All literary criticism is exemplary, but some literary criticism is more exemplary than others.
Tagged with shakespeare
Augmented Criticism and Rhetorical Figures
[infobox]This paper is the latest in a series about the Rhetorical Schematics Project, housed in the Augmented Criticism Lab: a digital collaboration between the Universities of Waterloo and Calgary, where Adam James Bradley and I are based.
I presented it first at the Canadian Society for Renaissance Studies (CSRS) conference at Congress 2015, and a revised version a few weeks later at the 2015 Shakespearean Theatre Conference in Stratford, Ontario. [/infobox]
My subject is “Augmented Criticism and Rhetorical Figures.” If that sounds highly technical, let me assure you that Adam and I are literary critics first and digital humanists second. That is, we use computers only to augment traditional research inquities, that are rooted in philology.
Here, for instance, our inquiry is into rhetorical figures, or the patterns of repetition and variation that make poetic language memorable, compelling, and beautiful.
‘Earn your Shakespeare badge’ video
The Design for Learning 2015 conference has posted the video of our workshop, along with others.
Here’s the complete series of posts on this project.
English 205: The Twitter Assignment
Using twitter in English 205 will help me listen to your reactions to the course material, to make my teaching more responsive to your questions. My goal is to encourage you each to ask questions about Shakespeare, questions that will identify “trending topics” (as twitter calls them) in the class at large. I want to help each of you move toward higher-level questions by the end of the course: questions that show not merely how much you know, but how well you think. With time, are you moving from understanding to analyzing, and from analyzing to evaluating? Do you read between the lines, make connections between passages, convey more than one layer of information? Continue reading
Listening with Twitter
On Day 1 of a course, after I’ve given students essential information like my office hours and how to pronounce my name, I ask about their prior knowledge of the subject. In my introduction to Shakespeare, for instance, I ask which of his plays they read in high school, which they’ve seen in performance, and if they have a favourite (and why). And I ask what students hope to get out of the course, beyond fulfilling a requirement. Continue reading
