{"id":816,"date":"2010-09-09T13:48:07","date_gmt":"2010-09-09T18:48:07","guid":{"rendered":"http:\/\/winedarksea.org\/?p=816"},"modified":"2025-02-10T17:51:08","modified_gmt":"2025-02-10T22:51:08","slug":"shakespeare-quarterly-61-3-figures","status":"publish","type":"post","link":"https:\/\/winedarksea.org\/?p=816","title":{"rendered":"Shakespeare Quarterly 61.3 Figures"},"content":{"rendered":"

The color figures below correspond to those published in black and white in the print edition of Jonathan Hope and Michael Witmore, “‘The Hundredth Psalm to the Tune of ‘Green Sleeves’:\u00a0Digital Approaches to Shakespeare\u2019s Language\u00a0of Genre,”\u00a0Shakespeare Quarterly<\/em> 61.3 (fall 2010), Special Issue: New Media Approaches to Shakespeare, edited by Katherine Rowe. These figures can also be found at the University of Wisconsin-Madison Memorial library server<\/a>.<\/p>\n

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Figure 1 (above)<\/strong>: A total of 776 pieces of Shakespeare\u2019s plays from the First Folio, each piece consisting of 1,000 words, rated on two scaled PCs (1 and 4). The cumulative proportion of variation accounted for by the first four principal components is 12.33 percent, with component 1 accounting for 3.83 percent and component 4 accounting for 2.35 percent.<\/p>\n

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Figure 2 (above)<\/strong>: Loadings biplot for scaled PCs 1 and 4 used to create the scatterplot in Figure 1.<\/p>\n

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Figure 3 (above)<\/strong>: Docuscope screenshot of exemplary Comic strings from Twelfth Night<\/em>, 3.1. “SelfDisclosure” and “FirstPerson” strings appear in red; “Uncertainty” in orange; “DenyDisclaim” in cyan; “DirectAddress” in blue; “LanguageReference” in violet.<\/p>\n

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Figure 4 (above)<\/strong>: A total of 767 1,000-word pieces of the Folio plays rated on scaled PCs 1 and 4. This image is the same as Figure 1, except that all the plays are displayed as red dots with the exception of Othello<\/em>, which is displayed as blue dots and collects mostly in the upper-right-hand quadrant where the Comedies tend to cluster.<\/p>\n

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Figure 5 (above)<\/strong>: Docuscope screenshot illustrating exemplary Comic strings from Othello<\/em>, 3.3. “SelfDisclosure” and “FirstPerson” strings appear in red; “Uncertainty” in orange; “DenyDisclaim” in cyan; “DirectAddress” in blue.<\/p>\n

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Figure 6 (above)<\/strong>: Docuscope screenshot illustrating exemplary Comic strings from Othello<\/em>, 4.2. “SelfDisclosure” and “FirstPerson” strings appear in red; “Uncertainty” in orange; “DenyDisclaim” in cyan; “DirectAddress” in blue; “LanguageReference” in violet.<\/p>\n

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Figure 7 (above)<\/strong>: Docuscope screenshot illustrating exemplary History strings from Richard II<\/em>, 1.3. “CommonplaceAuthority” strings appear in lime green; “Inclusiveness” in olive; “SenseProperties,” “Sense Objects,” and “Motion” in yellow.<\/p>\n

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Figure 8 (above)<\/strong>: Docuscope screenshot illustrating exemplary History strings from Romeo and Juliet<\/em>, 1.1. “CommonplaceAuthority” strings appear in lime green; “Inclusiveness” in olive; “SenseProperties,” “Sense Objects,” and “Motion” in yellow.<\/p>\n

\"\"<\/a>Figure 9 (above)<\/strong>: Dendrogram produced by Ward\u2019s clustering method on scaled data using ninety-eight LATs to profile 320 plays written between 1519 and 1659. Individual items are colored according to genre, with the exception of plays written by Shakespeare, which all appear in yellow. To examine the diagram, click on it. We are grateful to Martin Mueller at Northwestern University for providing us with the modernized versions of these texts from the TCP collection.<\/p>\n

The authors would like to thank the University of Wisconsin Memorial Library for its assistance in hosting these illustrations on a permanent basis. Thanks also go to Kate Fedewa for her assistance in preparing Figure 9.<\/p>\n","protected":false},"excerpt":{"rendered":"

The color figures below correspond to those published in black and white in the print edition of Jonathan Hope and Michael Witmore, “‘The Hundredth Psalm to the Tune of ‘Green Sleeves’:\u00a0Digital Approaches to Shakespeare\u2019s Language\u00a0of Genre,”\u00a0Shakespeare Quarterly 61.3 (fall 2010), Special Issue: New Media Approaches to Shakespeare, edited by Katherine Rowe. These figures can also […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[13,72,48],"class_list":["post-816","post","type-post","status-publish","format-standard","hentry","category-shakespeare","tag-genre","tag-iterative-criticism","tag-shakespeare-quarterly"],"_links":{"self":[{"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/posts\/816","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/winedarksea.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=816"}],"version-history":[{"count":28,"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/posts\/816\/revisions"}],"predecessor-version":[{"id":2808,"href":"https:\/\/winedarksea.org\/index.php?rest_route=\/wp\/v2\/posts\/816\/revisions\/2808"}],"wp:attachment":[{"href":"https:\/\/winedarksea.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/winedarksea.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/winedarksea.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}