Monday, June 25, 2018

New Book: Deadwood and Shakespeare

Deadwood and Shakespeare: The Henriad in the Old West
https://mcfarlandbooks.com/product/deadwood-and-shakespeare/
Susan Cosby Ronnenberg

Format: softcover (6 x 9)
Pages: 206
Bibliographic Info: appendix, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-6575-7
eISBN: 978-1-4766-3095-3
Imprint: McFarland
$39.95


About the Book

Set in politically unstable environments, Shakespeare’s history plays—Richard II, 1 Henry IV, 2 Henry IV and Henry V—and HBO’s Western series Deadwood (2004–2006) all stand as critiques of myths of national origin, the sanitized stories we tell ourselves about how power imposes order on chaos. Drawing parallels between the Shakespeare plays and Deadwood, the author explores questions about legitimate political authority, the qualities of an effective leader, gender roles and community, and the reciprocal relationship between past and present in historical narratives.



Table of Contents

Acknowledgments vi
Preface 1
Introduction 3
1. Genres, Settings and Themes: Historical and Political Worlds in Transition 9
2. Seth Bullock as “Hotspur” and Prince “Hal” 36
3. Al Swearengen as Bolingbroke/Henry IV and Falstaff 59
4. Father-Son Relationships 81
5. Women’s Marginalization 103
6. Managing Audience Responses through Narrative Space and Events 129
7. Managing Audience Responses through Character 158
Conclusion 174
Appendix: Deadwood Episodes 177
Chapter Notes 179
Bibliography 187
Index 193


About the Author

Susan Cosby Ronnenberg is a professor of English in Winona, Minnesota.

Friday, June 22, 2018

CFP Shakespeare and Digital Humanities (Spec Issue of Humanities) (proposals by 9/14/2018)

Of potential interest:

Special Issue "Shakespeare and Digital Humanities: New Perspectives and Future Directions"
https://call-for-papers.sas.upenn.edu/cfp/2018/06/18/special-issue-shakespeare-and-digital-humanities-new-perspectives-and-future

deadline for submissions:
January 28, 2019

full name / name of organization:
Humanities (ISSN 2076-0787).

contact email:
stephen.oneill@mu.ie


Shakespeare is now fundamentally digital. The technologies, resources and cultures of the digital age influence how we humans variously read, watch, research, and teach Shakespeare. This influence occurs in both apparent but also unseen ways since digital technologies include hidden processes, or non-human actors such as algorithms. In fact, the thing we call “Shakespeare” is the consequence of the interaction of agential humans and digital, non-human actors. The Special Issue of Humanities explores this technogenic dynamic and its significance for understandings of Shakespeare’s works and their cultural afterlives. It does so from a digital humanities perspective, with the aim of building on trends within Shakespeare studies towards the interrelation between Shakespeare’s works and a variety of contemporary technologies.

The Special Issue especially welcomes approaches that are trans-disciplinary.
  • Papers are invited from an international community of researchers interested in critically examining how digital technologies have enhanced, transformed, or challenged the appreciation and study of Shakespeare. 
  • Papers might address questions of methodology, and explore how digital humanities scholarship is applying technology and quantitative analyses to the corpus. What new insights into Shakespearean authorship, characterization, genre, and language, can computational analyses reveal? 
  • Papers might map and critically evaluate the available digital resources for Shakespeare research and teaching, including searchable text online editions, databases, and podcasts. Or, they might critically analyse forms and practices in digital cultures, from fan or vernacular productions that reiterate Shakespearean stories and characters on such platforms as Twitter and YouTube, to digital art and curation, and online Shakespeare quotation generators. 
  • In turn, papers might examine how Shakespeare theatre companies are using digital technologies both within the live performance itself, and also to create an online, commercial, and interactive presence for a production.

This Special Issue of Humanities offers an opportunity to examine the application of digital technologies to Shakespeare, in all its variety; to explore the implications of that interrelation; and, crucially, to consider what future directions scholarship and practices might take as the encounter with Shakespeare increasingly becomes digital.


Please submit 300 word proposals for original contributions and a 100-word biography (include selected publications) by 14 September 2018; email both the Guest Editor, as indicated above, and the journal (humanities@mdpi.com).

Deadline for completed papers, if selected (5000–7000 words): 28 January, 2019

Dr. Stephen O’Neill
Guest Editor


Further Information here:http://www.mdpi.com/journal/humanities/special_issues/Shakespeare

Saturday, June 16, 2018

Coming Soon: Medieval Art and the Look of Silent Film

Due out this fall from McFarland. I'll update when more details are available.


Medieval Art and the Look of Silent Film:The Influence on Costume and Set Design
https://mcfarlandbooks.com/product/medieval-art-and-the-look-of-silent-film/
Lora Ann Sigler

Format: softcover (7 x 10)
Bibliographic Info: ca. 120 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2018
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland
Not Yet Published
$55.00
SUMMER-FALL 2018


Blurb from Amazon (https://www.amazon.com/Medieval-Art-Look-Silent-Film/dp/1476673527/):

The heyday of Silent Film, so beloved by film buffs, was an era that became instantly quaint with the arrival of “Talkies.” As early as 1929, critics and film historians were writing of the period as though of the distant past. Since then, a torrent of books has been released, many of which mention art—in the main, asking whether film could be art— others discussing the splendor of the sets, the persuasion of the ambiance, or the psychological depth of the scenario. What these authors seem to have overlooked is the work of the costume and set designers to provide the background which profoundly affects all of the above. Most especially, they failed to examine the source of the inspiration on those who created that background. To fill this apparent gap, the premise of this volume— costume and set design in the silent film— concentrates on what is arguably the most prevailing influence on both, the presumed nobility of the Middle Ages. Largely owing to the psychological upset of World War I, although beginning earlier, society was in a state of flux. Women, who had been so active during the war, refused to return exclusively to home and kitchen. Veterans, who had experienced the worst, could no longer accept the prewar class restrictions and artificial manners. It was only natural that a longing for what seemed a nobler and purer period would be created. Designers, if only partly consciously, turned to that period like flowers to the sun, creating an ambiance which they felt reflected those higher ideals. Ironically, although the influence is more than obvious in both sets and wardrobes, the period devolves into one of freedom bordering on license, and an almost complete overthrow of those old-fashioned ideals.


About the author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.