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Provides introduction, overview, and techniques for how to use Python digital software for modeling and simulating data. Discusses case study of using Hidden Markov Model (HMM) to generate new texts after being trained on Romeo and Juliet.
Explores significance of reading and teaching Renaissance literature in digital age. Considers electronic Shakespeare library housed by Schoenberg Center for Electronic Text and Image (SCETI) at University of Pennsylvania. Argues digital rare book library contributes to pedagogy but also to conversations about what it means to teach with rare books through digital means.
Includes one essay on Shakespeare.
Illuminates incidents of anti-immigrant violence in contemporary Germany, many of which targeted individuals of Turkish and Greek background. Considers especially failure of state to protect citizens from racism. Connects xenophobia and Islamophobia with similar currents in Othello. Introduction by Preti Taneja.
Reevaluates English literary canon through lens of women writers. Considers "female contemporaries" of Shakesepare, namely early modern women writers including Aemilia Lanyer, Anne Bradstreet, Aphra Behn, and more.
Explores sources presumably employed by Edward de Vere in writing plays and poems supposedly by Shakespeare. Contends extensive examination of sources for Shakespeare's works inevitably leads to "truth" that de Vere is actual author.
Translated into German by Frank Günther. Lisa Evers, dramaturg. Sets by Philip Rubner, costumes by Miriam Schubach, and music by Ludwig Peter Müller.
Produced by Deutsches Nationaltheater und Staatskapelle Weimar (https://www.nationaltheater-weimar.de) at the Großes Theater, Weimar, beginning 26 May 2022.
With Johanna Geißler (Prospera), Bastian Heidenreich (Antonio), Tahera Hashemi (Miranda), Annelie Korn (Ariel), Martin Esser (Caliban), Dascha Tautwein (Stephano), Miro Maurer (Trinculo), Anna Windmüller (Alonsa), Philipp Otto (Sebastian), Janus Torp (Ferdinand), and Lutz Salzmann (Gonzalo).
Finnja Denkewitz, dramatrug. Sets by Katrin Brack, costumes by Adriana Braga Peretzki, lighting by Holger Stellwag, and music by Friederike Bernhardt and Matti Gajek.
Produced by Deutsches Schauspielhaus (https://schauspielhaus.de) at the Schauspielhaus, Hamburg, beginning 10 May 2022.
Translated into German by Rebecca Kricheldorf. Eveline Günther, dramaturg. Sets by Linda Kowsky; music by Felix Mendelssohn-Bartholdy.
Produced by Deutsch-Sorbisches Volkstheater (https://www.theater-bautzen.de) at the Großes Haus main stage, Bautzen, beginning 8 April 2022.
With Niklas Krajewski (Lysander), Janik Marder (Demetrius), Larissa Ruppert (Hermia), Maja Adler (Cobweb), Alexander Höchst (Theseus/Oberon), Katja Reimann (Hippolyta/Titania), Ralph Hensel (Flute), Julia Klingner (Helena), Marian Bulang (Bottom), Mirko Brankatschk (Puck 2), Ralph Hensel (Snug), Erik Dolata (Snug), Fiona Piekarek-Jung (Puck 1), Gabriele Rothmann (Peter Quince), Thomas Ziesch (Starveling), Jan Mickan (Egeus/Moth), Torsten Schlosser (Snout), Jurik Schiemann (Peaseblossom), and Anna-Maria Brankatschk (Mustardseed).
Investigates Shakespeare's influence on Romanian drama. Examines Romanian dramatists, including Marin Sorescu, Matei Vişniec, and Olivia Negrean, in order to examine intertextuality between Shakespeare and Romanian playwriting.