Aka ivy league biography of william shakespeare
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Shakespeare Memorial, Philadelphia
The Shakespeare Memorial in Philadelphia stands as a testament to the city's appreciation of the Bard's literary genius. Conceived in 1892 by artist John Sartain, a member of the Fairmount Park Art Association (now known as the Association for Public Art), the idea was to honor William Shakespeare through a monument funded by public and private subscriptions. However, it wasn't until the 300th anniversary of Shakespeare's death in 1916 that this concept gained significant momentum, highlighting Philadelphia's need for a Shakespearean tribute.
By 1917, sufficient funds had been raised for the memorial. The development of the Benjamin Franklin Parkway during this time led to the commissioning of Alexander Stirling Calder for the project. Calder, renowned for his other local works such as the Swann Memorial Fountain and the Calder Statues, was chosen to bring this vision to life.
The original location for the memorial was in front of the Free Library. The sculpture was cast in 1926 by the Roman Bronze Works and was officially dedicated on April 23, 1929, coinciding with Shakespeare’s birthday. However, due to expressway construction, the memorial was relocated in 1953 to its current position.
The sculpture itself
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The insistently apologetic tone of Goldstone and Underwood’s piece sets the stage for my questions of this week’s readings. For how long and for what institutional reasons will Digital Humanists persist in apologizing for their unorthodox approaches to literary data? Can we predict a moment or a set of conditions in which a paradigm change might finally come about, whereby a piece of quantitative analysis could be published in PMLA without major hemming-and-hawing or sincere contrition? And finally, is it really a feature (not a bug) of good, skeptical, humanistic inquiry (as Timothy Burke defines it and as Tressie Cottom demands it) that Humanists should pay as much attention to the methodological vices of the texts they produce as they do to the literary virtues of the texts they study?
Before I offer my responses to those questions – reading Goldstone and Underwood’s piece in light of Burke, Finn, and Cottom – let me issue a two-part clarification (or apology, I suppose).
First, I don’t mean to be theoretical and hand-wavy by posing questions about scholarly methodology writ large and about the wide, open, uncertain future of the humanities. I hope rather that this will prove practical and lead us to draw in class on the conversations we have a
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Shakespeare’s “Infinite Unspoiled of Secrecy”
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“Passing through assembly to eternity”
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