Відео

[SEGMENTS] 00:00:00 - Intro 00:01:54 - ‘Shakespeare’s Borrowed Feathers’ 00;04:20 - Digital attribution and reckoning 00:08:31 - The ethics of borrowing 00:16:08 - Shakespeare as solitary genius? 00:18:10 - Collaboration in Shakespeare’s time 00:22:02 - Shakespeare’s with contemporaries 00:36:26 - Ben Jonson 00:39:26 - Memory, the skill of remembering 00:43:57 - How is Shakespeare different from other playwrights? 00:51:26 - Darren’s current and future work 00:59:20 - The public face of an editor

When will your upcoming book on Shakespeare and Rembrandt be released?

I like this analysis ❤ Well done. I now understand it🙏

There's an awful lot to discuss -- it's such a pity that a UA-cam comments section isn't the place to do it.

I’m a simple woman. I saw “Ben Jonson and Shakespeare’s tragic women”. I screamed. I clicked.

I had been about to do something quite different. And your ideas and humour made me stop:-) and stuck:-). Thank you! Wonderfully spent evening.

Thank you so much. This has been a lovely and fascinating conversation to listen to. A honing of my attention- beautiful, reflective and generous style of thinking aloud. I've sourced a seam of new reading in David Kastan and new listening in this series. Thank you.

Why try to police the inconsequential thoughts of white actors and artists? Probably the least racist cohort one could possible engage. If you're serious there are several pubs near me where straight ahead racism is routine and it is consequential. American critical race theory always seems to prioritize the fragile, low hanging fruit. Perhaps this is a function of it being, itself, profoundly racist.

@14:47 The English language seems unable to frame the so called hard question of consciousness much less formulate answers. Fortunately a full, lucid and reasonably accessible answer was made a few hundred years ago. A bit of a day trip is required though. Take the London Underground on the Northern Line to Hampstead, turn right out of the station then right again into Flask Walk. Fifty yards up is The Flask pub. Go in there and enjoy one or two (optional) pints of Youngs Special or similar. Continue up Flask Walk, along Well Walk and onto Hampstead Heath. Then head north towards Kenwood House paying close attention to your unusual location. Enter Kenwood House (free) and ask a gallery attendant where the Rembrandt is. When you have found Self Portrait with Two Circles c. 1665-1669 try to pay no more attention to your unusual location. Instead stare at the picture, the brushwork, the loose brushstroke that describes the bottom edge of the headgear where it meets Rembrandt's forehead, the colour, composition and the face and the eyes, until the answer to the hard question of consciousness comes into focus. It may or may not occur to you that Rembrandt Harmenszoon van Rijn is dead and that you are going to be too. This is a truly dreadful painting; arguably the greatest ever painted; arguably the greatest achievement by a hominid full stop. Retrace your route down through the heath back to the pub and have one more pint of Youngs Special or similar. Consider another trip to Kenwood to see the Vermeer, the van Dycks and other pictures which were missed and which might have something more to say about the hard question.

Great stories of Prof Kastan's life lol. Thank you!

Colonialist oppressor according to current ‘thinking’. Plus racist because he was Caucasian.

Speaking of Shakespeare? A bit. A bit.

at last, these self-portraits where not painted by the earl of oxford? waffle on...

what do you to people who say that francis bacon wrote the the plays often attributed to shakespear

Interesting. Thank you

Fascinating, thank you!

Thanks for bringing James back on and for all you do. He's right: This series belongs in the Folger. Cheers!

[SEGMENTS] 00:00:00 - Intro 00:01:20 - ‘The Playbook’ and Shakespeare in America 00:04:17 - The Federal Theater (1935-39) 00:07:22 - Hallie Flanagan and the Federal Theater 00:13:02 - Martin Dies and the conservative playbook 00:18:50 - The American culture war 00:20:05 - Beginnings of the Federal Theater 00:23:50 - A lost and found research archive 00:25:10 - Is Christopher Marlowe a communist? 00:31:35 - Race and Macbeth 00:36:50 - Criticism from the left of the left 00:39:25 - The death of innovation, the playbook redux 00:47:40 - The life of Othello in America

[SEGMENTS] 00:00:00 - Introduction 00:02:18 - Balliol College sabbatical, current research 00:06:12 - Why humanities, arts, and social science at MIT 00:12:50 - Shakespeare and digital pedagogy 00:22:33 - Shakespeare and adaptation 00:40:09 - Shakespeare in film, Shakespeare/Sense 00:48:21 - Preserving theatre with recordings and records 00:58:30 - Diana’s work as a dramaturg 01:03:10 - Passions Made Public/ made feminism in academia 01:11:11 - Genealogies of literary criticism 01:14:33 - Closing remarks

Splendid to learn what they are doing at MIT.

Congratulations, Thanks Stephen and Tom!

[SEGMENTS] 00:00:00 - Intro 00:01:00 - The Speaking of Shakespeare Series 00:06:40 - Aoyama Gakuin, Tokyo, and how Dabbs got to Japan 00:16:45 - “Genesis in Japan: the Bible beyond Christianity” 00:34:14 - St Paul’s, Paul’s Cross and Shakespearean drama 00:47:03 - Digital Humanities, AI, AGU Digital Project, Archives, Meisei 00:56:17 - “Waiting for Will,” avant-garde drama in Japan, prison 01:04:02 - “Playing with Shakespeare in Japan” 01:14:27 - “A Midsummer’s Night Dream” and the Office of the Revels 01:18:12 - Closing remarks

I fully agree that Shakespeare is liberating, and add that initiation to Shakespeare is best done at Oxford, England, in a still class-oriented society🙂🔥

Great job, ❤ you, Nephew

[SEGMENTS] 00:00:00 - Intro 00:01:55 - ‘Shakespeare’s White Others’ 00:30:07 - Personal elements in David’s writing 00:31:25 - Trinity College and teaching 00:42:32 - White Others VR Art Gallery 00:51:44 - Hood Pedagogy 00:56:48 - Claudia Rankine: The Racial Imaginary Inst. (TRII) 01:07:45 - Promotion and mini-book tour 01:15:16 - Upcoming panel: In Plain Sight 01:18:07 - Stopped by the police, generational racism 01:32:45 - Rest and mental health 01:39:11 - Southern grandmothers: race relations 01:45:18 - Closing remarks

What a wonderful conversation! Tiffany is always creative in going outside the box to learn more Shakespeare. Her point about ballads bringing the audience together around a shared love of music is excellent. We might say the same about Shakespeare's many literary allusions to the wording of the Whole Book of Psalms, so the psalms--and the music to which the congregation sang them--created a virtual sound-track for his works.

Forgetting to hit record explains the laughter! I first encountered Tiffany at the Blackfriars Conference at the American Shakespeare Center years ago. Unforgettably, the person who introduced her quipped that if Tiffany disagrees with you, you'll feel you've been trampled by a herd of butterflies.

[SEGMENTS] 00:00:00 - Introduction 00:02:49 - Ballads and product placement 00:26:36 - Edmond Malone and Shakespeare 00:34:20 - Shakespeare: writing process and collaboration 00:41:00 - Editing Shakespeare: Arden 00:55:04 - 16th-Century Literature: Norton 00:59:22 - First Folio and Shakespeare’s image 01:08:05 - Tiffany at the Shakespeare Institute 01:13:10 - Closing remarks

a "bottom" is the cocoon a silkworm makes when it pupates, hence the metamorphosis in many ways in Bottom. Moffat's SIlkworms and their Files is a sometimes accepted sometimes rejected source for Midsummer, I am in the accept camp. The connection between Deloney and Moffat has not been examined to my knowledge, but the professional connection suggests that there is a paper there.

The Center sounds a bit like Princeton's Institute for Advanced Study.

SEGMENTS 00:00:00 - Introduction 00:01:30 - CNRS and IRCL: Roles in research 00:08:58 - Human beings in history: materialism and theory 00:21:48 - Trans-disciplinary research 00:26:00 - Shakespeare in Japan 00:27:24 - Montpellier 00:28:48 - First Folio in Japan: Meisei, Used Books 00:42:32 - Early readers: Finding yourself in a book 00:51:03 - Elizabeth Montague and Voltaire 00:57:10 - Popular theatre: Shakespeare, Molière 01:09:07 - The early modern print industry 01;14:35 - Reception theory and appropriation 01:18:04 - The Tempest: Here and There 01:21:34 - English drama and the French 01:27:25 - 'Cahiers Élisabéthains' and literary journals 01:35:00 - Closing remarks

The Stratford narrative continues to crumble. We are getting closer to the truth with discussions like this.

19:20 A good analogy since the books of the Bible were also edited and rewritten and saying so seems heretical to some. She speaks about "Shakespeare" as if the works came from one person acting alone and not, as the Henslowe Diary shows, from collaborative efforts and reworkings of earlier sources.

Here's a deeper dive into Francis Bacon's relationship to the First Folio.sirbacon.org/downloads/The_1623_Shakespeare_First_Folio_A_Bacon.pdf

"Pop today, gone tomorrow." Pop is always disposable....except for the masters....

i have a very smart actor friend, who has done work on F1, and argues, convincingly - DON'T read S-speare - as literature! It is/wasn't but cue-scripted on the fly...

i was struck, forget the book - Hemmings and Condell never raised S-speare's share above de minimus. My recollection he was always one of the smallest sharerers and when new shares came available he was snubbed. So these tow dudes - who controlled the shares and their offspring - honoring him in a book when the wouldn't in life. Not surprised old Will turned his back on them all, London, the theatre at the end. Did he even own the rights?

A note on the digitisation of books and the "onlineification" of media.... I hold to physical books primarily because there is a soul to them, especially old books that have a history. There's something about leafing through a 70 year old tome that you simply can't capture on a Kindle. But more importantly perhaps, I just don't trust online sources that can easily be altered to subtly (or not so much) change the etymology or definitions of words as the cultural fashion and political correctness dictates.

For me, as a serious student of literature, art, S-speare and a writer adapting a S-speare play - these kinds of discussions and research are immediately useful. To me, biographical and topics like "thought processes" and why/how art is done are wasteful and pop culture myths.

Anyone know affordable collections of the works of Greene, Kyd, etc...?

TD does such a good job of giving serious S-speare folks exposure. Thank you!

Great interview.

Thanks Thomas for providing again the most valuable ongoing series for laymen to follow current research in things Shakespearean. Darren is pulling all the most interesting threads right now, am excited to see how he weaves them into a single fabric. Neither of you appear to be aware of the work of Peter Bull on Groatsworth - he pretty convincingly argues that the Upstart Crow is Ned Alleyn, which actually aligns well with the collaborative scene for early 1590s playwriting Darren describes.

Wonderful! Many thanks to Emma and Tom for an entertaining and informative discussion!

Thisisamazing🎉

Wonderful! Thank you so much!

I wish professionals were spending as much time on the creative and artistic expressive aspects of Early Modern literature as the sociology and cultural anthropology. Oh well....

Fascinating from moment go.

I'm buying her book! Also, I think Hamlet is feminine (and so is Shakespearean Richard II). And Shakespeare punished Lady Macbeth for crossing her gender role.

Professor Strier's idea that we should not have "a priori" ideas I like and I use in my own research on Shakespeare. As I live in Kyoto, I can definitely compare this idea to the idea from ninjas (and I think it is also found in Buddhism) to "empty the mind". Then we are left with close reading as the start. Strier writes "I do not mean to suggest that the plays are treatises in disguise" (page 2), but they can be seen as that, I found, using clues from the text. "Juliet is the sun" can mean that Juliet is actually the sun, she symbolizes our closest star. And "Romeo and Juliet" carries a treatise on the history of mankind and the sun. The scenes of the lovers can be seen as symbolically depicting this history....Pagan nature spirituality is encoded in their scene at the party. Man leaves the sun (through Christianity (Juliet is on the balcony, representing the separation of nature from religion). The scene where they say goodbye symbolizes the way man leaves the sun economy to burn coal as fuel. Finally at the end (what we see now) there is a return to the sun (the tomb scene). The first line of "Romeo and Juliet" is "Gregory, on my word, we won't carry coals" (1.1.1) because Iago's "I am not what I am"---yes, unusual! It's because he represents coal. Coal tempted mankind to kill off the sun economy. That's why Desdemona has so much light imagery surrounding her. Incidentally, I was in Professor Strier's class at the U of C. around 35 years ago. I enjoyed his class very much. Yes, "Happy Hamlet" is right too. This represents how Shakespeare felt he was forced by circumstances (capitalism and coal burning) to fight his battle against these forces. He's not melancholic, he's full of fervor.