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"Rodgers, Amy"
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Origins of the Flyswatter
Around 1910, Bennett's and Crumbine's stories run together, as the Scouts launched a nationwide \"Swat the Fly\" campaign, inspired by Crumbine and supported by Bennett's swatters.6 Crumbine's anti-fly campaign dovetailed with the U.S. Wire Mat Company's massive manufacturing project and the promotional force of the Boy Scouts through their magazine Boys' Life, then subtitled \"For Boys and Boy Scouts\" or \"The Boy Scouts' Magazine.\" First are two anonymous and widely-reprinted poems called \"Swat the Fly.\" The flyswatter became everyday thanks to public health authorities, zealous civil associations, entrepreneurs, designers, and writers who constructed it as a socially routine and stable artifact with a recognizable form and function. On Bennett, see: \"John L. Bennett, Beer Can Pioneer\"; \"Who Made That (Fly Swatter)?\" Reviews of the \"King\" in: \"Stove and Hardware Dealers\" (1900); \"Price-Lists, Circulars, &c.\"; \"Stove and Hardware Dealers\" (1902); \"Recent Trade Publications\"; \"King Fly Killer\"; \"Hardware\"; \"The King Fly Killer\"; and \"The 'King' Fly Killer.\"
Journal Article
Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet
Recent inquiries into Shakespeare and dance have tended towards excavating the place and form of dancing in Shakespeare's plays or historicizing movement itself. My essay takes a different heuristic route by exploring what dance might bring to our understanding of how Shakespeare's plays were constructed. Using John Cranko's Romeo and Juliet as a test case, I explore how this work's collaborative creation might offer insight into the material means of plays' genesis and realization in Shakespeare's era. In doing so, I suggest an additional line of inquiry into the relationship between Shakespeare and dance, one that adds to work that expands our understanding of early modern drama's production.
Journal Article
Creation Myths: Inspiration, Collaboration, and the Genesis of Romeo and Juliet
Recent inquiries into Shakespeare and dance have tended towards excavating the place and form of dancing in Shakespeare's plays or historicizing movement itself. My essay takes a different heuristic route by exploring what dance might bring to our understanding of how Shakespeare's plays were constructed. Using John Cranko's Romeo and Juliet as a test case, I explore how this work's collaborative creation might offer insight into the material means of plays' genesis and realization in Shakespeare's era. In doing so, I suggest an additional line of inquiry into the relationship between Shakespeare and dance, one that adds to work that expands our understanding of early modern drama's production.
Journal Article
Maqbool/Omkara/Haider
Similar to Coppola's juxtaposition of Christian rites of passage (Michael's marriage in Sicily and an infant's baptism) with brutality (Sonny's murder and Michael's \"settling all family business\" via a series of assassinations), Bhardwaj sets moments of bloodletting and their repressed return against the illuminated backdrops of ideological sanctuaries. Set in Bhardwaj's home state of Uttar Pradesh, Omkara (2006) is more visually influenced by Tarantino (and by extension Hong Kong director Wong Kar-wai): much of the dialogue between men occurs in cars or trains as if to underscore the inexorably itinerant nature of the organized crime henchman's existence,2 and the Tyagi Hostel, in which the confrontation scene between Omkara and Raghunath (Dolly/Desdemona's father) takes place, is a ringer for the Reservoir Dogs (1992) warehouse. If Denmark becomes a prison for Hamlet, Kashmir actually is one, as Haider occupies a world of curfews, random military raids and arrests, and missing persons. In this moment, it's difficult to think of Shakespeare and the grand humanist tradition associated with his works; rather, one cannot help but imagine the thousands of unrecognized casualties of the twenty-first century's incessant battles over land, resources, and ideological dominance, particularly those that the West has largely ignored.
Journal Article
The Language of Looking: Making Senses Speak in Jonsonian Masque
Rodgers discusses senses in Jonsonian masque. Focusing on changes in early modern discourses about theatrical spectatorship, this study argues that, as playwrights begin to conceive of their work as having two potential incarnations (theatrical and textual), they also imagine writing for two different \"audiences\": playgoers and readers. Alterations in conventions of address and the language of theatrical affect (particularly that associated with the senses) help shape a discursively constructed entity--the spectator--that resembles the \"modern\" spectator, an entity that audience studies has largely imagined as being produced by modern technologies. Jonsonian masque offers a rich example of how such changes could occur first through representation and later become manifest in practice, given Jonson's interest (in multiple senses of the word) in preserving these performance ephemera for posterity/publication. Her inquiry here engages with recent work on the early modern senses, especially with work that challenges sight's place at the top of the early modern sensory hierarchy.
Journal Article
Hamlet
The women looked stunning in Mad Men-esque cinched-waist dresses and coiffed hair; the men's costumes included wonderful details, such as Polonius's purple silk pocket square and Rosencrantz's argyle sweater. During Claudius's \"auspicious and dropping eye\" speech, Estrella stared offinto the middle distance with a kind of unfocused horror, giving the impression that his mental state was less a direct result of his mother's overhasty marriage to his uncle and more a result of the collision between this event and his already-present psychological demons. Many Shakespeare productions (such as Sam Mendes's recent Richard III) have hearkened back to this era as a means of demonstrating Shakespeare's relevance to the present, but, as Sullivan did not consistently reference this political/historical context throughout the production, its presence at the play's end seemed superfluous.
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