Shakespeare | Cut
Rethinking cutwork in an age of distraction
Series: Oxford Wells Shakespeare Lectures;
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18 506 Ft (17 625 Ft + 5% VAT)
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18 506 Ft
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Product details:
- Publisher OUP Oxford
- Date of Publication 21 July 2016
- ISBN 9780198735526
- Binding Hardback
- No. of pages228 pages
- Size 203x139x22 mm
- Weight 320 g
- Language English
- Illustrations 24 black and white illustrations 0
Categories
Short description:
In distracted times like the present, Shakespeare too has been driven to distraction. Shakespeare | Cut considers contemporary practices of cutting up Shakespeare in stage productions, videogames, book sculptures, and YouTube postings, while also exploring how Shakespeare's texts have been cut apart beginning in Shakespeare's own time.
MoreLong description:
In distracted times like the present, Shakespeare too has been driven to distraction. Shakespeare | Cut considers contemporary practices of cutting up Shakespeare in stage productions, videogames, book sculptures, and YouTube postings, but it also takes the long view of how Shakespeare's texts have been cut apart in creative ways beginning in Shakespeare's own time. The book's five chapters consider cuts, cutting, and cutwork from a variety of angles: (1) as bodily experiences, (2) as essential parts of the process whereby Shakespeare and his contemporaries crafted scripts, (3) as units in perception, (4) as technologies situated at the interface between 'figure' and 'life,' and (5) as a fetish in western culture since 1900. Printed here for the first time are examples of the cut-ups that William S. Burroughs and Brion Guysin carried out with Shakespeare texts in the 1950s. Bruce R. Smith's original analysis is accompanied by twenty-four illustrations, which suggest the multiple media in which cutwork with Shakespeare has been carried out.
All in all, Shakespeare
Table of Contents:
Cuts in, to, by, from, and with Shakespeare: Forms and effects across four centuries
Cutwork: Cutting out plays and putting them on
Cut and run: Perceptual cuts in hearing, seeing, and remembering
At the cutting edge: Interfaces between figure and life
The new cut: Shuffling cuts since 1900
