Open Source Shakespeare

Open Source Shakespeare is a digital, web-based resource that could seemingly be utilized in unquantifiable ways—and yet it maintains some clear—and often explicitly disclosed—shortcomings. Developed by a graduate student from George Mason University, the OSS is not necessarily an especially “scholarly” resource, however, scholars may indeed find crucial utilitarian value in its capabilities. And yet, OSS is merely a website curating William Shakespeare’s complete works, which feature a number of sophisticated search engines that use a variety of linguistic algorithms to analyze the texts. And yet, that makes apparent another characteristic of this resource to scrutinize: the particular text of Shakespeare’s complete works utilized by this website is the Moby Shakespeare. As its developer, Eric M. Johnson, describes in a paper available from the OSS titled “Open Source Shakespeare: An Experiment of Literary Technology”: “The collection is an electronic reproduction of another set of texts which the Electronic Text Center at the University of Virginia identifies the source as the Globe Shakespeare, a mid-nineteenth-century popular edition of the Cambridge Shakespeare” (Johnson).

Whatever its limitations, OSS has many obvious uses. Although it uses a particular text—rather than daring to incorporate the many hundreds of existing critical editions of the preeminent and arcane Shakespearean quarto and folios—scholars, thespians, and casual readers may use OSS in a variety of ways. They can utilize the phonetic search engines, to find both existing uses of any exact search term, as well as any instances of etymologically-related words appearing anywhere in the Shakespearean canon. The OSS also allows users to search through stage directions, and the personae dramatis of each play. It has no apparent advertising feature on any of its web pages, no does it divulge any institutional sponsorship. Interestingly, Johnson produced the website as an active Marine stationed in Kuwait in 2001, and mentions in his paper that the OSS maintains an annual budget of $110 dollars, for “webhosting” (Johnson).

Work Cited

Johnson, Eric, M. “Open Source Shakespeare: An Experiment of Literary Technology,” Open Source Shakespeare: Search Shakespeare’s Works, Read the Texts, http://www.opensourceshakespeare.org/.

Great Shakespeareans

Great Shakespeareans is an eighteen volume book set that contains information on how different scholars and authors contributed to all things Shakespeare. Set one contains volumes I-IV; set two contains volumes V-IX; set three contains volumes X-XIII. Each author writes about different aspects of Shakespeare’s works. For example, some of the authors focus on his poetry, or they focus on things like new ways to look at Shakespeare’s work that had not been thought about before. Some of the volumes feature famous authors like T.S. Eliot, Charles Dickens, and Sigmund Freud. These sets are all available on Tennessee Tech’s library website for free for all Tech students. The library website, however, does not offer volumes XIV-XVIII. Each volume has different editors, and each series has shares the same editors, Adrian Poole and Peter Holland. 

All of the volumes contain a variety of information on everything Shakespeare. These could be used among English majors to help get different information about Shakespeare’s works, whether it be the dating of his plays, new ways to look at his works, or even psychoanalysis of his works. This could be very helpful in providing background on Shakespeare’s works for a paper or just for personal knowledge. The editors of the series also include notes on the contributors which gives information on where each of the authors are professors and other works they have written. This could also help an English major find other resources that could go more in depth on a certain topic if they needed more information outside of Great Shakespeareans. This resource would only be helpful for people that are writing, or learning, about Shakespeare’s works, or anyone that is interested in Shakespeare. 

Works Cited 

Great Shakespeareans Set I. Continuum, 2011. 

Great Shakespeareans Set II. Continuum, 2011. 

Great Shakespeareans Set III. The Arden Shakespeare, 2012.

Scholarly Journal Profile

Shakespeare Quarterly Journal

Shakespeare Quarterly is a scholarly, quarterly journal that has been published by the Johns Hopkins University Press since the Shakespeare Association of America first founded it in 1950. It is accessible through the TTU Library in print and digital format through both the Humanities Full Text and JSTOR databases. The international editorial board had a switch between editors in 2009 when the chair was passed from Gail Kern Pastor (editor from 1997 to 2009) to David Schalkwyk (serving as editor 2009 to present), who is currently working alongside with the associate editor (Sarah Werner) and issue editor (Katherine Rowe). In association with the George Washington University Press and the Folger Shakespeare Library, SQ has been referenced in indexes (abstracts and HTML of back issues included) by nineteen online databases besides the two previously mentioned.

Submissions to SQ start as 100 word abstracts of the written piece then, if accepted after being reviewed by the double-blind system, the article or essay is to be sent via the Folger Editorial Manager site. With this, a revised 250-word abstract, along with any illustrations, are required. Additional instructions can be found on the Folger website.

Volumes of four issues each range between 350-600 pages with some issues showing variations in the amount of articles, essays, book reviews (done only by the editorial board), and performance criticism between 1950 to the present time. The journal has provided inclusions such as the World Shakespeare Bibliography (1996-2000), a Cumulative Index and Annotated Bibliography (1964 issues), and special issue topics ranging from Teaching Shakespeare, Shakespeare and New Media, and Teaching Judith Shakespeare. Some issues cover one specific aspect of Shakespeare such as Shakespeare in Performance and Surviving Hamlet. This year there has been a call for material on Not Shakespeare for the 2014 year.

Readers can expect materials related to Elizabethan, Jacobean, and Caroline works with topics ranging from plays, props, performance, and theatre history to ethnicity, music, and use of language. Other less-covered topics include homosexuality, feminism, prisons, and cinema. Altogether, according to the Folger Shakespeare Library, Shakespeare Quarterly is committed to, “publishing articles in the vanguard of Shakespeare studies, notes that bring to light new information on Shakespeare and his age…and book reviews to keep readers current with Shakespeare criticism and scholarship.”

By researching the life and material range of SQ’s journal topics, the reader can easily assess that this journal’s mission is central to understanding the Renaissance time period, including its articles covering current events and other performances from traditional Elizabethan-style to modern film adaptations. All articles include a works cited page and endnotes, and are rarely written in first-person, including the book reviews. All material is backed–up, peer-reviewed, and articles (essays) encompass anywhere from 26-40 pages in length.

As SQ matured over the years, so did the material, as it began to cover much more than teaching methods such as “Judith Shakespeare Reading” (1996), “Credible Consorts: What Happens When Shakespeare’s Sister Enters the Syllabus” (1996), and “Teaching Shakespeare in the Context of Renaissance Women’s Culture” (1996). There there’s Hamlet with “The Word in Hamlet” (1951), “Hamlet’s Tables and the Technologies of Writing in Renaissance England” (2004), and “Surviving Hamlet” (2011). Also, theatre history in “Shakespeare and New Media” (2011), “Shakespeare, the Reviewer, and the Theatre Historian” (1985), and “Shakespeare: An Annotated Bibliography for 1964” (1965).

Basically, Shakespeare Quarterly is a resource for teachers, professors, researchers, students, performers, directors, and the Shakespeare–obsessed. With an extensive shelf life going back to the ‘50s it has proven to contain both scholarly and reliable material in a variety of formats (articles, essays, and book reviews). With a circulation of 1,980 readers SQ provides an academic, Shakespearean lens to both American and international audiences.

Works Cited:

“The Johns Hopkins University Press.” The Johns Hopkins University Press. N.p., n.d. Web. 27 Sept. 2013.

“The Free Automatic Bibliography and Citation Generator.” EasyBib. N.p., n.d. Web. 08 Oct. 2013.

N/A. Folger Shakespeare Library: Shakespeare Quarterly. Folger Shakespeare Library. N/A. Web. 27 September 2013.

“Shakespeare Quarterly.” JSTOR. N.p., n.d. Web. 24 Sept. 2013.

Riverside Shakespeare

     The Riverside Shakespeare collection is a comprehensive work that includes supplemental work to help acholars study Shakespeare in a more organized way. This book holds a wide editorial staff from places all over America. The General and Textual editors are G. Blakemore Evans (Harvard University) and J.J.M. Tobin (University of Massachusetts.) The rest of the editorial staff includes: Herschel Baker (Harvard), Anne Barton ( Trinity College), Frank Kermode (King’s College), Harry Levin (Harvard), Hallett Smith( California Institute of Technology),  and Marie Edel (Houghton Mifflin Company)(ii). This staff helps add essays, illustrations, and historical information to the texts of shakespeare that bring it to life.

    This source is organized into a vast introduction, which includes: a list of illustrations, abbreviations, a General introduction, 20th century Shakespeare Criticism, Shakespeare text, Glossary of Selected Bibliographical Terms, Chronology and Sources, and opening pages of the first folio (ix). All of this is before the first play appears. The plays are organized by type to make studying them easier. It begins with Comedy, then Histories, Tragedies, Romances, and ending with Poems. At the end of the resource are several critical essays.

    This text may appear to be dauntingly enormous, but within is a wealth of easily navigable information. Before and after each play are some notes to help people study the play. At the beginning of The Comedy of Errors an introduction appears by Anne Barton; this introduction introduces some of the themes and motifs of the play. There is also an index that ranges from pgs 2036- 2048, divided into topics. The first index is of characters, then an index to First Lines of The Passionate Pilgrim,  finally First lines of songs and song snatches. At the end is a concise glossary to assist with terminology.

    This source is an excellent guide to Shakespeare’s works, especially for the novice. These works are almost designed to be explored and delved into, this work makes that easier by providing multiple sources in one location. By having critical analysis within a few page flips assists many scholars in the reading and understanding of texts, the Riverside just happens to conveniently package it for people.

Works Cited

Shakespeare, William, G. Blakemore Evans, and J. J. M. Tobin. The Riverside Shakespeare. Boston:

     Houghton Mifflin, 1997. Print.

Portrayal of Monarchs in Renaissance Histories and Tragedies: A Selective Annotated Bibliography

From wars, scandals, bloody deaths, tyrants, and disfigured bodies, English monarchs are primarily the topic of Shakespeare’s plays. Despite the fact that many of his works were purely fictional, Shakespeare helped form the views of English monarchs. An example of Shakespeare view of a royal is King Richard III, who Shakespeare made out to be an evil, hunchback villain. Portrayed in mostly histories and tragedies, infamous kings and queens take center stage in Renaissance drama.
Why did Shakespeare focus so much attention on the monarchs? Did he lust after their “Divine” lives, or was he simply angered with the tyranny of his time? I find myself asking these questions while reading his histories and tragedies, because Shakespeare very rarely portrays his monarchs as heroes or good people in general. In fact, most of the monarchs written by Shakespeare are villainous murderers. But were the British monarchs truly murderous savages?
The following annotated bibliography offers a variety of fifteen sources that discuss the real and fictional lives of monarchs in Renaissance histories and tragedies. The databases of JSTOR, Omnifile Mega Text (H.W. Wilson), Wiley Online Library, and Humanities Full Text provide the online sources. The majority of the works used span the Renaissance era from 1485-1655.  In addition, they pertain specifically to former British monarchs including, King Richard II, King Richard III, Elizabeth I, Henry IV, Henry V, and Henry VI. Other monarchs are also mentioned, but not as often as the ones previously mentioned.
Professors, scholars, dramatists, and students may use this bibliography as a guide to help them with further research on Elizabethan plays during the Renaissance. A great majority of the sources used contain references to other texts, new and old. Also, those in the drama community will find this bibliography useful because some sources examine how playwrights alter various plays, including Shakespeare’s, and how the different variations affect audiences’ reactions to the plays.

 

Aravindakshan, V.. “Shakespeare’s Treatment of Tyranny”. Social Scientist 4.10 (1976): 38-44. JSTOR. Web. 1 Oct. 2013.
            This accessible journal article looks into the way that Shakespeare fictionally portrayed royals in his plays. Sections of the article are divided by chronological events. Several Kings of this time era are looked at including, King Richard and King Henry IV. Aravindakshan’s argument is that Shakespeare lays blame on the royals for “the struggle for power.” Quotes from Titus Andronicus, Richard III, The Tempest, As You Like It, Macbeth, and Hamlet are used to discuss the power of tyranny. This source is useful due to its insightful look at several of Shakespeare’s plays.

Armstrong, William A. Elizabethan History Plays. Oxford: Amen House, 1965. Print.
In this 428-page book, Armstrong includes Elizabethan history plays of monarchs written by various authors, none of which are Shakespeare. It includes five plays, which are titled: King John by John Bale, Edward the Third by Anonymous, Woodstock by Anonymous, Perkin Warbeck by John Ford, and King John and Matilda by Robert Davenport. The original dates of the plays range from 1596-1655, and all give various takes on British Royals, including King John, Edward III, Richard II, and Henry VII.  This source is great primary source of various and original Elizabethan plays during the Renaissance.

 Campbell, Lily B. Shakespeare’s “Histories”: Mirrors of Elizabethan Policy. San Marino: The Huntington Library, 1963. Print.
            In this 346- page book, Campbell discusses histories written in the sixteenth century.  It is divided into two main sections titled “History, Historiography, and Politics” and “Shakespeare’s Political Use of History.” The first section contains ten chapters, with titles including, “What Are ‘Histories’”, “Renaissance Conceptions of History”, and “English History in the Sixteenth Century”. The second section contains six chapters, with titles such as “Shakespeare’s History Plays” and “The Troublesome Reign of King John.” Monarchs, that appear in history plays, including King John, Henry VI, Henry V, and Richard II, are discussed.  This is a great primary source that gives other textual references.

Dutton, Richard. “Shakespeare and Lancaster”. Shakespeare Quarterly 49.1 (1998): 1-21. JSTOR. Web.  9 Oct. 2013.

This online journal article, Dutton explains Shakespeare’s background of living in Lancaster and its political influence in his play, Richard II. This source consists of twenty-one pages and four sections labeled, “The Duchy of Lancaster and Its Origin”, “The Duchy in the Sixteenth Century”, “The Constitution Anomaly and Shakespeare’s Histories”, and “The Succession Question”. Dutton goes into depth about reality versus fiction in Shakespeare’s histories, like, Richard II and Henry V. This source aids in researching because it contains a great footnote section at the bottom of each page that gives references to other texts.

Frost, Luecking L. “A Kyng That Ruled All By Lust: Richard II in Elizabethan Literature”. Literature Compass 9.2 (2012): 183–198. Wiley Online Library. Web. 17^th  Oct. 2013.

       Frost discusses the interpretation of Tudor monarchs like, Richard II and Elizabeth (but mostly Richard), in histories in this online journal article. The books, Engendering a Nation: A Feminist Account of Shakespeare’s Histories and The Mirror for Magistrates are referenced frequently, and both works suggest that Shakespeare portrays King Richard with a feminine sexuality in his play, Richard II. Mirror also implies that King Richard’s sexuality and immoral lusts led to his demise. This source gives many textual references that can be used when finding a variety of sources.

Garvin, Katharine. The Great Tudors. Great Britain: Norwood Editions, 1978. Print.
This 658-page anthology is a biographical guide to the Tudor family that reigned over Britain for many years.  It includes 40 chapters with each chapter pertaining to individual rulers. The only two chapters that do not discuss royals but, instead, Renaissance writers, are chapters 27, “Christopher Marlowe”, and 36, “Shakespeare”.  Members of the Tudor family that are discussed are Henry VII, Henry VIII, Elizabeth, Mary Queen of Scotts, and Mary I. This source provides factual biographical information about early royals in England.

Harmon, A. G. “Shakespeare’s Carved Saints”. Studies in English Literature, 1500-1900  45.2 (2005): 315-331. JSTOR. Web. 9 Oct. 2013.
Harmon’s online journal article exposes the influence of the Tudor royal family in Shakespeare’s Richard  II. Consisting of sixteen pages, Harmon discusses various topics such as King Henry’s “split personality”, Christianity, death, and Thomas Beckett’s issues amongst the royal family. Some of Shakespeare’s plays used in Harmon’s essay are Richard II, Edward II, The Second Part of King Henry IV, and Henry V. This article is best used for a primary source because it has a large “Notes” section on the last four pages that gives references to other primary and secondary sources.

Hunt, Maurice. “Christian Numerology And Shakespeare’s The Tragedy Of King Richard The Second.” Christianity & Literature 60.2 (2011): 227-245. Humanities Full Text (H.W.
Wilson). Web. 17^th Oct. 2013.

In this nineteen page online journal article, Hunt refers to the popular use of numerology by Renaissance writers, including Shakespeare. As examples of Shakespeare’s emphasis of numbers, his works, The Winter’s Tale, Henry IV, Part 1, The Tragedy of King Richard the Second, are discussed.  Hunt’s main argument is that King Richard is a Christ figure because Richard and Jesus were both 33 when they died. The latter half of the article argues King Richard’s Christ-like representation by quoting the Bible and the play, Richard II. This source is useful for researching the influence of Christianity on Renaissance authors.

Malden, Henry Elliot. “Shakespeare as an Historian.” Transactions of the Royal Historical Society 10 (1896): 23-40. JSTOR. Web. 17^th Oct. 2013.
This nineteen page essay, originally written in 1896, implies that Shakespeare is not taken seriously as a historian, but he is a respected, authoritative voice in the world. Malden stresses that Shakespeare gives future generations in important insight about the Renaissance era.  The main sections include the topics of royals, like Richard II, Henry IV, Henry V, and Henry VI, war, and “Elizabethan religion”. This source is useful for research because it was written over 100 years ago and still stands as a strong primary source.

Meron, Theodor. “Crimes and Accountability in Shakespeare”. The American Journal of International Law 92. 1 (1998): 1-40. OmniFile Full Text Mega (H.W. Wilson). Web.  17^th Oct.
2013.
In this online journal article, Meron discusses Shakespeare’s portrayal of then-current monarchs and how Shakespeare holds them fictionally accountable for crimes. The article consists of forty pages and is divided into eleven sections that correlate with certain topics, like, “Tyranny, Arrogance, and Accountability for the Agincourt Massacre: Henry V”. Also, Meron provides a chart that links each individual real-life British royal to certain plays that they appear in. This source is a great primary resource because it contains a footnotes section that references other sources.

 Raine, Nina. “Battle With Truth.” New Statesman 129 (2000): 43-45. OmniFile Full Text Mega (H.W. Wilson). Web. 17^th Oct. 2013.
In this online version of a periodical, Raine argues that past and present playwrights purposely alter factual history for the stage. She closely examines the plays of Richard II, Henry V, Henry IV, Part II by Shakespeare and Speer by David Edgar. Each play mentioned has its own corresponding paragraph that explains its reality compared to fiction. The main audience of this article are history and drama majors.

 Rex, Richard. The Tudors. Great Britain: Amberley, 2009. Print.
In this 223-page paperback book, Rex discusses the real life and sovereignty of British monarchs in the Renaissance era.  It contains six chapters that are titled: “Henry VII”, “Henry VIII”, “Edward VI”, “Mary Tudor”, “Elizabeth 1”, and “The Legacy of the Tudors”.  It also includes three sections for further information that are labeled: “Further Reading, List of Illustrations”, and “Index”. In the book, Rex includes a helpful genealogy chart of the Tudor House, and many illustrations, including actual manuscripts and portraits, and preface to aid readers in their understanding of the Royal family.

 Royal, Derek. “Shakespeare’s Kingly Mirror: Figuring The Chorus In Olivier’s And Branagh’s Henry V.” Literature Film Quarterly 25.2 (1997): 104-110. OmniFile Full Text Mega
(H.W. Wilson). Web. 20^th Oct. 2013.
Royal’s journal article discusses Laurence Olivier’s and Kenneth Branagh’s different film versions of Shakespeare’s Henry V. In seventeen paragraphs, the article focuses primarily on Christianity’s influence on Kings and the way King Henry V reflects Christian values during a time of war. Olivie’s Henry V is more historical and closely follows Shakespeare, while Branagh’s take on Henry V is “avant garde critique of war”. This source is useful for researching Elizabethan dramas on the stage, and it offers many similar textual references.

 Stern, Tifany. “Epilogues, Prayers After Plays, and Shakespeare’s 2 Henry IV. Theatre Notebook 64.3 (2010): 122-129. Omnifile Full Text Mega (H.W. Wilson). Web. 1 Oct. 2013.

In this online journal article, Stern explains the role of monarchs’ influence on Shakespearean plays. It consists of 13 paragraphs that emphasis the use of epilogues and prayers after plays; however, Shakespeare’s Henry IV, II is the main topic of the article. A notes section at the end of page 138 gives definitions to key words and ideas mentioned. This article is a good source because it gives clear definitions pertaining to drama.

Waith, Eugene M. Shakespeare The Histories: A Collection of Critical Essays. Englewood Cliffs: Prentice- Hall, Inc., 1965. Print.

       In this 185-page book, some of Shakespeare’s royally-themed plays are discussed. It consists of five chapters that are labeled: “Background”, “The First Tetralogy- Henry VI-Richard III”, “King John”, “The Second Tetralogy- Richard II, Henry IV”, “Henry V”, and “Henry VIII”.   Each chapter contains essays from different authors; therefore, these critical analysis-based essays give different views on Shakespeare’s histories. The latter half of the book contains three sections that are labeled: “Chronology of Important Dates”, “Notes on the Editor and Authors”, and “Selected Bibliography”.  This source is a useful as a primary source due to its references to other works and authors.

Shakespeare Authorship Question: A Selective Annotated Bibliography

Introduction

            Most everyone, at one point or another, has had to read or has heard of Shakespeare. Considered by many to be the best English writer in the English language, there are many of his works to choose from like Romeo and Juliet, Hamlet, and King Lear, just to name a few. But a topic that is seldom discussed is the Shakespeare Authorship question, that is, the long-debated conspiracy that someone other than William Shakespeare of Stratford-upon-Avon wrote the plays. Strange that no one questioned it until almost two hundred years later when theories started popping up and spreading. When it is brought up in class, most teachers will argue that there is no doubt about his authorship and that there’s no evidence to back up these claims supporting otherwise. But with so many questions regarding Shakespeare’s life, how can there not be room for doubt?

From movie adaptations to works inspired by his plays, Shakespeare has remained a relevant topic for centuries. People can’t seem to get enough of his works, but how did he do it? Many people question how someone who seemingly lacked the knowledge necessary to have such intricate details of a life he never led could write such masterpieces and hold one of the largest vocabularies known to one man.

The following selective annotated bibliography includes a wide variety of sources dealing with Shakespeare’s authorship and shows the various arguments people have gathered over the centuries. With so many possible candidates, from Edward de Vere, Francis Bacon, and Christopher Marlowe, it’s hard to imagine that there would be so many said to fit the position better than William Shakespeare himself, if it weren’t for how little of what was actually known about his life. Works in this collection, with some notable doubters like Mark Twain and Nathaniel Hawthorne, as well as the first notable doubter Delia Bacon, review the different aspects behind the more popular candidates and the reasoning behind these choices. From books, to magazine and journal articles, the following sources are written by credible Shakespearean scholars who are well-versed and knowledgeable in his works and life. It also includes scholarship supporting Shakespeare’s authorship, so that people have both sides to the argument and it is not a biased report.

The bibliography may prove useful for students, scholars, and those who have heard whisperings of conspiracy about Shakespeare’s authorship. It can also be used to get a basic understanding of the controversy. Information provided from each source could be used in any combination to write a persuasive essay to argue either for or against any of the candidates. If not to write a paper, a scholar new to the subject can use the following texts to broaden their knowledge of the subject and are provided with enough sources to make their own judgments about who they really think wrote Shakespeare.

Bacon, Delia Salter, and Nathaniel Hawthorne. The Philosophy of the Plays of Shakespeare Unfolded.   London: Groombridge, 1857. Google Books. 6 Feb. 2009. Web. 18 Oct. 2013.

The issue of Shakespearean authorship became popular knowledge with this book, written by Delia Bacon and preface by Nathaniel Hawthorne. This can be considered the first Anti-Stratfordian book and launched a whole genre of thought and criticism with her idea that the Shakespeare plays and believed in the group theory, that is, that Francis Bacon supplied the philosophy of the plays and Sir Walter Raleigh was the mastermind who created them, using the talents of a circle of men.

Blumenfeld, Samuel L. The Marlowe-Shakespeare Connection: A New Study of the Authorship Question. Jefferson, N.C: McFarland, 2008. Print.

In this book, Blumenfeld weaves together evidence and arguments made by others, as well as incorporating some of his own speculations, about Shakespeare’s authorship. He suggests that Marlow, supposedly killed in a tavern brawl in 1593, faked his own death in order to save himself from an inquisition and execution, and then continued writing under the pseudonym of William Shakespeare. Citing substantial and compelling evidence he outlines several hypotheses to support his case, including the theory that several top people in Queen Elizabeth’s government were involved in the plot to save Marlowe (who was reportedly a spy in the Secret Service.)

Burr, William Henry. Bacon and Shakspere. Proof That William Shakspere … Could Not Write. Washington: Brentano Bros., 1886. Web. 30 Sept. 2013.

Burr takes the stance that Sir Francis Bacon is the “true” Shakespeare, and after spending the first several pages discussing the inconsistencies in Shakespeare’s signature discusses his reasoning behind why he believes it to be Bacon, providing example from texts that directly coincide with information from Bacon’s life. Near the end of the 58-page book, there is a chronographic parallel chart comparing the lives of Bacon and Shakespeare, which shows Bacon to have more credibility.

Cutler, Keir. “The Top Ten Reasons Shakespeare Did Not Write Shakespeare.” The Oxfordian. 2010: 17+. Academic Onefile. Web. 26 Sept. 2013.

Cutler’s article provides insight behind the reasoning that Shakespeare should not be credited with the works normally associated to him. With topics such as The Pen Name, The Famous Doubters, His Unnoticed Death, and Multilingual, this article makes several points against William Shakespeare – claiming another individual used Shakespeare as a pseudonym, no manuscripts or documents exist in his own hand except for a few shaky, inconsistent signatures. According to what is known about Shakespeare, he seems incapable of creating the vast multitudes of works attributed to him. This would be a good resource to argue against Stratfordian authorship because it gives a lot of information against him.

“de Vere, Edward (1550-1604).” Encyclopedia of World Biography. Detroit: Gale, 1998. Academic OneFile. Web. 5 Oct. 2013.

This biographical essay describes the basic lifestyle of Edward de Vere and why he is the most likely candidate as the “true” Shakespearean author. Unlike Shakespeare we are familiar with, the essay provides good information on de Vere to show just how capable he was and just how easily he could be the real author of the Shakespearian plays. Knowing the history of de Vere would make it easier to argue and be more knowledgeable about the Shakespearean authorship debate.

Geoghegan, Tom. “Shakespeare: The Dossier.” BBC News. BBC News. 11 Sept. 2011. Web. 8 Sept. 2012.

This article argues, both for and against, the authorship question and gives a legitimate reason for each, helping those who wish to know more about this topic and the research behind these choices. The information here would provide valid points to use in a persuasive arguing, either for or against, authorship. Geoghegan quotes Matthew Cossolotto, president of the Shakespeare Oxford Society: “Unlike other writers of the period, not a single manuscript or letter exists in Shakespeare’s own handwriting. Nothing survives of a literary nature connecting William of Stratford, the man, with any of the ‘Shakespeare’ works.”

James, Brenda, and William D. Rubinstein. The Truth Will Out: Unmasking the Real Shakespeare. New York: Regan, 2006. Print.

With chapter titles like The Real Shakespeare, The Neville Heritage, and The Catastrophe, James explores in the eleven chapters of the book the Shakespearian authorship question confidently revealing a new candidate – Sir Henry Neville. She starts the book explaining the basic facts about why it could not be Shakespeare of Stratfod-upon-Avon before going into extraordinary detail all the qualifications Neville possesses that make him a better candidate.

Lander, Jesse. “He Made It All Up.” Commonweal 137.9 (2010): 34+. Opposing Viewpoints In Context. Web. 21 Oct. 2013.

In this article, Lander quickly expresses that he is an emphatic believer that William Shakespeare really did write the plays, and uses Shapiro’s book to argue his point that the only reason this controversy refuses to go away is because of the conditions that made it possible. He also points out that the reason for the many candidates is “as soon as one potential candidate for authorship loses momentum, a new champion emerges.” He claims the anti-Stratfordian position is a “solution without a problem.”

Looney, J. Thomas. Shakespeare Identified in Edward de Vere, the Seventeenth Earl of Oxford. 1920. Reprint. Hong Kong: Forgotten Books, 2013. Print.

One of the early scholars to question Shakespeare’s authorship in 1920, Looney is the first to offer de Vere as a candidate to the authorship of Shakespeare’s plays, as opposed to other popular theories like Sir Francis Bacon. The book begins with an outline of many of the popular anti-Stratfordian arguments, such as Shakespeare being too poor and uneducated. He also criticizes those who claim Bacon as one of the authors. As one the earliest sources of Oxfordian authorship, this would be a good source to see what he mentions of de Vere, since he will be unbiased by other advocates of today.

Price, Diana. “Shakespeare’s Authorship And Questions Of Evidence.” Skeptic 11.3 (2005): 10-15. General Science Full Text (H.W. Wilson). Web. 1 Oct. 2013.

In this article, Price explains the history and reasoning of the authorship question as well as lists several candidates for authorship, including Francis Bacon, Christopher Marlowe, and Edward de Vere. Useful for anyone wanting the history of the issue; she also lists references other works for further research. Unlike other scholars, she claims that Shakespeare might have acted as a play broker for someone of social prestige who wrote plays but, because of his position, did not want to be known as a playwright. Whereas others claim Shakespeare was a penname, not an actual person.

Schama, Simon. “The Shakespeare Shakedown.” Newsweek 24 Oct. 2011: 24.Opposing Viewpoints In Context. Web. 17 Oct. 2013.

In Schama’s article discussing the recent movie Anonymous, which claims that Edward de Vere was the “true” Shaekspeare, he vehemently rejects this idea; going on to refute the ideas proposed in the movie by arguing that the school Shakespeare attended very well could have prepared him with the knowledge he needed to start his plays. Schama says, “the greatness of Shakespeare is precisely that he did not conform to social type”. He did not have to travel the world for inspiration – it came to him (24). This source provides useful information that can be used to argue that there should be no doubt about Shakespeare’s authorship.

Shapiro, James S. A Year in the Life of William Shakespeare, 1599. New York: HarperCollins, 2005. Print.

In a contrast to his later book, Contested Will, Shapiro narrows his focus down to a single year in Shakespeare’s life, 1599, in which Shakespeare completes “Henry the Fifth,” “Julius Caesar,” “As You Like It,” and shaped his first version of “Hamlet,”as well as a lot going on in his personal life. Dealing with all this gives Shapiro’s book a divided focus. His literary judgments rest on a thick underpinning of historical information, assessment of Shakespeare’s sources, the writings and activities of his contemporaries, and the tangled web of intrigue around the aging Queen Elizabeth.

—. Contested Will: Who Wrote Shakespeare? New York: Simon & Schuster, 2010. Print.

Within the 352 pages of this book, James Shapiro, a much respected Shakespeare scholar and professor at Columbia University, explains when and why so many people started questioning who wrote Shakespeare’s plays. It’s an interesting story, replete with forgeries, deception, false claimants, ciphers and codes, conspiracy theories, and a failure to grasp the power of the imagination. Shapiro is the first to examine the controversy and its history by explaining what it means, why it matters, and how it has persisted despite abundant evidence that William Shakespeare of Stratford wrote the plays attributed to him. This will interest anyone curious about Shakespeare and the literary imagination.

Twain, Mark. Is Shakespeare Dead? New York: Oxford UP, 1996. Print.

In his book, Twain states that Shakespeare is one of the “best-known unknown persons that have ever drawn breath upon the planet.” He then lists the few absolute known facts about Shakespeare, followed by a litany of facts historians “suppose” they know. Twain claims that authors can’t fake the language and tone of real experience when it comes to endeavors involving high levels of skill, and points out that the Shakespeare canon was written by a man who was deeply experienced in sixteenth-century law and legal procedures, was a member of Elizabeth’s court, was widely traveled, and knew several languages. Yet there is no concrete evidence Shakespeare had any of this.

“Why the Shakespeare Authorship Question Matters.” Shakespeare Oxford Newsletter 49.2. 2013: 11. Academic OneFile. Web. 26 Sept. 2013.

This article makes the valid point that there are some authors whose works would be hard to understand the personal and social contacts, such as Wilfred Owen and the Great War. It explains Shakespeare as “an Elizabethan aristocrat to his core–a liberal and humanitarian one…” The article also states that, with works like King Lear (1606) and Coriolanus (1607), there are multiple contradictions between how Shakespeare apparently lived and what he wrote. Useful to anyone interested in Shakespeare’s actual life, this article gives a different take on it.

BBC Shakespeare Plays

BBC Shakespeare Plays

By: Ambrose Video 2.0

 Available as a TTU Volpe Library Database, this resource is a portion of the Ambrose Video collection in a 2.0-viewing format that allows students to stream the video content for free. Ambrose contains all of Shakespeare’s plays, provided in alphabetical order, and the videos are available in different stages of screen viewing (small, medium, and large). The top of the page gives a quick excerpt on the program stating, “Shakespeare is rightly called the world’s greatest playwright for the soaring beauty of his language, for his profound insight into human nature, for the truths he dramatized and for the realism of the characters he created. He was, and remains, a superb entertainer.”

“FAQ” covers the technical details such as “Viewing Your Videos,” “Accounts & Licensing,” and “IP Address and Proxy Authentication & LMS Integration.” At the top of the page there’s a “Home” tab that will direct the viewer to more content. To get back to the plays go under “Screening Room”, click on the link under #16 (BBC) and the site will take you to the plays. This tab also provides all of the other available shows on the site.  Overall, the navigation of this website is pretty basic, and accessible to non-students, students, and faculty, though not all content is free –just the Shakespeare videos:

http://www.ambrosedigital.com.ezproxy.tntech.edu/component/option,com_content/task,view/id,119/Itemid,186/search,off

(If there you have trouble with this site go to this one and click on the BBC link to the right: http://www2.tntech.edu/library/research/databases.asp?subject=B)

On this site, the viewer might recognize some of the better well-known titles (Hamlet, Romeo and Juliet, Macbeth, and A Midsummer Nights Dream) as well as some of the lesser-known works of the Bard (Love’s Labors Lost, Titus Andronicus, Merry Wives of Windsor, and The Winter’s Tale). Shakespeare’s plays are divided into five acts, with the option of playing them all at once or separately. The site provides “Chapter Details,” a “Metadescription,” and “Keywords.” To the right is a medium-sized viewing box, and on the bottom left is a smaller box that provides different methods of citing the page including MLA, APA, and Chicago Manual styles.

There are a few names that you might recognize such as Helen Mirren, Anthony Hopkins, and Patrick Stewart. Other actors include Ben Kingsley, Claire Bloom, and Bob Hoskins just to name a few. The casts promise exciting and authentic Shakespearean viewing experiences.

Ambrose Video is a legitimate, educational resource for students to utilize; however, the only free version currently available to TTU is the BBC Shakespeare series. It can be found on the TTU Library page, under Research, click on Databases, click on English/Literature Studies, and on the right is the BBC Shakespeare Plays link. Overall, with the backup of IRIS and Ambrose, BBC Shakespeare Plays are a great resource for all students to use while at TTU to get more personal with the bard, get a visual of his works, and further their knowledge of the time period.

Works Cited

“The BBC Shakespeare Plays.”1984. Ambrose Videos, Inc. Web. Oct 03, 2013.

Shakespeare Interpretations: A Selective Annotated Bibliography

Introduction

Spain, Tokyo, South Africa, Prisons, the United States, and England: the Bard is quite the versatile fellow.  From the 1600’s to present day performances many artistic directors, untrained citizens, professional theatres, schools, and convicted men have provided a rebirth of Shakespeare over the centuries, adapting the works to fit their cultural idiosyncrasies. Many places unknown to Shakespeare’s works, such as Spain and Tokyo, are now joining the Elizabethan reality with their own twists and turns.

Why all of these different ethnic backgrounds re-interpreting Shakespeare? What makes him so important? According to the BBC Shakespeare Plays site,” Shakespeare is rightly called the world’s greatest playwright for the soaring beauty of his language, for his profound insight into human nature…He was, and remains, a superb entertainer.” The Bard’s works have an adaptability that make them re-inventible, allowing different cultures to present their political and cultural struggles in an entertaining way. By bringing these issues to the stage, they become exposed, and so Shakespeare has provided a universal voice regardless of language barriers.

The following selective annotated bibliography includes a range of sources on the topic of varying interpretations and performances of Shakespeare around the world. There are a few resources that provide a visual reference (MIT, BBC), definitions of modern English words and charts on each of Shakespeare’s plays (Glossary), and material on the different staging methods of Elizabethan plays (Gurr). These fifteen works provide criticism on the overall performance, and the challenges of interpreting Shakespeare into a non-traditional identity. Also included are the background stories of the actors, directors, and theatres that collaborated during the production process.

A large chunk of the resources provided cover modern performances, however, there is a range of dates between the materials. For example, The BBC Shakespeare Plays came out during the 1970s, Hornback’s essay covers the 1821 to 1844 time period, Gurr’s book ranges from 1574 to 1642, and Gregor’s article was written in 1997. Due to the focus of this selective bibliography being on global Shakespearean performances, the timeline goes from the Bard’s beginning seasons to specific, Internet websites providing visual performances from a variety of different regions (MIT).

Students, scholars, and teachers can utilize this selective annotated bibliography in a variety of ways. In itself, these resources can be used to provide information on several regions of who have chosen to embrace Shakespeare, and adapt him to their culture. Researchers and the general public can also use this document as a lead on the growing adaptations of the Bard’s works around the world.

Selective Annotated Bibliography

Ackerman, Zeno. “Performing Oblivion/Enacting Remembrance: The Merchant of Venice in West Germany, 1945-1961.” Shakespeare Quarterly. 62.3 (2011): 364 –395. Print.

-After the Holocaust one would think that showing a supposedly “anti-Semitic” play would be too controversial to survive, yet the 1943 production by the Vienna Burgtheatre proved successful and manifested the local pressures of confronting the Holocaust (341). From the years of 1952 with the first post-war production of Merchant (382) to interviews in 1984, Zeno covers the controversy of Shylock’s character. This essay gives its reader insight into the cultural changes of a Shakespearean character, in this case one who is struggling to survive the German guilt of the post-war years, especially during 1952 to 1961 (384-388).

 “The BBC Shakespeare Plays.”1984. Ambrose Videos, Inc. Oct 03, 2013.

-Located under the Tennessee Tech Library (English/Literature Database), these videos provide a visual, Elizabethan reference for students, teachers, and other faculty members. All of Shakespeare’s plays are provided, all divided into five acts, with instructions on how to site this source including MLA, APA, and Chicago. Starring British actors Helen Mirren, Claire Bloom, Patrick Stewart, and Bob Hoskins, just to name a few. This site also provides a short chapter description, metadiscription, and keywords. (For link to this site look for BBC under Profiles)

Bosman, Anston. “Cape of Storms: The Baxter Theatre Center – RSC Tempest, 2009.” Shakespeare Quarterly. 61.1 (2010): 108-117. Print.

-A shorter article that covers the 2009 production of Tempest under the partnership of two theatres (Baxter and the RSC), as well as two of South Africa’s finest actors John Kani and Antony Sher (108). Bosmons concern in the article comes from the productions similarity to the stereotypical, African look of The Lion King Broadway (110), and its outdated political tensions (110-113). More of a spectacle than a modern, political piece, this Shakespearean production, directed by Janice Honeyman, provides the reader with a reference on the successful blending of puppetry (111), dance (114), and bits of African culture with illustrations included.

Crystal, David, Ben Crystal, and Stanely Wells. Shakespeare’s Words: A Glossary and Language Companion. London: Penguin, 2004. Print.

– From “afeared” to “zwagger” this comprehensive, word bank provides greater depth for the reader questioning Shakespearean language. Written by the Crystal duo (father and son), with a preface by Stanley Wells, the book also contains “Abbreviations, Symbols, and Conventions”, as well as several pages dedicated to the “Frequently Encountered Words” (FEW) of Shakespeare texts. One of the most helpful parts of this resource are the “Shakespearian Circles, Synopses, and Dramatis Personae” available at the back of the book. These diagrams prove a valuable tool to both beginners and scholars of Shakespeare.

 Donaldson, Peter S. MIT Global Shakespeares. Massachusetts Institute of Technology. 2010. Web. 27 September 2013.

-A video archive dedicated to the documentation of global Shakespeare productions, and making them attainable for the general public. The site includes videos of performances from Europe to the Arab world, scripts (both English and international), and essays. It also has interviews, a bibliography, and information on both their international staff and the international influence of Shakespeare on the countries that they discuss. Along with the clips is information on the director, language/country, and the year it was produced. This reference provides a valuable container of global Shakespeare performance for compare/contrast and cultural purposes.

(http://globalshakespeares.mit.edu/about/)

 Gregor, Graham Keith. “ “Shakespeare – manía” : Twelfth Night in Madrid, 1996-97.”Shakespeare Quarterly. 49.4 (1998): 421-431. Web. 30 September 2013.

-An earlier article written in 1997, Gregor explains the emergence of Shakespeare in Spain, concentrating on the interpretation of two different productions of Twelfth Night at the 1996 autumn festival in Madrid. He explains the three popular reasons on Shakespeare’s increasing popularity (421-422), gives criticisms on the translation of the characters (426), and the back-story on the development of these shows (423,431). More information on the second production is found in part three of the essay, with illustrations included, providing the reader with written and visual information on the Bard’s works in the Spanish-speaking world. (Found in JSTOR)

Folger Shakespeare Library: Shakespeare Quarterly. Folger Shakespeare Library. N/A. Web. 27 September 2013.

– This site provides the reader with the Shakespeare Quarterly homepage, since Folger is their main publisher, as well as vital background information on Shakespeare.  The site provides the history of SQ, and current calls for essays, articles, and book reviews. On the left is a link to the Editorial Board, Back Issues, and a layout of content for Current Issues. Towards the top is a tab Discover Shakespeare, which provides historical information on the Bard’s life, works, links, and Shakespeare in American Life.

(Click on this link then go down to Publications on the left: http://www.folger.edu/Content/About-Us/About-Us.cfm)

Gurr, Andrew. The Shakespearean Stage, 1574-1642. Cambridge: Syndics, 1970. Print.

-A 1970s text on Elizabethan style staging, the entire text is a great resource for an intimate understanding of traditional Shakespearean performance; however, chapters four and five primarily cover this topic. Chapter four (“The Playhouses”) provides some background on the politics and land disputes during the time period. This compliments chapter five (“The Staging”), which covers the use of props, stage space, and visual effects. Especially useful are pages 118 on the different businesses of staging, 122 on the effects of daylight during performances, and 138 on the director’s involvement. Also included are illustrations and a list of properties (129).

Hornback, Robert. “Black Shakespeares vs. Minstrel Burlesques: “Proper” English, Racist Blackface Dialect, and the Contest for Representing “Blackness” 1821-1844.”Shakespeare Studies. 38 (2010): 125-160. Web. 1 Oct. 2013.

– This very long essay covers the controversy of black identities used in Shakespeare’s works, and the condescending treatment of emerging African American actors as they struggled to utilize the Bard’s works to represent their cultural identity (125-127). A major dilemma arouse from the mispronunciations of Shakespeare with African American dialect, leading to conflict with other leading theatres (135), of which an excerpt is provided (137). The work introduces the reader to James Helwett, the first professional black Shakespearean actor, as well as the racial challenges of his recognition during this time period.

(Go to http://www2.tntech.edu/library/research/databases.asp?subject=B and click on Humanities Full Text on the right, type in Hornback, Robert, scroll down to #3)

Knowles, Richard Paul. “From Dream to Machine: Peter Brook, Robert Lepage, and the Contemporary Shakespearean Director as (Post) Modernist.” Theatre Journal. 50.2 (189-206): Web. 28 Sept. 2013.

-In this lengthy journal article, Knowles compares the directing approaches of Peter Brook and Robert Lepage of Shakespeare’s Midsummer Nights Dream, highlighting the connections and disconnections of the (post) modern methods used in either of the director’s plays. First, Brook’s Dreams is compared to the modernist style of Beckett’s Waiting For Godot (196). Knowles then furthers his comparison with Lepage’s interpretation of Dreams and Hamlet, Elsinore (200), to the “Hamletmachines” of the postmodern era where actors are considered interpretive machines (203). This article provides its usefulness in its compare and contrast strategies for the reader to better understand a more recent interpretation of Shakespeare. (Found on JSTOR)

Olsson, R. Micheal. “All the World’s a Stage: Making Sense of Shakespeare.” Proceedings of the American Society for Information, Science, and Technology. 47.1 (2010): 1-10. Web. 1 Oct. 2013.

– This report provides the reader with a look into how acting professionals make sense of Shakespeare, and their personal relationship with the Bard. Olsson first explains the three different psychological methods of questioning used via social interactions (1-3). He then provides pieces of the conversations that he had with directors, actors, and writers (4-9), providing insight related to his study along the way. He concludes this study was to provide a new approach to sense making, based on people’s individual approaches (9). A lengthy list of resources is provided at the end (10).

( http://onlinelibrary.wiley.com/doi/10.1002/meet.14504701115/abstract)

(Also try http://www2.tntech.edu/library/research/databases.asp?subject=B and click on Databases A-Z, scroll down to Wiley Online Library link)

Reiss, Edward. “Globe to Globe: 37 Plays, 37 Languages.” Shakespeare Quarterly. 64.2 (2013): 220-232. Print.

-Reiss discusses his trip to the Shakespeare Globe theatre as he viewed 37 of Shakespeare’s plays in 37 different languages within six weeks (220). The writer covers some basic topics like “Occupying the Stage,” (223) “Gender Switches, Innovations, and Adaptations,” (226) and “Stagecraft” (227). Within these topics are detailed descriptions of the productions ranging from an Israeli The Merchant of Venice (221), a Greek Pericles (223), a Russian Measure for Measure (225), and the Castilian Spanish Henry VIII (227), among others. This essay provides a variety of Shakespearean interpretations, and the value in viewing productions from unfamiliar cultures.

Roberts, Dmae. “In Oregon, A Theater Thrives Despite The Downturn.” Weekend Edition Sunday. NPR. 27 March 2010. Web. 28 September 2013.

-Located on the NPR website under performing arts/theatre, this broadcast covers the theatre community of Ashland, OR. The company performs year-round, its most popular being the yearly Oregon Shakespeare Festival. Ashland’s theatre values a wide range of Shakespearean performances from the traditional, Elizabethan era to modern hip-hop. Despite recent budget cuts, the Oregon Shakespeare Festival continues to attract visitors from different states. This broadcast also discusses the 75-year old theatre’s “American Revolutions” project where 37 plays by new American writers will be staged, all influenced by the Bard’s historical plays. This source provides the reader with a look at how modern American theatre continues to interpret Shakespeare.

(http://www.npr.org/templates/story/story.php?storyId=125232977)

Thornewill, Alice. “Shakespeare Behind Bars.” The Paper. 1 March 2013. Web. 19 Oct. 2013.

– This online newspaper article provides the reader with the back-story of the 1995 program SBB behind the brick walls of the Luther Luckett Correctional Complex in Kentucky. Thornewill cover’s the organizations new program, The Journeyman, which targets young adults, and their mentors whom are SBB veterans. She goes on to cover the challenges the group has overcome, how Shakespeare has transformed their lives, and their upcoming performances, of which are to be performed within the prison.

(http://www.thelouisvillepaper.com/shakespeare-behind-bars/)

Tierney, Robert.  “Othello in Tokyo: Performing Race and Empire in 1903 Japan.”Shakespeare Quarterly. 62.4 (2011): 514-540. Print.

– Originally performed in Tokyo and other major cities of Japan in 1903 (514), Othello was re-invented by director Ninagawa Yukio in 1994 to represent racial tensions that people of the region could understand and connect with. According Tierney, Tsutsumi Harue took the 1903 Osero one step further in Seigeki Osero to modernize Shakespeare with Japanese cultural (515). The essay explains the importance of Japans embracement of Shakespeare during the 1900s, the conflicts with Western views of the play, and the ethnographic transformation of Othello (516). Also included are an illustration (524) and an excerpt from Emi Suiin’s adaption (541).