SAA 2015: Difference between revisions
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(Created page with ""Shakespeare and the Cut" plenary Bruce Smith, "Rethinking the Cut in an Age of Distraction * fetishizing cuts today * omissions only became 'cuts' in 1670s; 18c 'cut' become...") |
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"Shakespeare and the Book" seminar | |||
exceptions -- how to read them? | |||
"ENTAILMENT" -- Michael Witmore and Jonathan Hope on genre; genre "entails" certain pronouns | |||
Nehemas, "Writer Text Work Author" -- alternative to Foucault's "What is an Author?" | |||
Puttenham on parentheses | |||
"Shakespeare and the Cut" plenary | "Shakespeare and the Cut" plenary | ||
Revision as of 04:07, 4 April 2015
"Shakespeare and the Book" seminar
exceptions -- how to read them?
"ENTAILMENT" -- Michael Witmore and Jonathan Hope on genre; genre "entails" certain pronouns
Nehemas, "Writer Text Work Author" -- alternative to Foucault's "What is an Author?"
Puttenham on parentheses
"Shakespeare and the Cut" plenary
Bruce Smith, "Rethinking the Cut in an Age of Distraction
- fetishizing cuts today
- omissions only became 'cuts' in 1670s; 18c 'cut' becomes established term, perhaps because of editions
- film gave the term new currency
- need a phenomenology of cutting: perception, materials/technology, aesthetics
- Smock Alley promptbooks, late 17c, Dublin; G. Blakemore Evans argument about them
- cutwork in construction of Shx mss
- "seamed" -- Cavendish uses this term as a metaphor for writing plays
- importance of cutwork in costumes
- Burroughs -- Shakespeare cut-ups; Los Angeles Museum of Art (most cuts have already been processed/typed up)
Thomas Cartelli
- difference-making engine of cutting
- not adaptation but displacement; projective, not retrospective
- "On Algorithmic Theatre"