The Shakespearean International Yearbook: Special Section, Digital Shakespeares

231 Pages·1.591 MB·English

by  Tom Bishop, Alexa Huang, Brett D. Hirsch, Hugh Craig

The ShakeSpearean
InTernaTIonal Yearbook
14: SpecIal SecTIon,
DIgITal ShakeSpeareS
General editors
Tom bishop, University of auckland, auckland, new Zealand
alexa huang, george Washington University, Washington, D.c., USa
editor emeritus
graham bradshaw, chuo University, Japan
advisory Board
Supriya chaudhuri, Jadavpur Universisty, kolkata, India
natasha Distiller, University of cape Town, cape Town, republic of South
africa
Jacek Fabiszak, adam Mickiewicz University, poznan, poland
atsuhiko hirota, Univisity of kyoto, kyoto, Japan
Ton hoenselaars, University of Utrecht, Utrecht, netherlands
peter holbrook, University of Queensland, brisbane, australia
Jean howard, columbia University, new York city, USa
ania loomba, University of pennsylvania, philadelphia, USa
kate Mcluskie, University of birmingham, birmingham, Uk
alfredo Modenessi, Universidad nacional autónoma de México, Mexico
city, México
ruth Morse, Université paris VII, paris, France
bill Worthen, barnard college, new York city, USa
The Shakespearean
International Yearbook
14: Special Section,
Digital Shakespeares
general editors
Tom bishop and alexa huang
guest editors
brett D. hirsch and hugh craig
© The editors and contributors, 2014
all rights reserved. no part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.
The editors and contributors have asserted their right under the copyright, Designs and
Patents Act, 1988, to be identified as the authors of this work.
published by
ashgate publishing limited ashgate publishing company
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British Library Cataloguing in Publication Data
a catalogue record for this book is available from the british library
The Library of Congress has cataloged the printed edition as follows:
library of congress control number: 2014937556
ISbn 9781472439642 (hbk)
ISbn 9781472439659 (ebk – pDF)
ISbn 9781472439666 (ebk – epUb)
V
Contents
List of Figures vii
Preface ix
PART I: SPECIAL SECTION: DIgITAL ShAkESPEARES:
INNOvATIONS, INTERvENTIONS, MEDIATIONS
1 “Mingled Yarn”: The State of Computing in Shakespeare 2.0 3
Brett D. Hirsch and Hugh Craig
2 Shakespeare’s Insides: A Systematic Study of a Dramatic Device 37
Marcus Nordlund
3 New Contexts for History: The Online History Play and Digital
Connectivity 57
Rosemary Gaby
4 SET Free: Breaking the Rules in a Processual, User-Generated,
Digital Performance Edition of Richard the Third 69
Jennifer Roberts-Smith, Shawn DeSouza-Coelho, Teresa Dobson,
Sandra Gabriele, Omar Rodriguez-Arenas, Stan Ruecker,
Stéfan Sinclair, and Paul Stoesser with Alexandra Kovacs
5 YouTube, Shakespeare and the Sonnets: Textual Forms,
Queer Erasures 101
Stephen O’Neill
6 “The World Together Joins”: Electronic Shakespearean
Collaborations 117
Sheila T. Cavanagh and Kevin A. Quarmby
7 Mediating Textual Annotation in the Online Scholarly Edition 133
Sarah Neville
v
vi THE SHAKESPEAREAN INTERNATIONAL YEARBOOK: 14
8 The Shakespeare Quartos Archive 143
Christy Desmet
9 Shakespeare’s Globe Goes Global Shakespeares 155
Whitney Anne Trettien
10 Shakespeare’s The Tempest, App for iPad 161
Eric Rasmussen
PART II
11 The Field in Review: Shakespeare in Changing Times
and a Changing World 167
Ema Vyroubalová
Bibliography 189
Notes on Contributors 211
Index 217
List of Figures
2.1 Coding sheet for Shakespeare’s insides 46
2.2 Distribution of apostrophe in insides, per play and phase 51
4.1 Overview of our speculative edition of an excerpt of the
Queen’s Men’s True Tragedie of Richard the Third in SET,
showing the relative emphasis on the Queen’s Men’s play
over Shakespeare’s 73
4.2 A visualization of the affective impact of direct audience
address by a child actor in The True Tragedie, with annotations
in various media showing parallels between the Queen’s Men’s
performance techniques and Shakespeare’s in Richard III 76
4.3 The Crown Prince addresses an audience member
in the upper east wall galleries 79
4.4 The Crown Prince addresses an audience member
on the hall floor 80
4.5 The Crown Prince addresses on-stage characters 81
4.6 The perspective of an audience member in the
dignitaries’ gallery, annotated 85
4.7 The perspective of an audience member in the
screens gallery, annotated 86
4.8 The perspective of an audience member in the
upper east wall gallery, annotated 87
4.9 The perspective of an audience member on the hall
floor, annotated 88
4.10 The perspective of the actor playing the Crown Prince,
annotated 89
4.11 The Crown Prince’s lament as an annotated,
iterative performance tradition 93
4.12 The SET system’s help video 95
viii
PrEFACE ix
8.1 Screen capture of Shakespeare Quartos Archive Library
window, with a 1605 Q2 variant selected 146
8.2 Screen capture of side-by-side comparison of Q1 Hamlet (1603)
and Q3 Hamlet (1611) from Shakespeare Quartos Archive 147
8.3 Juxtaposed images of the Corambis’/Polonius’ advice
to Laertes in Q1 and Q2 from Shakespeare Quartos Archive 150
8.4 Screen capture detail of marginalia in a Hamlet Q1 (1603)
from Shakespeare Quartos Archive 151
Preface
A decade has passed since Ian Lancashire published in this journal the
thorough and thoughtful assessment of the state of computing in Shakespeare
studies that has defined many of the terms and parameters of the study of
Shakespeare through computational tools and the study of the relationship
between the Shakespearean oeuvre and digital artifacts. As more big data and
“born-digital” works become available, and as new methods for distant and
close reading of cultural texts continue to emerge, what will become of the
humanities? As data visualization and dynamic audio/visual material compete
for prominence with text-centric digital editions, what are the challenges to
Shakespeare studies and digital humanities?
We are proud to present a rich section on digital Shakespeares in the present
volume, edited by Brett D. Hirsch and Hugh Craig. The articles and reviews
of digital projects and resources form a dense network of “mingled yarn” in
the web of our life as Shakespearean practitioners, educators, and scholars
(All’s Well That Ends Well, 4.3), as the special section editors describe it. The
contributors take stock of the rapid developments in digital Shakespeares as
they examine the past, present, and future of the field. The local specificity,
the rapid turnover of technologies and modes of presentation, and the global
reach of digital Shakespeares are both a blessing and a curse, prompting
practitioners and users of digital humanities tools and projects to launch
bold experiments, to employ digital Shakespeares as a form of pedagogical
and political intervention, and to re-think the mediated relationship between
an audience and a text. As editors we are acutely aware that theoretical and
technological advancements may make this cluster of studies of digital
Shakespeares obsolete within a relatively short time. But if so, in another way,
our job is done.
In conversation with the cluster of essays on digital Shakespeares is
Ema Vyroubalová’s survey of the new publications and resources in the
newer feature, “The Field in Review,” that we launched in 2012. Among
several other themes, Vyroubalová covers digital resources and education,
usefully expanding and complementing the discussion of the role of digital
methodologies and tools in the study of Shakespeare. “The Field in Review”
x