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The Performativity of Female Subjectivities in Othello in Noh Style and Lady Macbeth
Get PDFMy paper focuses on performances of female subjectivity in two East Asian performances of Shakespeare: Othello in Noh Style by Ku Na’uka Theatre Company (directed by Miyagi Satoshi, 2005) and Lady Macbeth by Theatre Moollee (directed by Han Tae-Sook, 2010) re-write and perform Shakespeare’s Othello and Macbeth in ways that facilitate re-evaluations of Shakespeare’s female characters once they are performed in non-Anglophone and non-naturalist contexts. These productions recontextualise Shakespeare’s plots as having taken place in the past, foregrounding the experiences and memories of Desdemona and Lady Macbeth respectively. In Othello in Noh Style, Desdemona returns in spectral form after events in Shakespeare’s Othello. Lady Macbeth enacts the interior psychological landscape of the titular female character through the performance of her memory, which takes place through her physical interactions with the Royal Doctor, three Servants, as well as in the distinctive use of objects. I conclude my paper by reflecting on the ways in which these performances propose conceptualisations of female subjectivity as taking place through the embodied recuperation of trauma in interaction with other elements of theatrical performance.Cet article s’intéresse aux performances de la subjectivité féminine dans deux représentations théâtrales de Shakespeare : Othello in Noh Style par la Compagnie théâtrale Ku Na’uka (dirigée par Miyagi Satoshi, 2002) et Lady Macbeth par le Théâtre Moollee (dirigé par Han Tae-Sook, 2010) récrivent et représentent l’Othello et le Macbeth de Shakespeare d’une manière qui rend plus aisée la réévaluation des personnages féminins de Shakespeare une fois qu’elles sont représentées dans des contextes non-anglophones et non-naturalistes. Ces mises en scènes recontextualisent les intrigues shakespeariennes dans le passé et mettent ainsi en évidence les expériences et souvenirs de Desdémone et Lady Macbeth. Dans Othello in Noh Style, Desdémone revient sous forme de spectre après la fin d’Othello. Lady Macbeth dramatise le paysage psychologique intérieur du rôle titre féminin à travers la représentation de sa mémoire, qui a lieu via ses interactions physiques avec le Médecin Royal, trois servantes, ainsi que par une utilisation spécifique des objets. Je conclus cet article en réfléchissant aux manières dont ces représentations proposent de conceptualiser la subjectivité féminine comme issue de la récupération incarnée d’un trauma interagissant avec d’autres éléments de la représentation théâtrale
Feminist Interventions and Intercultural Mobilities in Satoshi Miyagi’s ‘Othello in Noh Style’
No full textI shall examine the ways in which moving the excluded female body onto the Noh stage in this production constitutes a materialist feminist intervention both into the ‘form’ of historically all-male Noh performance, and into the ‘focalisation’ of Shakespeare’s narrative, providing a specifically female articulation of the memory and experience of trauma. Desdemona’s memory of the past becomes the dramatic plot of Othello re-constructed, to enact a new subject position: Desdemona’s ghost. This material intervention facilitates temporal and spatial mobilities unique to intercultural performance, opening possibilities for theorising at the intersection of interculturalism and gender. Noh is a classical Japanese performance form from the 14th century. However, Noh performance only allowed male actors, so there emerges a disjunction between female character-types, and codified performances that did not involve the actual participation of female actors. Consequently, feminine identity and subjectivity is rendered always performative, an effect of the citation and repetition of formal aesthetic codes. Casting actresses intervenes in the performance history of Noh – particularly because the visual presentation of the actress’s distinctly feminine features foregrounds the materiality of the female body on the Noh stage. Desdemona’s ghost inhabits the multiple temporal and spatial configurations of the narrative as well as that of the Noh stage, allowing for a complex working-through of her trauma. The material presence of the actress intervenes in the narrative focalisation of Shakespeare’s Othello – which concludes with the effacement and silencing of Desdemona’s agency and voice through death. By fracturing the temporality of Shakespeare’s Othello narrative, this intercultural Noh performance mobilises and re-constructs the working-through of traumatised female subjectivity as taking place in the present, shifting narrative authority to Desdemona’s ghost. The narrative is now focalised through her perspective as shite, the primary character in Noh, and is articulated in her own narrative voice: she is effectively wresting her narrative voice and agency from Shakespeare’s text in this intercultural performance
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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