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Obituary for David Lindler, scholar of poetry and music, court masque, and plays of Shakespeare.
Discusses motivations of director Yang Jung-Ung and his actors to translate Midsummer Night’s Dream (q.v.) for contemporary Korean theatrical audiences. Defends Yang against critiques for creating own dialogue instead of relying on Shakespearean language. Argues that “the beauty of poetry is not only in Shakespeare’s language itself, but rather it is in the mental process of how the artist and audiences understand and translate its meaning in their cultural contexts.” English summary, online.
Argues early modern literary and visual texts "represent and render womanhood as a specifically and singularly white construction." Considers how this establishes "co-constitution" of gender and race and how white womanhood is "mobilized to underwrite the operations of violence and enslavement." Examines formations of white womanhood in plays by Shakespeare including Othello, Comedy of Errors, and more.
Discusses career of Elizabethan clown Will Kemp and his shifting fortunes within Shakespeare’s Lord Chamberlain’s Company, performing roles including Dogberry in Much Ado About Nothing, Bottom in A Midsummer Night’s Dream and perhaps Falstaff in Henry IV Parts 1 & 2. Argues Kemp’s departure from Lord Chamberlain's Men signaled “growing rift in western culture after the Middle Ages, between two opposing definitions of what was funny,” with Kemp embodying broad physical comedy and deliberate misunderstandings by foolish, vulgar clown type, while his successor Robert Armin signaled new trend of sophisticated and clever clown wryly commenting on events and social mores.
Explores significance of Caliban as embodiment of colonial ideology in early modern period. Starting with notion of Caliban as "enemy Other" in play, deploys deconstructionist approach to put "concept of ‘evil’ under erasure" to argue "that Caliban’s evilness is a mere production of rhetoric and discourse rather than a reality in itself." English summary, online.
Considers relationship between interface and abstraction, wherein each isolates, simplifies, and mimics key elements of complex entities. Argues "interfaces abstract the system they mediate on behalf of the users they address, often with the goal of making complex systems accessible." Explores how Shakespeare's plays are accessed through variety of interfaces that abstract texts and performances, such as dramatis personae and plot summaries. States that "rather than dismissing these modes of abstraction as riff-raff distracting us from the 'real' thing, this chapter takes seriously the ways in which abstract information about the plays sequences, conditions, and even makes possible our comprehension." English summary, online.
Considers interface design as applied to editorial theory for scholarly editions of Shakespeare's plays. Discusses how interface design is "artiginal" or resulting from modifications of pre-existing, popular, forms.
Traces history of technical innovation that "gave rise to the context-dependency of digital representations." Investigates how layers of "meaning-making contextualization" obscured such innovation. Considers various digital forms used to render and encode Shakespearean text.
Investigates "hidden grounds of Shakespearean interface" as form that challenges naturalized views of "interfacial economies" involving practices of scale, aggregation, branding, data extraction, and monetization. Seeks to theorize interfaces through Shakespearean effect and adaptive uses of Shakespeare.
Investigates "boundedness" of interface in five environments: human body and vocal apparatus, inhabitations of Shakespeare's fictions, theater buildings as acoustic spaces, space between text and readers' eyes and "field" that binds scholars to Shakespeare. Within each interface, "situate[s] voice as an energy force and human actors as competitors."