A Shplit Ticket, Half Irish, Half Chinay : Representations of Mixed-Race and Hybridity in the Turn-of-the-Century Theater

Charles Townsend\u27s 1889 adaptation of Harriet Beecher Stowe\u27s Uncle Tom\u27s Cabin features white actors playing light- and dark-skinned African-American characters, changing degrees of make-up as the script, stage business, or number of available players demands. Thomas Denison\u27s stage directions to his 1895 play, Patsy O\u27Wang, an Irish Farce with a Chinese Mix-Up, stipulates that the alternation of the half -Chinese, half-Irish cook between his two ethnic personas is key to this capital farce, and that a comedie use of the Chinese dialect is central to this. The Geezer (c. 1896), Joseph Herbert\u27s spoof of the popular musical, The Geisha, features white actors playing Chinese dignitaries, but also donning German and Irish accents. The white actors in these plays enact different paradigms of hybridity. The actors in Townsend\u27s Uncle Tom\u27s Cabin, a Melodrama in Five Acts embody conceptions of both mixed and unmixed African Americans, freely alternating between each. In Patsy O\u27Wang, the main character\u27s background is central to the story, and the lead actor moves between the two ethnicities by his accent, mannerisms, and politics. Racial mixing is central to the plot of The Geezer through Anglo actors who make themselves hybrid by appearing Chinese and appropriating a third accent, rather than the creation of racially mixed offspring

“This sympathizèd one day’s error”: Genre, Representation, and Subjectivity in The Comedy of Errors

This essay reexamines the mixtures of genres in The Comedy of Errors to argue that Shakespeare's play encourages reflection on genre as a mode of representation. In particular, the genres of romance and farce each offer specific approaches to subjectivity, which would have been especially meaningful to early modern urban playgoers grappling with the period's many cultural, economic, and social transitions. While The Comedy of Errors emphasizes romance in the frame and farce in the middle of the play, Shakespeare has the two genres overlap with, address, and incorporate each other, creating not only a generic rivalry but also striking instances of generic merger. These moments allow the audience to contemplate the nature of the world view presented in each genre and to determine its own position in the debate on subjectivity that emerges from the confrontation of the two. Romance and farce present identity as made up of the same components, but they judge these components in opposing ways. The same aspects of selfhood that point to an unchanging, essential core to the self in romance suggest the randomness of subjectivity in farce. Shakespeare's idealist version of romance overcomes the challenges posed by the secularism of farce by making materiality an integral part of collective harmony and individual subjectivity. All the same, the vast transformation that must take place to arrive at closure in the play suggests the broad differences between the two genres and their respective world views

Twice-Two: Hegel’s Comic Redoubling of Being and Nothing

Following Freud’s analysis of the fragile line between the uncanny double and its comic redoubling, I identify the doubling of the double found in critical moments of Hegelian dialectic as producing a kind of comic effect. It almost goes without saying that two provides greater pleasure than one, the loneliest number. Many also find two to be preferable to three, the tired trope of dialectic as a teleological waltz. Two seems to offer lightness, relieving one from her loneliness and lacking the complications of a third who comes in between. And yet, we learn through Marx and Freud that the double (even the double of tragedy and farce) borders on something closer to horror than comedy. In the following, I would like to explore why four is funnier than two in my staging of dialectic as the doubling of the double or, to borrow a movie title from Laurel and Hardy, “Twice Two” (Roach et al. 1933a). I will begin by exploring the formulations of the double in the form of a pair of opposites and in the form of a pair of twins. The literary tropes of the double as the odd couple, on one side, and the twins, on the other, appear to serve very different narrative functions, which incite different kinds of affective responses from the audience. However, the form of the opposed double sometimes conceals the realization that the empty or fragmented content of the first is only reduplicated in the second. The “straight man” of the odd couple cannot see himself in his counterpart “the comic.” The redoubling of the double, however, forces not only the audience, but the original double on stage to confront what was already present, but unrealized, from the beginning. To illustrate this redoubling of the double within the opening of Hegel’s Science of Logic, I consider two short films by Laurel and Hardy in which the comic duo redoubles itself. The formula (2 x 2) produces a comic excess through the dialectical redoubling of there uncanny double

“some kind of thing it aint us but yet its in us”: David Mitchell, Russell Hoban, and metafiction after the millennium

This article appraises the debt that David Mitchell’s Cloud Atlas owes to the novels of Russell Hoban, including, but not limited to, Riddley Walker. After clearly mapping a history of Hoban’s philosophical perspectives and Mitchell’s inter-textual genre-impersonation practice, the article assesses the degree to which Mitchell’s metatextual methods indicate a nostalgia for by-gone radical aesthetics rather than reaching for new modes of its own. The article not only proposes several new backdrops against which Mitchell’s novel can be read but also conducts the first in-depth appraisal of Mitchell’s formal linguistic replication of Riddley Walker

Theorizing Audience and Spectatorial Agency

This chapter analyses Georgian audiences and spectatorial agency through several lenses: psychoanalytic film theory, theories of the public sphere and of mass publicity, and media studies of cultural convergence. The first section reads Georgian theatre’s heterogeneous playbills as a syntactical rendering of the audience, the imaginary community of the nation in process of negotiation. The second section shows theatrical paratexts blurring the boundary between theatre and coffee house, creating a theatrical public sphere in which the audience exercises daily public agency in saving or damning the play. The third section highlights the mingling of vulnerability and charisma in the celebrity prologue-speaker, a figure who both judges and entrances the audience while also embodying actors’ exposure to possible audience wrath. The final section looks at the theatres’ encouragement of spouting clubs as a means of channelling spectatorial agency

Corpus and Models for Lemmatisation and POS-tagging of Classical French Theatre

This paper describes the process of building an annotated corpus and training models for classical French literature, with a focus on theatre, and particularly comedies in verse. It was originally developed as a preliminary step to the stylometric analyses presented in Cafiero and Camps [2019]. The use of a recent lemmatiser based on neural networks and a CRF tagger allows to achieve accuracies beyond the current state-of-the art on the in-domain test, and proves to be robust during out-of-domain tests, i.e.up to 20th c.novels

Combining dependency parsing with PP attachment

Prepositional phrase (PP) attachment is one of the major sources for errors in traditional statistical parsers. The reason for that lies in the type of information necessary for resolving structural ambiguities. For parsing, it is assumed that distributional information of parts-of-speech and phrases is sufficient for disambiguation. For PP attachment, in contrast, lexical information is needed. The problem of PP attachment has sparked much interest ever since Hindle and Rooth (1993) formulated the problem in a way that can be easily handled by machine learning approaches: In their approach, PP attachment is reduced to the decision between noun and verb attachment; and the relevant information is reduced to the two possible attachment sites (the noun and the verb) and the preposition of the PP. Brill and Resnik (1994) extended the feature set to the now standard 4-tupel also containing the noun inside the PP. Among many publications on the problem of PP attachment, Volk (2001; 2002) describes the only system for German. He uses a combination of supervised and unsupervised methods. The supervised method is based on the back-off model by Collins and Brooks (1995), the unsupervised part consists of heuristics such as ”If there is a support verb construction present, choose verb attachment”. Volk trains his back-off model on the Negra treebank (Skut et al., 1998) and extracts frequencies for the heuristics from the ”Computerzeitung”. The latter also serves as test data set. Consequently, it is difficult to compare Volk’s results to other results for German, including the results presented here, since not only he uses a combination of supervised and unsupervised learning, but he also performs domain adaptation. Most of the researchers working on PP attachment seem to be satisfied with a PP attachment system; we have found hardly any work on integrating the results of such approaches into actual parsers. The only exceptions are Mehl et al. (1998) and Foth and Menzel (2006), both working with German data. Mehl et al. report a slight improvement of PP attachment from 475 correct PPs out of 681 PPs for the original parser to 481 PPs. Foth and Menzel report an improvement of overall accuracy from 90.7% to 92.2%. Both integrate statistical attachment preferences into a parser. First, we will investigate whether dependency parsing, which generally uses lexical information, shows the same performance on PP attachment as an independent PP attachment classifier does. Then we will investigate an approach that allows the integration of PP attachment information into the output of a parser without having to modify the parser: The results of an independent PP attachment classifier are integrated into the parse of a dependency parser for German in a postprocessing step

Spartan Daily, January 17, 1938

Volume 26, Issue 64https://scholarworks.sjsu.edu/spartandaily/2701/thumbnail.jp

Molière's life and a critical study of some of his famous works

Thesis (M.A.)--Boston Universit