Exploring Literary Spaces
(Asynchronous Session - Online)
Between an Archaeologist and a Poet: Sukyung Huh's Poetic Archaeology View Digital Media
Paper Presentation in a Themed Session Jihee Han
Huh Sukyung, a late poet of South Korea, walked a very unique poetic journey during her life. She was an acting archaeologist, living in Munster, Germany and also an active poet, publishing collections of poems in Korean. Standing on the borderline of race and discipline, she pioneered a new territory of poetic archaeology in the history of South Korean poetry. This paper looks into her inclusive consciousness, crossing East Asia, Western Europe, Muslim Arab, and illuminate her poetic archaeology, represented in the collection of poems, The Copper Age, and the Potato Age.
The English Romani as a Source for Feste in "Twelfth Night": Shakespeare's Civil Savage
Paper Presentation in a Themed Session Ann Dunn
“…a people whose vocabulary lacks two words – ‘duty’ and ‘possession.’” Often scholars, students, and teachers need to use more than one academic discipline to come to an enriched understanding of a subject. The fields of Historical Anthropology, Literary Criticism, and Textual and Performative Analysis can usefully be employed to illuminate my thesis, that England’s Romani are at least one source for many of the transgressive figures that appear in his plays. Examples would include Poor Tom and The Fool in "King Lear", the clown in Othello, and The Players in "Hamlet". This paper will focus on Feste, in "Twelfth Night", a character I believe to be modeled in part on the English Romani who proliferated along the sides of the country roads and on the wrong side of the Thames in the Taverns and Ordinaries, and with whom Shakespeare would have been familiar. I read the travelling musician, Feste, as a property-less wanderer, a free man, the voice of Time and Timelessness, a spirit of grace come among a fallen people, and Fate’s sorcerer. Such an approach casts new light on both the Romani of the Tudor period and on the play, and leads to the discovery of new ironies in both cases.
Early Modern Theatre on Screen: A Database for Audiovisual Adaptations of Renaissance and Baroque Plays View Digital Media
Paper Presentation in a Themed Session Víctor Huertas Martín
The database Early Modern European Theatre: Heritage and Databases (EMOTHE), research project granted to the Faculty of Philology, Translation and Communication of the University of Valencia–ref. PID2019-104045GB-C54–is a repertory of texts, critical editions, and translations of Italian, English, French and Spanish sixteenth and seventeenth-century plays. Currently, EMOTHE is introducing an additional section on audiovisual adaptations of such plays. So far, databases tackling these audiovisual works remain unevenly distributed and fragmentary. For this reason, EMOTHE intends to set the foundations for an all-encompassing overview on audiovisual adaptations of early modern European plays. Over this presentation, I will tackle the rationale for the categorizations EMOTHE proposes by resorting to the discipline of digital humanities and the critical and theoretical works on adaptations of theatre works to the audiovisual media. As I will prove, EMOTHE’s section on audiovisual adaptations expands knowledge given by previous databases on audiovisual adaptations of theatre works with regards to their typology, relationship to source text and to specific stage precedents, recording modes, genres, paratexts, etc. Overall, EMOTHE’s audiovisual section is expected to provide valuable information for specific and pan-European comparative approaches to address the valuable heritage of audiovisual adaptations of early modern theatre.
Standardization vs. Variation: The Case of Early Modern Greek (16 h -17th c.) View Digital Media
Paper Presentation in a Themed Session Eleni Karantzola, Stylianos Paterakis, Anastassios Papaioannou
It is widely acknowledged that the expansion of the vernaculars into several domains of use during the 1450-1580 period (Baggioni 1997) led to the necessity for their standardization, i.e. the production of grammars, dictionaries, and books for spelling or stylistic guidance (Αuroux 1994). Regarding Early Modern Greek, the tendency for language homogeneity was weakened by the lack of a unified political-administrative center and of specific language institutions (cf Accademia della Crusca, Académie Française). The paper considers the main findings of a research project* which investigated the impact of edited grammars and popular texts on the reduction of variation during the 16th and 17th centuries. Moreover, the comparative examination of successive editions of the same texts allows us to identify the degree of tolerance towards variation, which in turn suggests that typography contributed to the reduction of antagonistic types in a much slower way than it is generally assumed.
Rhetorical Figures in Emily Dickinson's Poems View Digital Media
Paper Presentation in a Themed Session Jihyeong Chu
This research explores rhetorical figures used in Emily Dickinson’s poems. Dickinson is well-known for her idiosyncratic use of language and her poem is regarded as a poetic puzzle. I attempt to understand and interpret her riddle-like use of language by analyzing rhetorical figures appearing in her poems. Her distinctive way of using language can be explicated through analyzing rhetorical figures rooted in Latin. As Susan Juhas mentions, “the irresistible lure of repetition” is easily found in Dickinson’s poems. Thus, in Dickinson’s poems, I investigate three specific rhetorical figures designating the repetition of words or phrases: 1) anaphora—repetition at the start, 2) symploce—repetition at the start and end, and 3) anadiplosis—repeating the ending at the beginning. Thus, this study analyzes how these figures are organically used in delivering each poem’s message to the reader. With a theory of figures in rhetoric in the reader’s mind, it is highly possible to find hidden meanings in Dickinson poems.
