vol. 5, No. 147. Wednesday, 23 February 1994. From: Tom E. Hodges Date: Tuesday, 22 Feb 1994 14:18:55 GMT-6 Subject: *KING LEAR* 1.4 BUSINESS Thanks to you, Martin Zacks, for your suggestions on the business in the opening lines of 1.4 in *LEAR*. I can see it; I like it. Have you seen how the RSC handle this part? Having seen only one live performance of *LEAR*, I am at the mercy of the movie makers, books, and my own guesses. My main misgiving to surrounding Lear with retainers or other trappings of nobility at this point is that in such a context Kent may seem fawning and Lear naive. The Granada *LEAR* with Olivier strikes me that way--Lear, nobly dressed, is led into the hall on horseback. So when he asks Kent standing below, "Dost thou know me, fellow?" the question seems superfluous, for although Kent might pretend not to know this old man's name, he could not as an Elizabethan mistake his social standing. Then when Kent claims to see in the old man's face "authority," Kent seems patently obsequious and Lear a bit dotty. In contrast to these unflattering images, Kenneth Muir in his Penguin Critical Study of *KING LEAR* says that these early lines "...show both men at their best--the employment of Service by Authority. This helps restore our respect for the king...." (61) I wonder how this initial exchange would play if Lear, instead of being surrounded by knights and attendants, were isolated downstage with Kent. Nevertheless, I particularly like your point that Kent in this part of 1.4 "mimic his standing up to Lear in 1.1." And, yes, one rarely gets the chance to direct *LEAR*, except of course when one teaches the play to a class and can suggest business that complements the text. In my case, I am seldom sure that I have it just right. Thanks again for your good help. Tom Hodges Amarillo, Texas ========================================================================= Date: Wed, 23 Feb 1994 07:25:18 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0148 [was 4.0148] Re: Oxford Editors and MM Shakespeare Electronic Conference, Vol. 5, No. 148. Wednesday, 23 February 1994. From: William Godshalk Date: Tuesday, 22 Feb 1994 20:22:54 -0500 (EST) Subject: Re: SHK 5.0140 Oxford Editors Reply to William Proctor Williams: My basic point was that someone beginning a study of MM might not want to begin with the arguments in SHAKESPEARE RESHAPED - which I was reading a week or two ago. Obviously Jowett, Taylor, and Wells have done much to heat up the debate over Shakespeare's text. But as my colleague Y. S. Bains keeps telling me, the Oxford editors simply ignore what they do not wish to confront. Personally, I find Taylor's work very helpful - to argue against. By the way, I realize that Wells does not have his name on SHAKESPEARE RESHAPED. I wish I could be more specific about the book, but I seem to have mislaid my copy. The older I get the more this mislaying business seems to happen. When I can't find my computer, I'll really be in trouble. Yours, Bill Godshalk ========================================================================= Date: Thu, 24 Feb 1994 08:30:11 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0149 Re: Universals and Science Shakespeare Electronic Conference, Vol. 5, No. 0149. Thursday, 24 February 1994. From: Christine Mack Gordon Date: Wednesday, 23 Feb 94 08:03:56 -0600 Subject: Re: Much ado about universals and science My sense of it (being trained in 19th & 20th century, and a mere passionate amateur in the Renaissance) is that that the distinctions we make between the humanties and the sciences were much less clear then; there was much less to know (in theory, anyway) and people who thrived on learning wanted to know as much about everything as they could. (For a wonderful picture of this world, see Stephanie Cowell's recent novel *Nicholas Cooke.*) One of today's great tragedies, I think, is that disciplines have become so discipline-bound. While I know a number of scientists who enjoy literature, the reverse is less true. Since I was persuaded as a young woman that women didn't do science, here I am in literature, but find myself reading books about science all the time (currently the wonderful *Lonely Hearts of the Cosmos* about recent and contemporary cosmology--and those cosmologists go at one another with as much vigor and delight as members of this conference.) And just for the record, in case folks don't know this, the video release date of *Much Ado* is March 2. (I read the review in the October 1993 *Commentary* that was mentioned recently; whew! nasty, brutish, and long--and I disagreed with nearly every word.) And special to Luc at Montpellier: I'll crush a cup of wine with you anytime! Chris Gordon English/University of Minnesota ========================================================================= Date: Thu, 24 Feb 1994 08:35:44 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0150 Re: Ophelia and Gertrude Shakespeare Electronic Conference, Vol. 5, No. 0150. Thursday, 24 February 1994. From: Stanley Holberg Date: Wednesday, 23 Feb 94 11:46 EDT Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude On the discussion group VICTORIA (19th-century British Culture and Society--victoria@iubvm.bitnet) there have been a lot of postings these days about pictorial representations of Ophelia in that period. Perhaps you know somebody who has a file containing these messages. --Stanley Holberg holberma@snypotva.bitnet ========================================================================= Date: Thu, 24 Feb 1994 08:40:17 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0151 Announcement: Student Essay Contest Shakespeare Electronic Conference, Vol. 5, No. 0151. Thursday, 24 February 1994. From: Date: Thursday, 24 Feb 1994 01:54:20 -0500 (EST) Subject: Announcement: TDR student essay contest __________________________________________________________________ ________________ _____________ _____________ /_______________/| /____________ \ /____________ \ |||||||||||||||||/ |||||||||||||\ \ |||||||||||||\ \ |||| | |||| | |||\ \ |||| | |||\ \ |||| | |||| | |||\ \ |||| |______||||/ |||| | |||| | |||| | ||||/______||||/ |||| | |||| | ||||/ |||||||||||||\ \ |||| | |||| |______||||/ |||| | ||||\ \ |||| | ||||/______||||/ |||| | ||||\ \ ||||/ ||||||||||||||/ ||||/ ||||\/ __________________________________________________________________ The Journal of Performance Studies ENTER TDR'S 5TH ANNUAL STUDENT ESSAY CONTEST -- $500 TO THE WINNER -- TDR's Student Essay Winner will be published in TDR (along with a profile of the winner's department). Essays may be on any subject related to performance, but feel free to explore the boundaries of performance as well. Entries should be in English, unbound, and 15-30 double-spaced typed manuscript pages. Send 3 copies to: TDR Student Essay Contest, Tisch School of the Arts/NYU, 721 Broadway, 6th floor, NY, NY 10003, USA. DEADLINE: MARCH 31, 1994 The winner will be announced in Fall 1994. For questions call (212) 998-1626 or e-mail beana@acfcluster.nyu.edu ========================================================================= Date: Fri, 25 Feb 1994 08:45:26 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0152 Re: *King Lear*: 1.4 Business Shakespeare Electronic Conference, Vol. 5, No. 0152. Friday, 25 February 1994. From: David Bank Date: Thursday, 24 Feb 94 19:00:09 GMT Subject: Re: SHK 5.0131 Q: *King Lear*: 1.4 Business I'm puzzled by Tom Hodges problem with *KL* 1.4. Not only is there no need for Kent to kneel to Lear at this point; I imagine that doing so would confuse or distract the audience's understanding of what is really going on. Kent has returned to Lear after banishment, in disguise. He is going to watch over the old fool like an earthly Providence, who in disguise Followed his enemy king, and did him service Improper for a slave. (5.iii.219-221) The *disguise* part of Kent's heroic love for Lear must, I think, be complemented by an *affected distance*. Kent 'doesn't know' Lear either by acquaintance or as the King (1.iv.20). Kent at this point discards the manners of the courtier and adopts what Cornwall is later to call "a saucy roughness" - i.e. bluntness, directness amounting at times to insolence, the manner of a landless man for hire. The exchanges in 1.iv. between Kent and Lear should simply be played as a 'master and servant' discourse. The ironies of "Authority" at 1.iv. 30 otherwise get squashed flat. David Bank University of Glasgow ========================================================================= Date: Fri, 25 Feb 1994 08:58:35 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0154 Re: *Ado* Video Availability Shakespeare Electronic Conference, Vol. 5, No. 0154. Friday, 25 February 1994. From: Patricia Gallagher Date: Thursday, 24 Feb 1994 21:11:49 -0600 (CST) Subject: Re: Much Ado Video Since I am eager to get a copy of the "Much Ado About Nothing" video (and was not aware it was due out until the other day), I decided to stop by my local Blockbuster Video and find out when and how much. It is indeed due out next week (they already have up posters for it), but unfortunately the list price is $95. I'm sure it will come down, but not for at least six months. Patricia Gallagher ========================================================================= Date: Fri, 25 Feb 1994 08:55:42 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0153 Q: Introductory Experiences with Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0153. Friday, 25 February 1994. From: Hilary Rowland Date: Thursday, 24 Feb 94 15:27:09 EST Subject: Hooked on Shakespeare In the course of the most recent Universals/Human Condition debate, the question of literary representations and cultural specificity was markedly and frequently raised. I noticed, in addition,that several SHAKSPERians mentioned (however briefly) their early training in Shakespeare studies. These plays hold meaning for us in terms of personal exposure as well as in relation to our cultural positions. My own introduction to Shakespeare was playing Titania in the fourth grade. I can still recite Helena's "Lo! she is one of this confederacy" having been carefully coached by my father for the audition. Surely participating so intensely at an early age has played a role in my continuing interest in these plays. I would be curious to learn of the introductory experiences of other SHAKSPERians. Hilary Rowland ========================================================================= Date: Sat, 26 Feb 1994 16:08:57 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0155 Re: First Times with Shakespeare (Introductory Experiences) Shakespeare Electronic Conference, Vol. 5, No. 0155. Saturday, 26 February 1994. (1) From: Barbara Simerka Date: Friday, 25 Feb 94 10:45:44 EST Subj: Re: SHK 5.0153 Q: Introductory Experiences with Shakespeare (3) From: Terence Martin Date: Friday, 25 Feb 94 12:08:43 CST Subj: Introductory Experience (4) From: Patricia Palermo Date: Friday, 25 Feb 1994 13:18:55 -0400 (EDT) Subj: Re: SHK 5.0153 Q: Introductory Experiences with Shakespeare (5) From: Elise Earthman Date: Friday, 25 Feb 1994 14:52:30 -0800 (PST) Subj: Re: Introductory Experiences with Shakespeare (1)---------------------------------------------------------------------------- From: Barbara Simerka Date: Friday, 25 Feb 94 10:45:44 EST Subject: Re: SHK 5.0153 Q: Introductory Experiences with Shakespeare My first Shakespearean production was also MND. My mother was an actress and when a production came to town, she decided to take my sister (age 3) and me (age 4) to see it. We were carefully prepared for it (or so goes the family story) and enjoyed it thoroughly. In the taxi on the way home, however, a major battle erupted because both of us thought Bottom was the best stuffed animal we had ever seen and wanted to claim him as a future husband. I have no memory of this episode, but when I directed MND a couple of years ago I did cast my husband as Bottom--just to be on the safe side. (3)---------------------------------------------------------------------------- From: Terence Martin Date: Friday, 25 Feb 94 12:08:43 CST Subject: Introductory Experience Ms. Rowland does indeed have an interesting point. What is it that sparks such universal (oops!)and personally powerful interest in Shakespeare's work? In my own case, that first intense experience came from a school organized trip to a local cinema to see Olivier's *Henry V*. At age twelve, I expected nothing more than an afternoon away from the classroom; instead I became totally immersed in the film which allowed free rein to my imagination. On any future occasion, I knew I would be sure to be there on Saint Crispin's Day. Though the then recent atmosphere of World War II was doubtless influential and while I may now have a more jaundiced and critical view of that production, I will never forget its stimulus to my later enjoyment of Shakespeare. (4)---------------------------------------------------------------------------- From: Patricia Palermo Date: Friday, 25 Feb 1994 13:18:55 -0400 (EDT) Subject: Re: SHK 5.0153 Q: Introductory Experiences with Shakespeare I owe my getting "hooked" on Shakespeare not only to the bard himself, but to Professor Kay Stanton at California State University, Fullerton, who helped to make the printed page come alive for me when I was an undergraduate. Patricia Palermo ppalermo@drew.drew.edu (5)---------------------------------------------------------------------------- From: Elise Earthman Date: Friday, 25 Feb 1994 14:52:30 -0800 (PST) Subject: Re: Introductory Experiences with Shakespeare I discovered Shakespeare when I was about 11 years old. My mother had an old, brown collected works with Shakespeare's picture embossed on the cover that she'd used in high school--this has always puzzled me, since she went to a vocational high school. I guess our educational system *has* gone down since then! =-) Though this book had not a single gloss on any word, my young imagination sucked it up like a sponge, and I spent many happy hours memorizing speeches and acting them out in front of the mirror. (My father was an actor, so I had the bug.) When I mentioned this story to a high school class I was visiting, one voice popped up from the back and said, "Dr. Earthman, were you a nerd?" Yes, I guess I was. The wonderful end to this story is that the tattered copy of this book sat on my desk at school for many years, with the binding in shreds, the cover attached only by a small thread. My husband asked one day if he could borrow the book to do a little reading, but he secretly took it to a custom book bindery and had it lovingly restored. I don't know how much this book was worth in 1937, but it is priceless to me now. Elise Earthman San Francisco State ========================================================================= Date: Sat, 26 Feb 1994 16:24:05 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0156 Qs: Household Words; *Temp.* Problem; Third Man in *Mac.* Shakespeare Electronic Conference, Vol. 5, No. 0156. Saturday, 26 February 1994. (1) From: Elise Earthman Date: Friday, 25 Feb 1994 08:48:39 -0800 (PST) Subj: Re: Household Words (2) From: Chris Daigle <866141@academic.stu.StThomasU.ca> Date: Friday, 25 Feb 1994 13:11:09 AST Subj: Problems with performing "The Tempest" (3) From: Herbert Donow Date: Friday, 25 Feb 94 12:31:18 CST Subj: Macbeth and the murderers (1)---------------------------------------------------------------------------- From: Elise Earthman Date: Friday, 25 Feb 1994 08:48:39 -0800 (PST) Subject: Re: Household Words My first posting to this list: Hello to you all. I wonder if someone can give me a suggestion on where to look for a list of phrases that Shakespeare originated that have come into common use in our language--so common that we have no inkling of the source. As a teacher of Shakespeare to those who have little or no interest in him, I try to make a case for how much Shakespeare they know without knowing it, and I'd love to have a list of expressions to dazzle them with. If there is no such collected source, I'd be delighted to receive private e-mail notes on your personal favorites. Thanks so much. Elise Earthman English/San Francisco State (2)---------------------------------------------------------------------------- From: Chris Daigle <866141@academic.stu.StThomasU.ca> Date: Friday, 25 Feb 1994 13:11:09 AST Subject: Problems with performing "The Tempest" I've been reading through the Tempest and I want to do it for the Fall production at my university. However, the vanishing banquet scene has got me boggled. I want to do the play in the round and I am curious if any one has seen this play done in the round and if so how was this scene done. I was thinking of doing a blackout and when the lights come back up the people are either asleep or frozen...I'm not sure. Any suggestions would be appreciated... Chris Daigle St.Thomas University Fredericton, N.B., Canada Email 866141@StThomasU.ca (3)---------------------------------------------------------------------------- From: Herbert Donow Date: Friday, 25 Feb 94 12:31:18 CST Subject: Macbeth and the murderers A former graduate student called me the other night and asked me what I thought about the addition of a third murderer in III.iii. We talked, among other things, about the plausibility of Macbeth himself being the newcomer. What have you playgoers observed in the treatment of that scene. Truthfully, I have never paid it any heed so I can't remember what I have seen over the years. Herb Donow Southern Illinois University at Carbondale ========================================================================= Date: Sat, 26 Feb 1994 16:37:00 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0157 Rs: *Ado* Availability; Ophelia and Gertrude Shakespeare Electronic Conference, Vol. 5, No. 0157. Saturday, 26 February 1994. (1) From: Jorge Diez Date: Friday, 25 Feb 94 17:05:56 PST Subj: re: SHK 5.0154 Re: *Ado* Video Availability (2) From: Steve Urkowitz Date: Saturday, 26 Feb 94 08:29:26 EST Subj: Re: SHK 5.01445 Q: Ophelia and Gertrude (1)---------------------------------------------------------------------------- From: Jorge Diez Date: Friday, 25 Feb 94 17:05:56 PST Subject: re: SHK 5.0154 Re: *Ado* Video Availability WRT the "Much Ado" release for home video, note that it will also be out in the laser disc format for 34.95. Ah, but here's the rub...they say there is no mention of widescreen or letterbox. Here's hoping they're wrong... J.L.Diez (2)---------------------------------------------------------------------------- From: Steve Urkowitz Date: Saturday, 26 Feb 94 08:29:26 EST Subject: Re: SHK 5.01445 Q: Ophelia and Gertrude For a VERY early comment on the possibilities of Ophelia and her nearly momma in law, I'd suggest a quick look at the 1603 First Quarto text of HAMLET. Whoever was responsible for the text (a piratical actor? Shakespeare herself? Nostradamus? Franco Zefferelli?) we have a deliciously different configuration of forces, actions, and language circulating around these two women. I have a few broad outlines of the alternatives in Gertrude's role in "Five Women Eleven Ways: Changing Images of Shakespearean Characters in the Earliest Texts" in W. Habic ht, et al., IMAGES OF SHAKESPEARE (1988). Good hunting, Herne the Urquartowitz ========================================================================= Date: Mon, 28 Feb 1994 08:40:09 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0158 Re: First Times with Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0158. Monday, 28 February 1994. From: Rick Jones Date: Saturday, 26 Feb 94 18:28:58 EST Subject: Re: SHK 5.0155 Re: First Times with Shakespeare I couldn't say what my first experience with Shakespeare was, but I do remember a sophomore English class in high school. We were reading _Macbeth_ aloud; I "played" Banquo. What I remember most is the simple fact that no 15-year-old on earth can say the words "Fly, good Fleance, fly, fly!" without feeling like an utter ass. Rick Jones strophius@aol.com ========================================================================= Date: Mon, 28 Feb 1994 08:51:27 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0159 Re: Hosehold Words Shakespeare Electronic Conference, Vol. 5, No. 0159. Monday, 28 February 1994. (1) From: Leslie Thomson Date: Saturday, 26 Feb 1994 20:25:05 -0500 Subj: Re: SHK 5.0156 Household Words; (2) From: James Schaefer Date: Sunday, 27 Feb 1994 11:47:02 -0500 (EST) Subj: Re: SHK 5.0156 Household Words; (3) From: James McKenna Date: Sunday, 27 Feb 1994 19:18:49 -0500 (EST) Subj: household words (1)---------------------------------------------------------------------------- From: Leslie Thomson Date: Saturday, 26 Feb 1994 20:25:05 -0500 Subject: Re: SHK 5.0156 Household Words; Regarding Shakespearean phrases that have become part of the language: Recently a non-academic friend gave me Richard Lederer's *The Miracle of Language* which has a chapter titled "A Man of Fire-New Words" giving an extensive list and commentary on just such phrases. The chapter is very short and could easily be photocopied and distributed to students (if copyright didn't exist, that is). I hope this helps. Regards, Leslie Thomson U of Toronto (2)---------------------------------------------------------------------------- From: James Schaefer Date: Sunday, 27 Feb 1994 11:47:02 -0500 (EST) Subject: Re: SHK 5.0156 Household Words; Ms. Earthman: One source for finding popularized phrases from Shakespeare is Bartlett's. The recent edition (16th) ed. by Justin Kaplan devotes pages 163-226 to quotes that have become part of the "common culture." Jim Schaefer schaefej@guvax.georgetown.edu (3)---------------------------------------------------------------------------- From: James McKenna Date: Sunday, 27 Feb 1994 19:18:49 -0500 (EST) Subject: household words Ms. Earthman, BARTLETT'S FAMILAR QUOTATIONS should give you more of these than you can stand. James McKenna Univ of Cincinnati mckennji@ucbeh.bitnet ========================================================================= Date: Mon, 28 Feb 1994 11:53:56 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0162 Anthony Bacon Shakespeare Electronic Conference, Vol. 5, No. 0162. Monday, 28 February 1994. From: William Robinson Date: Sunday, 27 Feb 1994 12:15:16 -0500 (EST) Subject: Anthony Bacon is Shakespeare According to the Greek legend, the Phoenix is a lone beautiful bird, the only one of its kind. It is said to live for nearly five hundred years where it then begins to build a nest of dry sticks and twigs while at the same time singing a melodious dirge. When completed it then flaps its wings furiously setting the nest on fire. Resting on top of the burning pile it slowly consumes itself into ashes. It then rises from the ashes a new bird equally alone and unique to live for another five hundred years. The bird not only represents immortality but also an individual who stands apart from the rest, a person of rare qualities. In the play Cymbeline we find that Shakespeare was truly aware of this when he compared Imogen with the Phoenix: If she be furnished with a mind so rare, She is alone the Arabian bird. I,vi. Not only was Shakespeare aware of the symbolism behind the bird but throughout Europe the comparison and significants comes up in the literature of the time. There is an interesting comparison made in a poem written to Anthony Bacon anonymously by some European. It has survived the centuries by being packed away in a bundle of correspondence written by and to Anthony Bacon and is now safely housed at Lambeth Library in London: A. anglais phenix de celeste origine, (English phoenix of celestrial origin) N. Ne pour orner et la terre et les cieus: (Born to adorn the earth and the heavens) T. Ton renom bruit jusques aux envieux: (Thy renown clamours down even to the jealous) H. Honneur te sert, et vertu te domine: (Honorable you serve and virtually you dominate) O. Ornement seul de sagesse et doctrine, (Ornament of wisdom and doctrine) I. Jour, et clairte de tout coeur genereux: (light and clarity to all generous hearts) N. Nous ne scaurions regarder de nos yeux (When we no longer look at you with our eyes) E. Eternite qui devant toi chemine. (you will still walk though eternity) B. Bacon fior di virtu, raro e perfetto A. Animo pronto, angelico intelletto, C. Chiaro lume d'honor e caritade, O. Ornamento e belta di nostra etade, N. Natural real di fidelta pieno E. Essempio d'ogni bon sempre sereno. So this anonymous European thought Mr Bacon was a man who like the Phoenix, had a mind so rare and perfect, that there was no other like him. O Anthony! O thou Arabian bird! Anthony and Cleoprata III,ii. The above is an excerpt from one of several unpublished articles that I have written centering around the life of Anthony Bacon. I am submitting it to this forum for possible discussion in the hopes of getting more information. So far the only sources loaded with information on the subject have consisted of several books: du Maurier, Daphne, Golden Lads (which opened the door) Strachey, Lytton, Elizabeth and Essex Birch, Thomas, Memoirs of the Reign of Queen Elizabeth Spedding, James, The Life and Letters of Francis Bacon By far the most important discovery for me has been Anthony Bacon's correspondence, which is housed in 16 volumes in the Lambeth Palace Library in London. Luckily someone saw fit to put the entire contents on microfilm in distribute it to several libraries throughout the United States. This information has provided me with some interesting parallelisms with the Shakespeare plays and has stimulated me to proceed further. Unfortunately much of the correspondence is written in old english, latin, french, spanish and in some instances in cipher. Anthony Bacon was well versed in several languages having spent 12 years of his life living in Europe gathering intelligence for Sir Francis Walsingham, Secretary of State under Queen Elizabeth. Hooking up to Shaksper I hope will be a godsend to me and anybody who has any information on Anthony Bacon please contact me. Equally so anybody that wants to add pro or con to this discussion, come on in the waters fine. Until next time William A Robinson ========================================================================= Date: Mon, 28 Feb 1994 11:58:07 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0163 Re: Psycho Macbeth Shakespeare Electronic Conference, Vol. 5, No. 0163. Monday, 28 February 1994. From: James McKenna Date: Sunday, 27 Feb 1994 18:54:29 -0500 (EST) Subject: macpsychbeth and th'expense of spirit Thanks Mr. McKay for the reminder of classical ideas of tragedy: right! I'm off the beam to present Macbeth as Everyman. With Willy Loman 350 years in the future, Shakespeare is not writing from a modern perspective but from a modified classical one. But even that aside, does classical tragedy present characters who are truly other than ourselves? One of the blessed byproducts of psychoanalysis is the discovery that these high characters often reside within us. We say that explicitly now, but might it be that the Renaissance was aware that extreme behaviors are not so much other than normal as extremes, normality stretched by obsession and circumstance? I ask that as a real question. In reading comedies of humors, I can see types constructed that are clearly just what they are; not distortions but oddities. Yet such oddities are the staple of television today. Comedy of humors is more alive now than it was then. The existence of truly unhuman characters is not evidence that there is no awareness of the link between godlike ambition and human frailty. You are right to call me on the Everyman slant: that's taking the point too far. But Renaissance writing demonstrates that writers, at least, if not most people, were interested in the question of whether enormities were the actions of a bizarre few or the acting out of common passions by unfortunates. Finally, on Sonnet 129: Why do you pick this one as an example of outlandish behavior? Do I reveal too much about myself? It seems to me that this very hyperbole is the core of the Renaissance megalomaniac: a familiar passion, commonly unacted or mostly suppressed or acted in a very small sphere, expanded onto a stage of nations and kings. What thinkest'ou? James McKenna University of Cincinnati mckennji@ucbeh.bitnet ========================================================================= Date: Mon, 28 Feb 1994 10:58:41 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0160 Re: The Third Murderer in *Macbeth* Shakespeare Electronic Conference, Vol. 5, No. 0160. Monday, 28 February 1994. (1) From: William Godshalk Date: Saturday, 26 Feb 1994 21:24:50 -0500 (EST) Subj: Re: SHK 5.0156 Third Man in *Mac.* (2) From: Sean Lawrence Date: Sunday, 27 Feb 1994 11:46:21 -0400 Subj: Re: SHK 5.0156 Third Man in *Mac.* (3) From: Milla Riggio Date: Monday, 28 Feb 1994 08:18:24 -0500 (EST) Subj: Re: SHK 5.0156 Third Man in *Mac.* (4) From: Luc Borot Date: Monday, 28 Feb 1994 14:33:59 -0500 Subj: 3rd murderer in *Macbeth* (5) From: Hardy M. Cook Date: Monday, February 28, 1994 Subj: The Third Murderer (1)---------------------------------------------------------------------------- From: William Godshalk Date: Saturday, 26 Feb 1994 21:24:50 -0500 (EST) Subject: Re: SHK 5.0156 Third Man in *Mac.* The Three murderers Herb, It just popped into my head (again) that the three murderers are the three witches; I mean the same actors. I've heard the idea of Macbeth as the third murderer debated, and the refutation seemed good. If Macbeth had been at the murder scene, he would know that Fleance had escaped. He wouldn't be surprised when he is told at the banquet scene. For me, that rules out Macbeth. I like the addition of the third murderer because we don't know why Macbeth sent him (or her?). I'm sure that some textual scholars will argue that in the "original, long version" this is all accounted for. I have argued, and I think I will still argue, that MACBETH is not a play revised by what's his face. I forgot Middleton's name for a moment. The play is structurally perfect as it is. OTHELLO also lacks a subplot of any great status. And, Jim McKenna, here we have another example of off stage scheming that is not explained to the audience. We auditors remained puzzled and quarrel over what's going on. We remain ignorant. Was the third murderer Seyton - as is sometimes suggested? The insidious Rosse? Malcolm who has sneaked back to get rid of a potential competitor? Perhaps Lady sneaks out for a little fun? Does Shakespeare always tell his audience what's going on? What about the Paulina/Hermione plot? Paranoid Bill Godshalk (2)---------------------------------------------------------------------------- From: Sean Lawrence Date: Sunday, 27 Feb 1994 11:46:21 -0400 Subject: Re: SHK 5.0156 Third Man in *Mac.* Hi, It seems a little unnecessary to suggest that the third murderer is Macbeth himself. Wouldn't the other two recognize him? Granted, of course, there are any number of disguises in Shakespeare that baffle credulity, and it was night . . . By the way, the BBC production has the third murderer off the other two before walking off stage (or off camera). I think they used Seyton as third murderer. Good luck, Sean Lawrence MAFEKING@AC.DAL.CA (3)---------------------------------------------------------------------------- From: Milla Riggio Date: Monday, 28 Feb 1994 08:18:24 -0500 (EST) Subject: Re: SHK 5.0156 Third Man in *Mac.* On the third murderer in Macboth: One filmmaker (is it Polanski?) brings a sinsiter Ross in as the third murderer, in a role he carries throughout the play. Milla Riggio (4)---------------------------------------------------------------------------- From: Luc Borot Date: Monday, 28 Feb 1994 14:33:59 -0500 Subject: 3rd murderer in *Macbeth* Herb, I can refer you to the excellent analysis of Polanski's film treatment of this question, by two of my Montpellier colleagues, Patricia Dorval and Jean-Marie Maguin, in their paper "Playing on Things as well as Words: Antanaclasis on Screen and Stage", which they read at the first conference of the European Society for the Study of English in 1991, and which was published in *Cahiers Elisabethains* nb42 (Oct 92), pp.57-63 (esp. see 59-60). It is a very subtle and close analysis of the devices and semantic structures involved. hope it helps Luc (5)---------------------------------------------------------------------------- From: Hardy M. Cook Date: Monday, February 28, 1994 Subject: The Third Murderer In the Plummer-Jackson *Macbeth* of several years back (as with a number of other productions I've seen) the Third Man (strains of Reed-Welles film) is the conflated, omnipresent henchman -- Seyton. ========================================================================= Date: Mon, 28 Feb 1994 11:47:25 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0161 Re: Staging *The Tempest* Shakespeare Electronic Conference, Vol. 5, No. 0161. Monday, 28 February 1994. (1) From: Jerald Bangham Date: Saturday, 26 Feb 1994 19:16:34 Subj: Re: SHK 5.0156 *Tempest* Problem (2) From: Cary M. Mazer Date: Sunday, 27 Feb 94 11:31:34 EST Subj: Re: SHK 5.0156 Staging The Tempest (1)---------------------------------------------------------------------------- From: Jerald Bangham Date: Saturday, 26 Feb 1994 19:16:34 Subject: Re: SHK 5.0156 *Tempest* Problem >I've been reading through the Tempest and I want to do it for the Fall >production at my university. However, the vanishing banquet scene has got me >boggled. I want to do the play in the round and I am curious if any one has >seen this play done in the round and if so how was this scene done. I saw the scene at Stratford Ont, but don't remember how it was staged. One possibility would be a platform that could be carried on stage that had some kind of a flip top and a flash box. You might just have "spirits" come in and whisk the stuff away, again with lights, smoke etc. Jerry Bangham jbangham@kudzu.win.net (2)---------------------------------------------------------------------------- From: Cary M. Mazer Date: Sunday, 27 Feb 94 11:31:34 EST Subject: Re: SHK 5.0156 Staging The Tempest To Chris Daigle, Before you get tied up in the logistics of blocking, you might ask some more fundamental questions about magic and theatre and audiences in the play. What--to borrow a concept from Alan Dessen--does it mean to see or not to see something? What can Prospero see that the other Italians can't (e.g. Ariel)? What does he see that we in the audience can or cannot? Find a theatre conventon that helps you to establish how seeing works vis-a-vis magic, and you can throw away the strobe lights, blackouts, fairy dust and trap doors. Have fun. Cary M. Mazer ========================================================================= Date: Tue, 1 Mar 1994 13:43:23 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0164 Qs: Co-Author; Most Popular; Prospero; *Dream* Video Shakespeare Electronic Conference, Vol. 5, No. 0164. Tuesday, 1 March 1994. (1) From: Gerhard Rempel Date: Monday, 28 Feb 1994 05:52:53 -0500 (EST) Subj: Co-author sought (2) From: Don Rowan Date: Monday, 28 Feb 94 10:01:35 AST Subj: Shakespeare's Most Popular Play? (3) From: Joan Hartwig Date: Monday, 28 Feb 94 11:43:26 EST Subj: Colonizer Prospero (4) From: Charles Edelman Date: Tuesday, 01 Mar 94 13:06:00 EST Subj: Reinhardt-Dieterle 'Dream' (1)---------------------------------------------------------------------------- From: Gerhard Rempel Date: Monday, 28 Feb 1994 05:52:53 -0500 (EST) Subject: Co-author sought My dean, Burton Porter, has asked me to send this query for a co-author out on the net. He has a contract to write an English Composition text from a critical- thinking perspective. He would like to have a co-author with experience in teaching composition from that viewpoint. His own field is philosophy. If interested, please reply to me and I will convey the information to him, or contact him by snail-mail: Dean Burton Porter School of Arts and Sciences Western New England College Springfield, Ma 01119 Thanks. Gerhard Rempel GRempel@WNEC/Western New England College, Springfield, Ma 01119. USA (2)---------------------------------------------------------------------------- From: Don Rowan Date: Monday, 28 Feb 94 10:01:35 AST Subject: Shakespeare's Most Popular Play? I am interested in the opinion of any one of you as to which is Shakespeare's most popular play? On what parameters could one make a judgement? My guess is *MND*. Don Rowan rowan@unb.ca (3)---------------------------------------------------------------------------- From: Joan Hartwig Date: Monday, 28 Feb 94 11:43:26 EST Subject: Colonizer Prospero A colleague in the German department has heard of a recent scholarly discussion on Prospero as the "first colonizer." Does anyone know what this is and where to find it? Thanks, Joan (4)---------------------------------------------------------------------------- From: Charles Edelman Date: Tuesday, 01 Mar 94 13:06:00 EST Subject: Reinhardt-Dieterle 'Dream' If anyone knows a source (purchase) for a video of the Reinhardt-Dieterle film of 'Midsummer Night's Dream' (which featured J. Cagney as Bottom) I would be pleased to know of it. Thanks, Charles Edelman, Edith Cowan University, Australia EMAIL: C.Edelman@cowan.edu.au ========================================================================= Date: Tue, 1 Mar 1994 13:51:27 EST Reply-To: Shakespeare Electronic Conference Sender: Shakespeare Electronic Conference From: "Hardy M. Cook" Subject: SHK 5.0165 Re: First Times with Shakespeare Shakespeare Electronic Conference, Vol. 5, No. 0165. Tuesday, 1 March 1994. (1) From: Hilary Thimmesh Date: Monday, 28 Feb 1994 10:12:59 -0600 (CST) Subj: first times (2) From: James Schaefer Date: Monday, 28 Feb 1994 11:03:05 -0500 (EST) Subj: Re: SHK 5.0158 Re: First Times with Shakespeare (3) From: Kevin Berland Date: Monday, 28 Feb 94 16:43 EST Subj: Re: SHK 5.0158 Re: First Times with Shakespeare (1)---------------------------------------------------------------------------- From: Hilary Thimmesh Date: Monday, 28 Feb 1994 10:12:59 -0600 (CST) Subject: first times As a college freshman I played Osric--a role I spent the rest of my college years living down--and served as a sort of stage manager for a student pro- duction of *Hamlet*. The only excuse for attempting the play was that Hamlet had been reincarnated as a sophomore at St. John's that year. Gerry Potter was tall, dark, introspective, intellectual, and he had the voice to go with the role. When it was all over I was hooked on Shakespeare's language forever. Hilary Thimmesh (2)---------------------------------------------------------------------------- From: James Schaefer Date: Monday, 28 Feb 1994 11:03:05 -0500 (EST) Subject: Re: SHK 5.0158 Re: First Times with Shakespeare "I an itchy palm?" is just as bad as "Fly, Fleance," and did nothing to endear _my_ high school class to Shakespeare. I got hooked in the summer of 68 when the senior member of the English Dept. at Beloit, the late Bernie Morrissey, let a doctoral student who was on a temporary appointment teach "his" Shakespeare course. Somehow I never finished a single play, but she got me hooked on digging into the language. Her name was Alison Sulloway. If anyone knows where she may have wound up, I'd appreciate a private mail note. Jim Schaefer schaefej@guvax.georgetown.edu (202) 687-4478 (3)---------------------------------------------------------------------------- From: Kevin Berland Date: Monday, 28 Feb 94 16:43 EST Subject: Re: SHK 5.0158 Re: First Times with Shakespeare In grade 11 in Regina, we had a new teacher, Miss Thorfinsson, who seemed to be a promising target for classr