Comedy and Tragedy in Shakespeare: Difference between revisions
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==Related work and links== | ==Related work and links== | ||
Set of blog posts using co-occurrence | There have been a few informal explorations of this so far that I've found. | ||
There are a set of animations of the dynamics of communication in Shakespeare plays [http://www.jibble.org/shakespeare/] | |||
, using PieSpy [http://www.jibble.org/piespy/], a heuristic-based tool to infer social networks from IRC. There isn't any analysis here and the data isn't available, but we could check out PieSpy's rules for inferring relationships. (Our methods so far: co-occurrence and before- and after- speaking turns; easy next steps could use weighted co-occurrence--as in the next set of blog posts--and longer-memory speaking turns.) | |||
Set of blog posts using co-occurrence to construct social networks in Shakespeare, starting here: [http://axiomofcats.com/2012/08/25/social-networks-in-shakespeare/]. These are co-occurrence networks, where co-occurrences is measured within scenes, and the networks are broken down by acts. Edges are weighted (and sometimes thresholded) by the number of scenes with dyad co-occurrence. They point out that you can start to see the plot of the Tempest, though I think our networks showed that more clearly. | |||
The second blog post of the set, comparing social network density (E/V^2) in tragedies and comedies: [http://axiomofcats.com/2012/08/30/social-networks-of-shakespearean-plays-part-2/]. | |||
They make a cute observation that these networks are highly connected in Act 5 when the play is a comedy, which often end in weddings (and thus high co-occurrence). | They make a cute observation that these networks are highly connected in Act 5 when the play is a comedy, which often end in weddings (and thus high co-occurrence). | ||
Revision as of 21:48, 6 June 2013
Project page for A Midsummer Night's Project: Comedy and Tragedy in Shakespeare
Previous project description here: [1].
Data and code currently in the Dropbox folder.
Related work and links
There have been a few informal explorations of this so far that I've found.
There are a set of animations of the dynamics of communication in Shakespeare plays [2] , using PieSpy [3], a heuristic-based tool to infer social networks from IRC. There isn't any analysis here and the data isn't available, but we could check out PieSpy's rules for inferring relationships. (Our methods so far: co-occurrence and before- and after- speaking turns; easy next steps could use weighted co-occurrence--as in the next set of blog posts--and longer-memory speaking turns.)
Set of blog posts using co-occurrence to construct social networks in Shakespeare, starting here: [4]. These are co-occurrence networks, where co-occurrences is measured within scenes, and the networks are broken down by acts. Edges are weighted (and sometimes thresholded) by the number of scenes with dyad co-occurrence. They point out that you can start to see the plot of the Tempest, though I think our networks showed that more clearly.
The second blog post of the set, comparing social network density (E/V^2) in tragedies and comedies: [5]. They make a cute observation that these networks are highly connected in Act 5 when the play is a comedy, which often end in weddings (and thus high co-occurrence).