Comedy and Tragedy in Shakespeare: Difference between revisions
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This class does a few projects on social networks of "frequency of communication" between characters. They have a cool (but not pretty) visualization of communication links between characters, colored by type of communication - verse or prose. | This class does a few projects on social networks of "frequency of communication" between characters. They have a cool (but not pretty) visualization of communication links between characters, colored by type of communication - verse or prose. | ||
Wordseer has a number of explorations of language in Shakespeare plays: [http://wordseer.berkeley.edu/example-men-and-women-in-shakespeare/]. They look at grammatical relationships, word order, word frequency by type of play, collections of words, etc. They do a preliminary look at gender and love in Shakespeare. (A nice sample result: "A picture emerges: women’s most commonly-mentioned possessions are their male relatives and their bodies.") | Wordseer has a number of explorations of language in Shakespeare plays: on men and women [http://wordseer.berkeley.edu/example-men-and-women-in-shakespeare/] and on "beauty" [http://wordseer.berkeley.edu/beautiful-in-shakespeare-2/]. They look at grammatical relationships, word order, word frequency by type of play, collections of words, etc. They do a preliminary look at gender and love in Shakespeare. (A nice sample result: "A picture emerges: women’s most commonly-mentioned possessions are their male relatives and their bodies.") | ||
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. | 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. | ||
Revision as of 22:18, 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.)
Prosody & social networks in Shakespeare: [4]. This class does a few projects on social networks of "frequency of communication" between characters. They have a cool (but not pretty) visualization of communication links between characters, colored by type of communication - verse or prose.
Wordseer has a number of explorations of language in Shakespeare plays: on men and women [5] and on "beauty" [6]. They look at grammatical relationships, word order, word frequency by type of play, collections of words, etc. They do a preliminary look at gender and love in Shakespeare. (A nice sample result: "A picture emerges: women’s most commonly-mentioned possessions are their male relatives and their bodies.")
Set of blog posts using co-occurrence to construct social networks in Shakespeare, starting here: [7]. 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: [8]. 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).
Some other fun places to look: titles at the humanities workshop at NetSci, a networks conference held this week [9]; the Six Degrees of Francis Bacon [10].
Possible and previously discussed project directions
A non-exclusive, non-exhaustive and otherwise rough list of ideas that have come up recently. We could use this page to structure some of our results or sub-projects (see next section).
Predicting tragedy/comedy(/history)
Gender
Gender and character roles
Dynamics of the network(s)
Probabilistic modeling of the networks (consider also tragedy/comedy, gender, dynamics and evolution, etc.)
Language in Shakespeare (consider also tragedy, gender, dynamics, etc.) - more here.
Hierarchical/social roles in Shakespeare
Story structure in Shakespeare
Narrative style and structure (focus on main characters vs. more contextual/observed scenes)
etc.
Possible uses for this page
Structuring or collecting results
Collecting information about the data or code
Sharing analyses
Nothing after this week
Showing off our results at the end of the summer school
etc.