Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.
Nimbin, Australia, from 1973
This article brings together the ideas of protest and counterculture in a productive engagement. If protest is understood as publicly bearing witness in opposition to something, then countercultures often do this as rejections of dominant cultures that are folded into everyday life in order to create spaces for possible futures. The countercultural experiments undertaken in the region around Nimbin, Australia, are an example of such space creation. Using interviews, presentations, and archival materials collected at a 2013 community conference marking the 40th anniversary of the 1973 Nimbin Aquarius Festival, I will explore these experiments in the context of countercultural protest. The Festival not only gathered together people under the banner of the counterculture, but provided a unique space for gathering around common matters of concern to create an ongoing countercultural community. This community continues to develop practical knowledge regarding sustainable living and innovations in grassroots environmental protest.
Giovanni A. Travaglino and Benjamin Abrams
Since its inception, Contention has aimed to illuminate our understanding of activism and political behavior across a full variety of contexts and settings. By examining political behavior across multiple geographical and social sites, we can explore unique opportunities to expand the horizon of our theoretical frameworks, test the generalizability and applicability of our claims, and gain a stronger grasp of how different structural arrangements and historical trajectories might shape political action.
Hamlet as a Material Object
This article challenges A.W. Pollard’s foundational distinction between good and bad quartos, which confuses ethical and bibliographical categories. Some quartos are badly inked, or printed on poor-quality paper. But Q1 Hamlet is a professional, well-made commodity. Zachary Lesser has conjectured that Q1 sold poorly, and has claimed that the similarity of the title pages of Q1 and Q2 supports that hypothesis. But both title pages are typical of Ling’s books, and their similarities are no more remarkable than those in Ling’s different quartos of Michael Drayton’s poems. Q1 Hamlet apparently sold more quickly than Q2. Using D.W. Winnicott’s theories about the ‘good enough mother’ and ‘transitional objects’, we can identify Q1 as a ‘good enough quarto’.
Why Q1 Hamlet Matters
This introduction situates the special double issue ‘Canonizing Q1 Hamlet’ in the context of the early publication history of Shakespeare’s tragedy and the recent critical and editorial interest in the first edition. The first edition of Hamlet – often called ‘Q1’, shorthand for ‘first quarto’ – was published in 1603, in what we might regard as the early modern equivalent of a cheap paperback. Q1 Hamlet is becoming increasingly canonical not because there is universal agreement about what it is or what it means, but because more and more Shakespearians agree that it is worth arguing about. If we read or perform it, rather than simply dismissing it (as was done for most of the twentieth century), Q1 makes us think: about performance, book history, Shakespeare’s relationships with his contemporaries, and the shape of his whole career.
As this issue of Girlhood Studies went to press, two very dramatic moments in the history of girls and young women were in the public eye. One was the large 8000-strong gathering of NGOs, researchers, politicians, and activists from 165 countries at the Women Deliver Global Summit on gender equality that took place in Vancouver, Canada, from 3 to 6 June 2019. There, according the program, the focus was on how power can both hinder and drive progress and change for a world that is more gender equal. On 3 June, the long-awaited report of the National Inquiry into Missing and Murdered Indigenous Women and Girls (MMIWG) in Canada was released, with its 231 recommendations or calls for social justice to address what is now acknowledged as being part of what was (and continues to be) cultural genocide. Both the Global Summit and the report on MMIWG are reminders of the need for the blend of scholarship and activism that is so critical to advancing issues of equity and to implementing recommendations to achieve this. This unthemed issue with its broad range of geographic locations, concerns, and methods and its attention to activism, along with scholarship that features work from both the humanities and social sciences, is key in relation to mobilizing a social justice agenda.
Australian Protest in a Social Movement Society
Ben Hightower and Scott East
This introduction begins by challenging a common narrative formed in relation to Australia—that it is a “lucky country.” This “exceptionalist” view of Australia is also evidenced in national legal frameworks relating to human rights. Drawing on histories of Australian politics, it is argued that social justice stems not from luck or an exceptional legislative system, but from various forms of social contestation. Especially since the global protests of 2011, more scholars are considering the organization, impacts, and practices of social movements that occur on a global scale. Despite the evolution of globalized protest, this collection is informed by Connell’s southern theory (2007), which identifies the unequal geopolitics of knowledge. The articles in this issue provide a diverse range of case studies that can inform protest practices and evidence the vitality of dissent in Australia. Activist knowledges and a quest for collaborative approaches to protest are the two elements that run throughout this issue of Contention.
Jane Mummery and Debbie Rodan
Signaling dissatisfaction with particular events, policies, or situations, modes of protest encompass individual expressions through to the development and mobilization of social movements. Indeed, protests can range from bodies blocking space and time to the aggregation of clicked signatures in an online petition and the sharing of campaign content through social media. All of these modes are currently employed within the Australian public sphere to bring about change or closure of the live export industry. This article analyzes the current dimensions and flows of public protest against Australia’s live export industry, examining how they are shaped not only by a myriad of organizations but also by differing modes of protest, as well as by the different modes of appeal in use by activists to mobilize the Australian public sphere in protest. Through this discussion, insight is gained into some of the capacities and efficacies of multimodal protest and its significance for both public engagement and political and industry uptake.
Hanne Busck-Nielsen and Jean Sprackland
Half-light, by Hanne Busck-Nielsen Prayer, by Hanne Busck-Nielsen Yeast, by Jean Sprackland
An Interview with Pauline Pantsdown (AKA Simon Hunt)
Ben Hightower, Scott East and Simon Hunt
There is often a division between scholarly publication and activist knowledge—something that Sarah Maddison and Sean Scalmer (2005) suggest may be countered by taking the knowledge produced by activists seriously. In this interview, Simon Hunt reflects on the genesis of Pauline Pantsdown, a drag persona that he developed in the late 1990s in reaction to Australian Conservative politician Pauline Hanson, who generated controversy for her racist and divisive views. The introduction briefly considers the importance of activist accounts and contextualizes Hunt’s practice in relation to arts activism and networked societies. From there, Hunt discusses a range of significant considerations for activism, notably the significance of using persona as a means for activism, the affordances and challenges of using social media, and methods for activating participation in a changing media landscape.