Lankshear, Colin, and Michele Knobel.
Digital Remix: The Art and Craft of Endless Hybridization
. 13 May 2007. Web. Nov. 2016.
In this !o"rnal# a"thors Colin $an%shear an& 'i(hele )nobel &is("ss ho*# as a ra(e# *e have been %no*n to "se +remix, to basi(ally (reate *ho *e are an& *hat *e reresent as many ("lt"res. They &is("ss ho* *e are simly !"st ta%ing *hat is resente& in front of "s# an& shaing it into something that *e have a greater gras# an& "n&erstan&ing of# (reating a ne* *ayof reresenting it. /oth $an%shear an& )nobel &is("ss the many &ifferent forms that are fo"n& to&ay# s"(h as ho* remixes are visible from a m"si( stan&oint# as *ell as in *riting s"(h as fanfi(tion(anons# an& in a vis"al ase(t as *ell hotoshoing. The i&ea of remix hybri&i3ation is bro"ght " as *ell. The i&ea they have forme& is that yo" (an (reate something bigger an& better by (ombining t*o smaller +se(ies, of genres# to (reate a bigger# more s"erior offsring of it. Never before ha& I tho"ght of remixes in this light. 4What is *rong *ith the remix?5 is *hat i *ant to %no*. If o"r *hole existen(e s"rro"n&s the i&ea of remixes# from the *ay *e (omm"ni(ate# to ho* *e exress o"rselves# is ta%ing an i&ea from someone else an& "sing it to form yo"r o*n interretation of it so a*f"lly *rong? Everyone is so (a"ght " on rote(ting their +o*n i&eas,# ese(ially in this &ay an& age# b"t in reality# o"r generation is ta%ing somethingan& ma%ing better# a hybri& of something that (o"l& have the otential of be(oming more.htt6s7.ama3ona*s.(oma(a&emia.e&".&o("ments71212890remix.&f?:W;:((ess)eyI&<:)I:=8T>=RTW;'TNE:@Exires<19ABA2AB0@;ignat"re<DA'bBs&AtRs"m7FGvI&/;Hh(7F@resonse-(ontent-&isosition<inline7/20filename7FFigitalJRemixJTheJ:rtJan&JCraftJofJEn&le.&f
Gnera!ne, ". #. $anson, La%rence. &Ch. ' (he )hakes*eare #e+i- #o+ance, (raico+edy, and )hakes*eare/s &dis!inc! Kind&&
Shakespeare and Genre
. alrave Mac+illan. 2011. rin!. Nov 2016.
In G"nertne,s "bli(ation of
Shakespeare and Genre
he &islays Fanson,s interretation of the i&ea of ho* ;ha%eseare,s originality in not entirely honest. In this (hater they &is("ss anexamle *here ;ha%eseare too% an ol&er story#
# a story abo"t ho* a %ing remembers the &eath of his inno(ent *ife# *hi(h *as "ltimately &"e to his !ealo"sy# an& "se& the elements of (ome&y an& trage&y in it# to form his o*n *or% of the
This ie(e of *or% *as (onsi&ere& to be original# &esite it not being so# an& instea& of it being (onsi&ere& a +tragi(ome&y,# as it *as s"ose& to# it *as (onsi&ere& more as a roman(e.Even the most *ell %no*n artist in all of history *as %no*n to ta%e i&eas from someone else to form a ne* form of *riting. If ;ha%eseare ha&n,t ta%en some form of i&ea from
&ueen Elizabeth 'ie!ing the "erformance of The (erry )ives of )indsor at the *lobe Theatre
. 1<0. $'e$m No .511;1<5- London England.
. 2015. Web. 25 No(. 2015. http!""###.(am.a*.$4"*ontent"arti*le'"e"eli+abethan;theatre" *ho'e thi' pie*e o) Art#or4 to 'ho# the )ranti* #ay o) the Eli+abethan play'. hi' painting let' the (ie#er 'ee the *o't$me'- the 'et'- and the te*hni*alitie' o) the prod$*tion. hi' 'o$r*e ga(e me in'ight to ho# the
changes and progress we have
made in theatre. ho#ing that the moral' the Engli'h people o) the Eli+abethan really #ere an impa*t on $'.Witt- Johanne' e.
S+etch of the S!an Theatre
. 152. =ni(er'ity o) =tre*ht- =tre*ht- Netherland'.
S+etch of the S!an Theatre
. =ni(er'ity o) =tre*ht Library- J$ly;A$g. 2010. Web. 12 No(. 2015. http!""###.l$minari$m.org"en*y*lopedia"'#an'4et*h.htm%. hi' i' a '4et*h that i' an arti't>' loo4 a regional theatre o) the time it #a' '4et*hed in 152 d$ring a per)orman*e. hi' ill$'tration gi(e' in'ight to ho# theatre' #ere *on'tr$*ted and the 'et$p o) per)orman*e'. No#aday' )rom thi' '4et*h the reader *an 'ee the beginning' o) pro)e''ional theatre' #e ha(e today all aro$nd the #orld. am going to $tili+e thi' dra#ing by di'playing it to e8plain o) the gro#th o) the'e primiti(e playho$'e'ha4e'peare- William.
The Soul of Sha+es-eare.s /0th Sonnet
. Web. 26 No(. 2015. http'!""philo'ophyma?or.#ordpre''.*om"2012"11"@0"the;'o$l;o);'ha4e'peare';th;'onnet"%. hi' i' a $ote i' )rom ha4e'peare>' th onnet. hi' i' a $ote that ha4e'peare #rote to ed$*ate the ma''e' o) E$rope to be 4ind be*a$'e that i' #hat i' right. e #a' trying to get a*ro'' the importan*e o) the inner per'on in'tead o) only loo4ingni*e. am going to $tili+e thi' by e8plaining #hy the people o) today *an $'e thi' 4no#ledge in their e(eryday li)e.ha4e'peare- William.
. 1622 152.
2o ,ear Sha+es-eare# thello
. Web. 27 No(. 2015. http!""n)'.'par4note'.*om"othello"pageB12.html%. hi' $ote )rom the '*ript o) thello bring' o$t a#arene'' to the people o) England abo$tJealo$'y. hi' $ote al'o ma4e' it 4no#n ho# the'e a*t' ed$*ated E$ropean' thro$gh #arning them o) mi'ta4e' they *o$ld ma4e in their li)e and ho# to a(oid them. hi' 'tatement #ill gi(e the reader proo) that the Eli+abethan theatre #a' not all abo$t entertaining the people o) England b$t to tea*h h$man *hara*teri'ti*'.ha4e'peare- William.
Richard $$3 Entire "lay
. Web. 26 No(. 2015. http!""'ha4e'peare.mit.ed$"ri*hardii")$ll.html%. hi' i' a $ote )rom one o) ha4e'peare:' mo't )amo$' play' Di*hard . hi' i' $ote i' telling the reader o) bea$ty in the #orld and ho# thi' *hara*ter e8perien*e' it.