Center or Margin: Revisions of the English Renaissance in Honor of Leeds Barroll
Notice bibliographique
Résumé
IN THE INTRODUCTORY CHAPTER to his Politics, Plague and Shakespeare's Theater: Stuart Years (1991), Leeds Barroll lamented tendency of biographies of Shakespeare to reify presuppositions about causation, thereby resulting the freezing of number of available viewpoints that might otherwise be brought to bear (7). Barroll's call rereading of documents and rethinking of patterns of causation comes wake of Foucault's account of tactical polyvalence of discourses (1) and of range of theoretical positions that emphasized discontinuities, instabilities, and exclusionary forces that underpin operations of language. In process, Barroll revisited, and augmented, stock of those very documents that traditional (and even some revisionary) criticism has reduced to uniform reading. It is precisely this openness, combined with an undiminished appetite reinvestigation and reevaluation of what has hitherto passed fact and critical truth. that Lena Cowen Orlin's edited collection celebrates. It builds on what Barroll himself inveigled against when he spoke of sketching of historical figures making intelligent plans to implement intelligent decisions, experiencing consequences fully anticipated and hoped for (ibid., 12). Indeed, his initiation and indefatigable editing of major journals such as Shakespeare Studies, and Medieval and Renaissance Drama England, his founding of Shakespeare Association of America, his presence at its annual conferences, combined with regular appearance of his own further publications, all indicate an exemplary and continually adventurous intellectual energy. Meanwhile, impressively well-organized Shakespeare Association of America continues to provide major international focus Shakespeare Studies, and has sustained its mission to encourage and provide nurturing environment young scholars, while Shakespeare Studies continues to adventure beyond existing boundaries of discipline. Orlin's collection is an appropriate way to honor achievement of major Shakespeare scholar, but it is also testimony to those various avenues of critical and investigation that Barroll has been, large measure, responsible stimulating and encouraging. This collection is organized under four headings, representing consecutively, title of paper, graduate seminar theme, chapter title of one of Barroll's seminal books, and book title: England at Margins, Researching Renaissance, The Human Figure on Stage, and Artificial Persons. In some cases, as opening essay by Peter Stallybrass under heading England at Margins it was one of Barroll's own Shakespeare Association of America seminars (Montreal, 2000) that provided both occasion and stimulus. But others, essays appear to have been specially commissioned volume, and have been grouped under one of these four headings: each group testimony to prescience of Barroll's own published work, and to enduring challenge it continues to provide. Peter Stallybrass's Marginal England: View from aims to perform strategy familiar to readers of Barroll's writing: an adjustment of perspective, of kind that some recent examples of postcolonial criticism have taken much further to point of disturbing hegemonic foundations of post-Enlightenment historiography. Stallybrass does not quite go that far, since, following dialectic that he himself has been partly responsible making familiar, of relationship between marginality and symbolic centrality, his concern is with some of ways which the Mediterranean figured centrally English imaginary (29). textual spur his inquiry is hero's final speech Othello which suicide is figured as resolution of conflict in Aleppo once between a Malignant and Turband Turke and Venetian. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,005 | 0,013 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,002 | 0,001 |
| Études des sciences et des technologies | 0,008 | 0,010 |
| Communication savante | 0,007 | 0,004 |
| Science ouverte | 0,001 | 0,005 |
| Intégrité de la recherche | 0,002 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,010 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».