Despite the importance of the epitaph in early modern England, Shakespeare is considered by most critics to have had little regard for the commemorative potential of the genre. But his English history plays take seriously the trope of the living acting as epitaphs for the dead: through embodied epitaphic performances in these plays, Shakespeare draws upon the cultural valences of the epitaph to disrupt and critique the very relation of continuity and obligation between present and past, living and dead, that epitaphs more conventionally propose. The embodied epitaphs of the history plays make a case for rupture rather than continuity, and challenge the notion that the present should imitate the past. Shakespeare uses these epitaphs to interrogate what it means, and costs, to remember the past by remaking the present in its image.
Performing Commemoration in the Shakespearean History Play
Beyond the Kuleshov Effect
, and his 1920s performances (for which he was credited as Mosjoukine) demonstrate varied forms of expressiveness. Scholarship on the film acting of the 1910s and early 1920s has looked at the use of broad poses and gestures as part of a system that
J. Brandon Colvin
People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.
Jens Jetzkowitz and Jörg Schneider
Recent ecological studies have identified human activity as a relevant dimension of current evolutionary processes. However, most of these studies rely on socioeconomic indicators that consider the impact of activities on ecosystems but have only limited informative value on the effects of concrete patterns of action. This paper focuses on the concept of style as a tool for the study of the interface between society and nature. We exemplify our thesis with reference to changes in plant biodiversity in settlements, and start by summing up the methods and findings of our interdisciplinary research project that aimed to explain the distribution of native and alien plants. Since the findings indicate that styles of living and acting influence plant species composition, we apply the findings of our research strategy beyond the narrow focus of our study. Finally, we comment on methodological implications for the study of the societal aspects of social-ecological systems.
Place, Horizon, and Imaginary
Sondra L. Hausner and Simon Coleman
vantage point might we best approach it? And how might these new ways of seeing imply new ways of acting in community, in concert, over time, and across space—or how might we see our old ways of acting anew? In this volume we feature the scholar of
film acting is that actors must be conscious of their choices, at least to a minimal extent. As the actor Gene Hackman put it, “you have to make choices. [Directors] can reject what they don’t like, but they’re yours” (quoted in Bernard 1993: 36
Cristina Clopot, Ullrich Kockel, and Vytis Čiubrinskas
journal significantly during its early years as co-editor (1990–2001) and, for a time (1992–1998), publisher. He remained connected with it over the years, regularly acting as peer reviewer and informal advisor during Ullrich's tenure as editor. His final
Gregory Doran’s Henriad
of design-driven staging and instead staking its fortune on character and ensemble acting. 3 Apart from Tennant’s pop-culture caché, the productions felt slightly out of vogue in their relatively low-tech, simply designed style. It is precisely for
Balancing Moral Possibilities in Everyday Life between Sensation, Symptom and Healthcare Seeking
Sara Marie Hebsgaard Offersen, Peter Vedsted, and Rikke Sand Andersen
possibilities for acting as ‘a good citizen’ are reflected in the bodily practices of the Danish middle class, this article particularly pays attention to the ways in which notions of morality are embedded in perceptions of bodily sensations and thereby create
A Bikoist Challenge to Professor Xolela Mangcu
possibilities accessible to us for us to transcend our facticity. When we deny our freedom, we are acting in bad faith. Bad faith is a form of self-deception in that the liar and the one being lied to are one and the same person. Paradoxically, in order to lie