Featuring twelve original essays by leading Beckett scholars and media theorists, this book provides the first sustained examination of the relationship between Beckett and media technologies. The chapters analyse the rich variety of technical objects, semiotic arrangements, communication processes and forms of data processing that Beckett’s work so uniquely engages with, as well as those that – in historically changing configurations – determine the continuing performance, the audience reception, and the scholarly study of this work. Greatly enlarging the scope of earlier discussions, the book draws on a variety of innovative theoretical approaches, such as media archaeology, in order to discuss Beckett’s intermedial oeuvre. As such it engages with Beckett as a media artist and examine the way his engagement with media technologies continues to speak to our cultural situation.
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As You Like It
Even by the standards of Shakespearean comedy, As You Like It tests theatrical logic. Unlike other Shakespearean comedies, comic closure is not compromised by pain, punishment or death; nor does the play returns its characters and audiences to a 'real' world in which the fantastic may be put to the test. This book focuses on the performance of As You Like It in the twentieth century. It offers a summary of the prehistory that provides its background and context. The book examines the play as a text for performance on the early modern stage. It is examined not by conjecturally reconstructing a performance that may or may not have taken place, but by mining the script for clues as to how it might have been handled by its first players. It pays particular attention to three contrasting RSC productions: Michael Elliott's of 1961, which launched Vanessa Redgrave's legendary, epoch-defining Rosalind; Buzz Goodbody's of 1973, and Adrian Noble's of 1985. The book addresses two productions beyond the English (and English-speaking) theatre context. The first of these, seen at l'Atelier in Paris in 1934, is Jacques Copeau's redaction Rosalinde; the second Peter Stein's monumental four-hour production for the Schaubühne Berlin in 1977. It focuses on two all-male versions of the play: Clifford Williams's for the National Theatre in 1967, and Declan Donnellan's for Cheek by Jowl in 1991 and 1994. The book draws substantially upon the first-hand audience experience of a recent production, Blanche McIntyre's for Shakespeare's Globe in 2015.
Series: Shakespeare in Performance
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The gothic novel in Ireland, 1760–1830 offers a compelling account of the development of gothic literature in late-eighteenth and early-nineteenth century Ireland. Against traditional scholarly understandings of Irish gothic fiction as a largely late-nineteenth century development, this study recovers to view a whole body of Irish literary production too often overlooked today. Its robust examination of primary texts, the contexts in which they were produced, and the critical perspectives from which they have been analysed yields a rigorous account of the largely retrospective formal and generic classifications that have worked to eliminate eighteenth-century and Romantic-era Irish fiction from the history of gothic literature. The works assessed here powerfully demonstrate that what we now understand as typical of ‘the gothic novel’– medieval, Catholic Continental settings; supernatural figures and events; an interest in the assertion of British modernity – is not necessarily what eighteenth- and nineteenth-century readers or writers would have identified as ‘gothic’. They moreover point to the manner in which scholarly focus on the national tale and allied genres has effected an erasure of the continued production and influence of gothic literature in Romantic Ireland. Combining quantitative analysis with meticulous qualitative readings of a selection of representative texts, this book sketches a new formal, generic, and ideological map of gothic literary production in this period. As it does so, it persuasively positions Irish works and authors at the centre of a newly understood paradigm of the development of the literary gothic across Ireland, Britain, and Europe between 1760 and 1830.
Anti-computing
Dissent and the machine
Anti-computing explores forgotten histories and contemporary forms of dissent – moments when the imposition of computational technologies, logics, techniques, imaginaries, utopias have been questioned, disputed, or refused. It also asks why these moments tend to be forgotten. What is it about computational capitalism that means we live so much in the present? What has this to do with computational logics and practices themselves?
This book addresses these issues through a critical engagement with media archaeology and medium theory and by way of a series of original studies; exploring Hannah Arendt and early automation anxiety, witnessing and the database, Two Cultures from the inside out, bot fear, singularity and/as science fiction. Finally, it returns to remap long-standing concerns against new forms of dissent, hostility, and automation anxiety, producing a distant reading of contemporary hostility.
At once an acute response to urgent concerns around toxic digital cultures, an accounting with media archaeology as a mode of medium theory, and a series of original and methodologically fluid case studies, this book crosses an interdisciplinary research field including cultural studies, media studies, medium studies, critical theory, literary and science fiction studies, media archaeology, medium theory, cultural history, technology history.