Author: Evan Hixon
Hell’s Black Intelligencers: Shakespeare and Our Current Fears of Surveillance
In July 2018, the United States government formally pressed charges against Maria Valeryevna Butina for operating as an unregistered foreign agent operating in the service of the Russian state, a term that the news media quickly collapsed into the more provocative and instantly recognizable designation of “Russian spy.” Coupled with the revelation that the Russian
“Millions of false eyes”: Responding to Surveillance
Surveillance culture doesn’t crop up overnight. It is the result of social and political processes, which humans creatively adapt to and undermine. Last week, I looked at the ways in which early modern audiences and playwrights reacted to the increasing sense that their government was using spies to monitor their actions in and around the
They Come Not Single Spies: What Surveillance Meant to Shakespeare’s Audiences
After the St. Bartholomew’s Day Massacre in 1572,[1] the English government, particularly Principle Secretary Francis Walsingham (often credited as the father of English espionage), greatly increased the scope of their intelligence networks. This resulted in the foiling of a number of plots against the life of Queen Elizabeth, most notably the Babington Plot, which led
Cloaked in Eyes and Ears: Reading Surveillance Culture Through the Early Modern Stage
In our contemporary social moment, the American public has come to possess a fairly blasé attitude towards the degree to which governments and corporations collect our data and monitor our actions. It has become almost an unfunny joke to acknowledge that, yes, Amazon and Google do monitor our internet habits and listen in upon our
“Enter RUMOUR, painted full of tongues”: Virality and the Dangers of Rhetoric
Over the last few weeks, I’ve explored the relationship between early modern fears of rhetoric and their relevance in our political climate. Thus far, I’ve focused on a specific kind of rhetoric, the anti-media rhetoric of President Trump, drawing parallels between his words and Henry II’s famous statement “will no one rid me of this
“If Thou Consider Rightly of the Matter”: Intent, Interpretation, and the Fear of Rhetoric
Last week, I looked at Julius Caesar as a case-study for understanding early modern fears concerning rhetoric during the late 16th and early 17th century. I hope to have demonstrated the degree to which Shakespeare was wary of the relationship between rhetorical provocation and the violent potential of the crowd. However, representations of rhetorical provocation
“Cry Havoc and Let Slip the Dogs of War”: Julius Caesar and the Power of Rhetoric
Last year, while writing for Broadly Textual about the political implications of staging Shakespeare’s Julius Caesar under the Trump administration, I off-handedly suggested that the play could be read as one in “which a demagogue exploits a mob of Roman citizens and preys upon their anger and resentment to compel them to destructive violence.” Later
Will No One Rid Me of This Turbulent Media?
In 1170, Henry II, King of England, is alleged to have complained to a group of knights within his household, “will no one rid me of this turbulent priest.” Speaking of the Archbishop of Canterbury, Thomas Beckett, this statement was alleged to have been interpreted as an order, and a group of knights travelled to
“They may pass for excellent men:” Audience and Interpretative Labor in A Midsummer Night’s Dream
[5-7 minute read] Last week, I discussed Hamlet’s metatheatrical play within a play, The Murder of Gonzago, in an attempt to discuss what Hamlet’s attitudes towards acting could tell us about the relationship between theater and audience. This week, I would like to shift gears and discuss a different moment of metatheatricality in Shakespeare: the
“Dumbshows and Noise:” Hamlet and The Problem of Audience
[5-7 minute read] During Act 3 of Hamlet, while preparing the travelling players for the evening’s performance, Hamlet provides the actor’s company with a lengthy speech concerning the proper methods of acting he would like them to employ. During the speech, he makes a note on clowns, saying “and let those that play/ your clowns speak