by Harriet Thompson, PhD candidate in the English department at King’s College London.
William John Johnston’s Lightning Flashes and Electric Dashes is a volume of late nineteenth-century American fiction comprised of ‘contributions from the pens of all the prominent writers in the ranks of telegraphic literature’. Johnston was himself a telegraph operator, as well as a publisher, and editor of the profession’s leading trade journal ‘The Operator’. He published a number of notable works of telegraphic literature by women telegraphers, including Ella Cheever Thayer’s novel Wired Love and short fictional works by Lida Churchill and Josie Schofield.
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By Rachael Nicholas, PhD candidate (University of Roehampton), MOOC mentor, and alumna of the King’s MA in Shakespeare Studies
In case you’d missed it, 2016 marks the 400th anniversary of William Shakespeare’s death. Whilst some of the celebrations have commemorated the man himself, the catalogue of performances and special events comprised a celebration of afterlives, focusing on the 400 year history of encountering Shakespeare and his works. Their sheer range is a testament to the part that adaptation across different media has played in the construction of what we understand as ‘Shakespeare’ today.
The proliferation of media technologies has not only given rise to new modes of adaptation, but also to new ways of distributing and accessing Shakespeare’s work. It is now possible to open out live performances to audiences around the world through live broadcasts to cinemas, and increasingly, for free online. The question of what it means to encounter performances of Shakespeare through the digital – for both production and reception – is central to my own research project on live relay audiences. But to encounter Shakespeare through ‘performance’ is of course not the only way to encounter Shakespeare.
Continue reading Shakespeare 2.0: Pray tell, what is a ‘MOOC’?
By Sinéad Murphy, PhD student in Comparative Literature
The King’s Fantastic Talks series came to life with its first instalment on 23rd October, with Prof Pablo Mukherjee delivering a riveting and trenchant study of third world non-aligned science policy and science fiction in India in the mid-twentieth century, focusing on the fiction of Satyajit Ray. Though Ray is better-known outside of India for his films, Mukherjee argues that Ray’s fiction and films are bound by similar aims, particularly the drive to achieve a modernist style which can adequately reflect the process of uneven modernisation in a newly postcolonial third world nation.
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