Smith 2009 - Revision history

Wtrettien: /* The Curtain between the Theatre and the Globe */

2010-12-07T18:15:51Z

The Curtain between the Theatre and the Globe

← Older revision		Revision as of 18:15, 7 December 2010
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	"narrative events on the stage platform were played in front of -- and often enough ''out of'' -- woven or painted hangings. .. Did these figures extend antic work that was to be seen in the woven hangings themselves?" (226)		"narrative events on the stage platform were played in front of -- and often enough ''out of'' -- woven or painted hangings. .. Did these figures extend antic work that was to be seen in the woven hangings themselves?" (226)

			:"the term 'hanging's is too inert. Far from just ''being'' there, stage fabrics in Shakespeare's theater were involved in actions, in doing things. Beds were thrust forth between them, swords were thrust through them, they were drawn back, they were closed, through them on certain occasions actors went out and in, they moved the spectators' imaginations from one place to another." (242)
			* implicated in activities like hiding, discovering, sexual pleasuring, sleeping, dying, reading, writing, dreaming, eating, moving

			:"The passion inspired by the curtain, I have been suggesting, is a desire not just to hear the words and see the spectacle but to ''go there''. On occasion, spectators were physically able to do just that, and we can follow them.. To make such a move, '''one has to stop thinking of the curatin as a barrier and consider it as a medium'''." (243)

			in Restoration, backstage becomes "green room" (245); "the liminality of the space behind-the-curtain" (246)

			:"The Theatre and the Globe: between those two entities a medium was required in 1597-1599 and is still required today. That medium was and is the Curtain." (247)

Wtrettien: /* The Curtain between the Theatre and the Globe */

2010-12-07T18:03:15Z

The Curtain between the Theatre and the Globe

← Older revision		Revision as of 18:03, 7 December 2010
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	if the scripts associated with the Lord Chamberlain's Men at the Curtain are evidence, "we need to imagine woven hangings of some sort -- arras, tapestry, curtain, traverse -- as a frequent if not constnat visual feature of stages in early modern London's outdoor theaters" (221)		if the scripts associated with the Lord Chamberlain's Men at the Curtain are evidence, "we need to imagine woven hangings of some sort -- arras, tapestry, curtain, traverse -- as a frequent if not constnat visual feature of stages in early modern London's outdoor theaters" (221)

			"narrative events on the stage platform were played in front of -- and often enough ''out of'' -- woven or painted hangings. .. Did these figures extend antic work that was to be seen in the woven hangings themselves?" (226)

Wtrettien: /* The Curtain between the Theatre and the Globe */

2010-12-07T18:01:19Z

The Curtain between the Theatre and the Globe

← Older revision		Revision as of 18:01, 7 December 2010
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	Flecknoe: taking in a play is like walking through a garden, an '''ambient experience'''		Flecknoe: taking in a play is like walking through a garden, an '''ambient experience'''

			curtains pulled aside, "words and spectacle seem to work in tension, if not in opposition" (221); "In moments of revelation, when the arras was pulled aside, spectator-listeners could experience eloquence in both forms, a coming together of words and vision, within a suddenly unified perceptual space, at a keenly anticipated moment in time" (221)

			if the scripts associated with the Lord Chamberlain's Men at the Curtain are evidence, "we need to imagine woven hangings of some sort -- arras, tapestry, curtain, traverse -- as a frequent if not constnat visual feature of stages in early modern London's outdoor theaters" (221)

Wtrettien: /* Listening for Green */

2010-12-07T17:58:53Z

Listening for Green

← Older revision		Revision as of 17:58, 7 December 2010
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	"The green potential in Renaissance verse is even more radical than that. It dissolves words, not into other words, but into non-semantic sound. It does not just break words down into phonemes that can be recombined with other phonemes in new and interesting ways; it''liquefies'' words. That potential, present in all languages, whatever the time and place in which speakers and listeneres find themselves, is positively encouraged by a physiology of knowing, current among speakers of English in the c17, in which the passions 'hear' sensations before reason does. The sensations circulate throughout the body as an aerated fluid on which reason's imprint is always insubstantial." (206)		"The green potential in Renaissance verse is even more radical than that. It dissolves words, not into other words, but into non-semantic sound. It does not just break words down into phonemes that can be recombined with other phonemes in new and interesting ways; it''liquefies'' words. That potential, present in all languages, whatever the time and place in which speakers and listeneres find themselves, is positively encouraged by a physiology of knowing, current among speakers of English in the c17, in which the passions 'hear' sensations before reason does. The sensations circulate throughout the body as an aerated fluid on which reason's imprint is always insubstantial." (206)


	== The Curtain between the Theatre and the Globe ==		== The Curtain between the Theatre and the Globe ==

Wtrettien at 17:57, 7 December 2010

2010-12-07T17:57:33Z

← Older revision		Revision as of 17:57, 7 December 2010
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	ekphrasis, relation between words and things in the Faerie Queene, Rape of Lucrece, Richard Crashaw's ''Flaming Heart''		ekphrasis, relation between words and things in the Faerie Queene, Rape of Lucrece, Richard Crashaw's ''Flaming Heart''

			== Listening for Green ==

			sound as color; see Rabelais, Newton

			"Greensleeves" (178)

			ballads, psalms

			oral events, noise, hubbub -- from Michel Serres, ''Genesis'' -- from the beginning of Shakespeare's plays; "all of these aural events -- the 'O' uttered by public voices of command, the 'Tush' of private voices in conversation, rolls of thunder, staged hubbub, consorted music -- belong to the same space as grotesquerie and antic work in tapestries. they offer the audience's ears a time for sense, common sense, imaginatino, fantasy, and passion to begin their play." (193)
			* white noise of the theatre (193)

			"The green potential in Renaissance verse is even more radical than that. It dissolves words, not into other words, but into non-semantic sound. It does not just break words down into phonemes that can be recombined with other phonemes in new and interesting ways; it''liquefies'' words. That potential, present in all languages, whatever the time and place in which speakers and listeneres find themselves, is positively encouraged by a physiology of knowing, current among speakers of English in the c17, in which the passions 'hear' sensations before reason does. The sensations circulate throughout the body as an aerated fluid on which reason's imprint is always insubstantial." (206)


			== The Curtain between the Theatre and the Globe ==

			close of the Theatre in 1597; for 20 months, plays were performed at the Curtain, before the Globe opened

			modern assumption that c16-17 stages were bare, black; but would have been hung with curtains, arras, hanging cloth, tapestries
			* "with respect to stage performance, like everything else, we want what we know to be clear and distinct. We have accepted flacknoe's distinction between the black-and-white clarity and solidity of the verbal text, which we hear in performance and later can verify in the printed script, and the colored blur and ceaseless motion of jthe live visual experience, which eludes us as soon as it happens. Color and movement are not appropriate objects of knowledge" (211)

			new media like CDs, video tapes, etc., "let us maintain the subject/object distance that has proved so reassuring since the late seventeenth century"; but scripts from the Curtain "suggest ways o watching and listening in which the relationship of subject and object is dynamic, not fixed" (212)

			Flecknoe: taking in a play is like walking through a garden, an '''ambient experience'''

Wtrettien: /* Green Spectacles */

2010-12-07T15:57:13Z

Green Spectacles

← Older revision		Revision as of 15:57, 7 December 2010
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	using '''ekphrasis''' to understand how c17 men and women ordered their perceptions		using '''ekphrasis''' to understand how c17 men and women ordered their perceptions

			painted mirror hung atop a tapestry; situates the viewer in the scene (138)

			Hardwick Hall, portraits hung atop tapestries; up close, the portraits serve as borders; far away, the grand narrative of the tapestries dwarf the portraits (139)
			* "Boundaries between words and pictures are not fixed. Rather, words can inform pictures, and pictures can inform words, to produce the state of 'semiotic virtuoisty' that Campbell describes." (144)
			* visual environment is "layered: pattern upon pattern, story upon story" (144)

			plants "provide the green matrix" for tapestry narratives (146-7)

			:"To shift one's gaze from tapestries, painted cloths, and painted panels to the printed page was not, in the sixteenth and seventeenth centuries, so disruptive as it might seem today. ... tapestries or painted cloths might provide the surroundings for reading a book. ... one of the most frequent fictional locations that might be discovered by drawing back a curtain was a study, often with the character in the pose of a reader, asleep in a chair over a book. And among the productions of the sheldon workshops were tapestry book covers ... Whatever a books' content, the effect of such bindings as a reader took the book in hand would have been the equivalent of the verdure and antic work of tapestries. If an engraved title page were present, framing printed letters with strap work, plant motifs, or antic figures, the reader would have entered the book via an '''intermediary between the visual fantasy of the cover and the printed words of the text'''" (152)

			ekphrasis, relation between words and things in the Faerie Queene, Rape of Lucrece, Richard Crashaw's ''Flaming Heart''

Wtrettien: /* Green Spectacles */

2010-12-07T14:55:52Z

Green Spectacles

← Older revision		Revision as of 14:55, 7 December 2010
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	for Horace, both poetry and painting share the "coordinates of space, light value, and time" (126)		for Horace, both poetry and painting share the "coordinates of space, light value, and time" (126)

			'''connection to book history''':

	:"Recent histories of 'the book' (note the singular) -- Lucien Febvre and Henri-Jean martin's ''The Coming of the Book'' (1976), Eliza eth Eisenstein's ''The Printing Revolution in Early Modern Europe'' (1983), Adrian Johns's ''The Nature of the Book'' (1998), John Barnard and D. F. McKenzie's ''The Cambridge History of the Book in Britain'', vol. 4 (2002), Roger Chartier's ''Inscription and Erasure'' (1007) -- tend to assume a 'reader' (note the singular) who is absent in body, unlocated in space and time, sedentary in posture, totally absorbed by the printed text he holds in his hands. He never yawns, he never lets his mind wander, he never even looks around. Should he have done so, there would have been plenty to distract him in the spaces where sixteenth- and seventeenth-century men and women actually did much of their reading: gardens like Marvell's and 'cabinets' or 'closets' like William Murray's at Ham House. The interplay of visual objects and printed texts in spaces like the Green Closet at Ham House produced, according to Stephen J. Campbell, a 'semiotic vituosity' in which texts might provide 'a poetic and metaphoric commentary on objects in the collections.' That virtuosity could, it seems to me, operate i nthe other direction as well, as images in the room informed texts in hand. In England at least, the ambience in such spaces was usually provided by folds of woven fabric in the form of tapestries, hangings, painted cloths, bed curtains, needlework cushions, and carpets. These woven artifacts figure as physical, period-specific versions of the ''assemblage'', the interlacing, the weaving, the infolding that Derrida finds in the space between one letter and another. They give us reference points for understanding how Renaissance men and women walking, sitting, and reclining within arbors and chambers might have taken printed texts in hand and read them. Ambient reading in such spaces encourages constant -- and constantly varying -- interplay between the verbal and the visual." (127-8)		:"Recent histories of 'the book' (note the singular) -- Lucien Febvre and Henri-Jean martin's ''The Coming of the Book'' (1976), Eliza eth Eisenstein's ''The Printing Revolution in Early Modern Europe'' (1983), Adrian Johns's ''The Nature of the Book'' (1998), John Barnard and D. F. McKenzie's ''The Cambridge History of the Book in Britain'', vol. 4 (2002), Roger Chartier's ''Inscription and Erasure'' (1007) -- tend to assume a 'reader' (note the singular) who is absent in body, unlocated in space and time, sedentary in posture, totally absorbed by the printed text he holds in his hands. He never yawns, he never lets his mind wander, he never even looks around. Should he have done so, there would have been plenty to distract him in the spaces where sixteenth- and seventeenth-century men and women actually did much of their reading: gardens like Marvell's and 'cabinets' or 'closets' like William Murray's at Ham House. The interplay of visual objects and printed texts in spaces like the Green Closet at Ham House produced, according to Stephen J. Campbell, a 'semiotic vituosity' in which texts might provide 'a poetic and metaphoric commentary on objects in the collections.' That virtuosity could, it seems to me, operate i nthe other direction as well, as images in the room informed texts in hand. In England at least, the ambience in such spaces was usually provided by folds of woven fabric in the form of tapestries, hangings, painted cloths, bed curtains, needlework cushions, and carpets. These woven artifacts figure as physical, period-specific versions of the ''assemblage'', the interlacing, the weaving, the infolding that Derrida finds in the space between one letter and another. They give us reference points for understanding how Renaissance men and women walking, sitting, and reclining within arbors and chambers might have taken printed texts in hand and read them. Ambient reading in such spaces encourages constant -- and constantly varying -- interplay between the verbal and the visual." (127-8)

			using '''ekphrasis''' to understand how c17 men and women ordered their perceptions

Wtrettien: /* Between Black and White */

2010-12-07T14:45:38Z

Between Black and White

← Older revision		Revision as of 14:45, 7 December 2010
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	* spectrum can't be read chronologically (123)		* spectrum can't be read chronologically (123)
	* using Raymond Williams: at any given moment, residual, dominant and emergent ideas/cultures exist simultaneously		* using Raymond Williams: at any given moment, residual, dominant and emergent ideas/cultures exist simultaneously

			== Green Spectacles ==

			''Ut pictura poesis'', poetry is like a picture;
			* picture is capacious word in Renaissance, can refer to tapestry, sculpture, painting, emblems, poetry;
			* from Horace's "Ars Poetica"
			* arts weren't distinguished by media until eighteenth-century aestheticians like Shaftesbury and Lessing sorted them that way

			for Horace, both poetry and painting share the "coordinates of space, light value, and time" (126)

			:"Recent histories of 'the book' (note the singular) -- Lucien Febvre and Henri-Jean martin's ''The Coming of the Book'' (1976), Eliza eth Eisenstein's ''The Printing Revolution in Early Modern Europe'' (1983), Adrian Johns's ''The Nature of the Book'' (1998), John Barnard and D. F. McKenzie's ''The Cambridge History of the Book in Britain'', vol. 4 (2002), Roger Chartier's ''Inscription and Erasure'' (1007) -- tend to assume a 'reader' (note the singular) who is absent in body, unlocated in space and time, sedentary in posture, totally absorbed by the printed text he holds in his hands. He never yawns, he never lets his mind wander, he never even looks around. Should he have done so, there would have been plenty to distract him in the spaces where sixteenth- and seventeenth-century men and women actually did much of their reading: gardens like Marvell's and 'cabinets' or 'closets' like William Murray's at Ham House. The interplay of visual objects and printed texts in spaces like the Green Closet at Ham House produced, according to Stephen J. Campbell, a 'semiotic vituosity' in which texts might provide 'a poetic and metaphoric commentary on objects in the collections.' That virtuosity could, it seems to me, operate i nthe other direction as well, as images in the room informed texts in hand. In England at least, the ambience in such spaces was usually provided by folds of woven fabric in the form of tapestries, hangings, painted cloths, bed curtains, needlework cushions, and carpets. These woven artifacts figure as physical, period-specific versions of the ''assemblage'', the interlacing, the weaving, the infolding that Derrida finds in the space between one letter and another. They give us reference points for understanding how Renaissance men and women walking, sitting, and reclining within arbors and chambers might have taken printed texts in hand and read them. Ambient reading in such spaces encourages constant -- and constantly varying -- interplay between the verbal and the visual." (127-8)

Wtrettien: /* Between Black and White */

2010-12-07T14:25:26Z

Between Black and White

← Older revision		Revision as of 14:25, 7 December 2010
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	"animate materialists": Isaac Barrow, Francis Glisson, unknown author of ''Raleigh's Sceptick''; refuse mind-body binary; for Barrows, magnetism proves extension of spirit into matter (103-4)		"animate materialists": Isaac Barrow, Francis Glisson, unknown author of ''Raleigh's Sceptick''; refuse mind-body binary; for Barrows, magnetism proves extension of spirit into matter (103-4)

	Helkiah Crooke and Descartes (104-5)		Mapping Renaissance theories of mind to the color spectrum:
			* Helkiah Crooke and Descartes (104-5)
	Montaigne; Edward Herbert, ''De veritate'' (1624) -- all but forgotten now, but grounds for Kant and phenomenology (107-8)		* Montaigne; Edward Herbert, ''De veritate'' (1624) -- all but forgotten now, but grounds for Kant and phenomenology (107-8)
			* Margaret Cavendish
			* Descartes, Thomas Browne, Ralph Cudworth, Locke and a scene of writing (4.11) (121-2)
			* spectrum can't be read chronologically (123)
			* using Raymond Williams: at any given moment, residual, dominant and emergent ideas/cultures exist simultaneously

Wtrettien: /* Between Black and White */

2010-12-07T00:29:37Z

Between Black and White

← Older revision		Revision as of 00:29, 7 December 2010
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	== Between Black and White ==		== Between Black and White ==

			Margaret Cavendish, "juxtaposition of rational argument and fanciful fiction" in pairing ''Observations'' with ''Blazing World'' (102)

			"animate materialists": Isaac Barrow, Francis Glisson, unknown author of ''Raleigh's Sceptick''; refuse mind-body binary; for Barrows, magnetism proves extension of spirit into matter (103-4)

			Helkiah Crooke and Descartes (104-5)

			Montaigne; Edward Herbert, ''De veritate'' (1624) -- all but forgotten now, but grounds for Kant and phenomenology (107-8)