Search Results (18)

This article rereads Akira Kurosawa’s 1960 film The Bad Sleep Well as a modern Hamlet that relocates Shakespeare’s crisis of action from dynastic succession to postwar bureaucratic and corporate modernity. It shifts attention away from plot fidelity and toward how Hamletian functions—staged revelation, damaged legitimacy, obstructed revenge, and the demand for narrative afterlife—are adopted into a corporate world that delegates authority downward, a reworking the article calls structural-political adaptation. Drawing on Carl Schmitt’s account of sovereignty and the political taboo that gives tragic form its density, it argues that Kurosawa adapts the relation between tragedy and what cannot be directly represented. The film’s highest authority is heard on a telephone and never seen. The power of decision has receded behind a bureaucratic apparatus, where neither the avenger nor the camera can follow it. Death and its consequences change accordingly. Nishi dies without a survivor who can perform Horatio’s public function. The institution records his death as an accident and absorbs it into administrative routine. This article argues that The Bad Sleep Well shows how Hamletian action and death survive under faceless institutional power and are shaped by political taboo. Full article

Federated learning in heterogeneous data scenarios faces two key challenges. First, the conflict between global models and local personalization complicates knowledge transfer and leads to feature misalignment, hindering effective personalization for clients. Second, the lack of dynamic adaptation in standard federated learning makes it difficult to handle highly heterogeneous and changing client data, reducing the global model’s generalization ability. To address these issues, this paper proposes pFedKA, a personalized federated learning framework integrating knowledge distillation and a dual-attention mechanism. On the client-side, a cross-attention module dynamically aligns global and local feature spaces using adaptive temperature coefficients to mitigate feature misalignment. On the server-side, a Gated Recurrent Unit-based attention network adaptively adjusts aggregation weights using cross-round historical states, providing more robust aggregation than static averaging in heterogeneous settings. Experimental results on CIFAR-10, CIFAR-100, and Shakespeare datasets demonstrate that pFedKA converges faster and with greater stability in heterogeneous scenarios. Furthermore, it significantly improves personalization accuracy compared to state-of-the-art personalized federated learning methods. Additionally, we demonstrate privacy guarantees by integrating pFedKA with DP-SGD, showing comparable privacy protection to FedAvg while maintaining high personalization accuracy. Full article

In his 1926 “Criteria of Negro Art,” W.E.B. Du Bois advocates for art’s role in the quest for liberation while acknowledging the challenges facing the creation of Black art, observing, “We can go on the stage; we can be just as funny as white Americans wish us to be; we can play all the sordid parts that America likes to assign to Negroes; but for anything else there is still small place for us.” He elaborates, “As it is now we are handing everything over to a white jury.” Almost 100 years later, the issues Du Bois raises about Black art, the quest for Black freedom, and the structures of white supremacy that stymie this striving remain troublingly relevant for contemporary Shakespearean performance. As scholars have noted, complex challenges (the Shakespeare system, capitalist pressures, etc.) continue to make contemporary American Theater, and Shakespeare within it, “still a small space” for Black artists. In the face of these forces, what can and does resistance look like for Black artists within predominantly white theatrical spaces? Here, I tackle this question, thereby continuing the scholarly interrogation of the relationship between contemporary Shakespeare performance, race, and social justice. I turn to a recent lauded adaptation of Shakespeare that, in its move from local theater to Broadway, inevitably had to engage with the structures of American theater’s (and Shakespeare’s) racial capitalism—James Ijames’s Pulitzer-prize-winning Fat Ham (2021). Fat Ham, I contend, tackles head on the historical racial scripts imposed on Black subjects and, through a range of adaptive moves, exposes and resists them, offering counterscripts that insist on the personal and interpersonal complexity and flourishing of Black subjectivity. Full article

Peking opera The Revenge of Prince Zi Dan reinterprets Shakespeare’s Hamlet by integrating supernatural elements and traditional rituals from Chinese folk religion. The religious transformation is revealed through the reworking of lines, incorporation of ritual traditions, and portrayal of supernatural figures. The divine entity that is invoked in Hamlet’s prayers (2.2.169, 5.2.316) and Claudius’s repentance (3.3.36–72) is translated as tian 天 (Heaven) in Revenge, thus introducing the concepts of the worship of tian and tianming 天命 (Mandate of Heaven). Revenge also adapts Claudius’s command of “give me some light” (3.2.261) by associating it with ancient exorcisms, thereby dramatizing his attempts to conceal the guilt for regicide. Ophelia’s “maimed rites” (5.1.208) are depicted as a deviation from Confucian funeral rites in Revenge, reflected in the simplified funeral banners and Hamlet’s transgressive mourning. The “sulphurous and tormenting flames” (1.5.3) and the morning cock’s crow (1.2.217) are reinterpreted through the introduction of the judicial system of the underworld. These changes are not merely transitions in performing conventions but reflect the deep connection between folk religion and traditional Chinese theater through these prayers, rituals, and supernatural elements, thus creating a specific theatrical “field” in which Chinese folk religion interacts with Western classics. Full article

Federated Learning (FL) enables decentralized Machine Learning (ML), focusing on preserving data privacy, but faces a unique set of optimization challenges, such as dealing with non-IID data, communication overhead, and client drift. Adaptive optimizers like AdaGrad, Adam, and Adam variations have been applied in FL, showing good results in convergence speed and accuracy. However, it can be quite challenging to combine good convergence, model generalization, and stability in an FL setup. Data-bound adaptive methods like AdaDB have demonstrated promising results in centralized settings by incorporating dynamic, data-dependent bounds on Learning Rates (LRs). In this paper, FedAdaDB is introduced, which is an FL version of AdaDB aiming to address the aforementioned challenges. FedAdaDB uses the AdaDB optimizer at the server-side to dynamically adjust LR bounds based on the aggregated client updates. Extensive experiments have been conducted comparing FedAdaDB with FedAvg and FedAdam on three different datasets (EMNIST, CIFAR100, and Shakespeare). The results show that FedAdaDB consistently offers better and more robust outcomes, in terms of the measured final validation accuracy across all datasets, for a trade-off of a small delay in the convergence speed at an early stage. Full article

Personalized Federated Learning (PFL) seeks to train client-specific models across distributed data silos with heterogeneous distributions. We introduce Sign-Entropy Regularization (SER), a novel entropy-based regularization technique that penalizes excessive directional variability in client-local optimization. Motivated by Descartes’ Rule of Signs, we hypothesize that frequent sign changes in gradient trajectories reflect complexity in the local loss landscape. By minimizing the entropy of gradient sign patterns during local updates, SER encourages smoother optimization paths, improves convergence stability, and enhances personalization. We formally define a differentiable sign-entropy objective over the gradient sign distribution and integrate it into standard federated optimization frameworks, including FedAvg and FedProx. The regularizer is computed efficiently and applied post hoc per local round. Extensive experiments on three benchmark datasets (FEMNIST, Shakespeare, and CIFAR-10) show that SER improves both average and worst-case client accuracy, reduces variance across clients, accelerates convergence, and smooths the local loss surface as measured by Hessian trace and spectral norm. We also present a sensitivity analysis of the regularization strength $\rho$ and discuss the potential for client-adaptive variants. Comparative evaluations against state-of-the-art methods (e.g., Ditto, pFedMe, momentum-based variants, Entropy-SGD) highlight that SER introduces an orthogonal and scalable mechanism for personalization. Theoretically, we frame SER as an information-theoretic and geometric regularizer that stabilizes learning dynamics without requiring dual-model structures or communication modifications. This work opens avenues for trajectory-based regularization and hybrid entropy-guided optimization in federated and resource-constrained learning settings. Full article

Romeo and Juliet remains one of the most frequently performed plays of Shakespeare in Korea, one reason for which is obvious: the feud between the Capulets and Montagues resonates with the continuing division of Korea into North and South. Indeed, many productions of the play in South Korea since the Korean War (1950–53) have made direct and indirect allusions to the political reality of division. Nothing defines Korea so much as division and the desire to overcome that division. With this context in mind, my essay will examine four representative but unique productions of the play from the War period to the twenty-first century: a women’s musical theater adaptation during the War that was a popular success; a production by the Mokwha Repertory Theatre from the early 2000s that alludes directly to the state of division into North and South, and which has toured the globe; a 2009 musical theater version by the National Changgeuk Company of Korea that emphasizes regional rivalries; and a 2022 production that sets the play in the DMZ. However, while exploring the depiction of division in these productions, I will focus in particular on how marriage is understood in relation to national division and the possibility of reconciliation. I will argue that the productions bring attention to the intersection of the social and political practices that sustain division. Full article

Following the “intertextual turn” in adaptation studies, scholars of Shakespearean performance have embraced the interpretive possibilities offered by infidelity, focusing increasingly on the corrective potential of recent stagings and adaptations. Such productions are not primarily valuable as progressive rewrites, however. In claiming not to be “Shakespeare”, these productions make testable claims about the nature of the Shakespearean playtext. In this paper, I examine two recent stage productions and one non-traditional film adaptation of Much Ado About Nothing: Kenny Leon’s 2019 Public Theater production, Chris Abraham’s 2023 Stratford Festival production, and Will Gluck’s 2023 romantic comedy Anyone But You. All three performances are consciously unfaithful to Shakespeare’s text or setting, and their revisions attend to making the characters’ behavior more palatable for a contemporary liberal–progressive audience. Yet when we compare these revisions with the original playtext, Shakespeare’s own views come into sharper relief, as does our own inclination to identify with characters that Shakespeare’s immediate audience may have felt quite distanced from. I argue that in their drive to correct the play and make the characters more likable, these productions paper over Shakespeare’s critique of the arbitrary construction—and violent enforcement—of social hierarchy. Drawing upon Jacques Derrida’s notion of the parergon, I show that Shakespeare’s deliberate narrative framing invites a more skeptical, disapproving understanding of his characters. My hope is that this discussion leads to an understanding of Much Ado About Nothing as a “problem play” rather than a “problematic” one. Full article

In Measure for Measure Shakespeare addresses a question that is both straightforward and hard to answer: how do we make people obey the law? Over the course of the play, this simple question gives way to a complex set of problems about human will, political legitimacy, and the origins of sovereign power. Measure for Measure is concerned with illicit activity and ineffective government. But in this comedy—this “problem play”—Shakespeare is especially interested in the political mechanism by which authority and obedience are restored. How is a delinquent population, used to license, brought under control? Shakespeare examines one strategy in this play, one he has seemingly adapted from the Florentine political theorist Niccolò Machiavelli. Multiple critics have recognized that the story of Duke Vincentio and his deviant deputy, Lord Angelo, bear a striking resemblance to the story Machiavelli tells about Cesare Borgia and Remirro de Orco in Chapter 7 of The Prince. Here, I build upon these analyses to offer a new account of Shakespeare’s relationship to Machiavelli and political realism more generally. The Cesare story provides Shakespeare with an opportunity to explore how spectacle and theatricality can be used—not only to subdue an unruly population but to legitimate sovereign authority. However, Shakespeare delves deeper than Machiavelli into the mechanism whereby political authority is reestablished, first by considering the psychological conditions of the Duke’s subjects (both before and during his spectacular display of power), and second, by emphasizing the need for individual citizens to will sovereign authority into being. As we will see, in Shakespeare’s Vienna, order can only be restored once the delinquent people beg to be governed. Full article

Shakespeare’s Macbeth has traveled a long way from its original milieu. This paper takes three major 21st-century Indian adaptions of Macbeth as its primary texts. The city of Mumbai in the west in Maqbool, an imaginary coastal Bengal village in the east in Mandaar, and the suburbs of Kerala in Joji in the south of the subcontinent become sites of “creative mistranslations” of the play. In this paper, we take the ambiguity that Shakespeare’s witches evoke in the early 17th-century Scottish world as a point of entry and consider how that ambiguity is translated in its 21st-century Indian on-screen adaptations. Cutting across spaciotemporal boundaries, the witches remain a source of utmost significance through their presence/absence in the adaptations discussed. In Maqbool, Shakespeare’s heath-hags become male upper-caste law-keepers, representing the tyrannies of state machinery. Mandaar’s witches become direct agents of Mandaar’s annihilation at the end after occupying a deceptively marginal position in the sleazy world of Gailpur. In an apparent departure, Joji’s world is shorn of witches, making him appear as the sole perpetrator of the destruction in a fiercely patriarchal family. A closer reading, however, reveals the ominous presence of some insidious power that defies the control of any individual. The compass that directs Macbeth and its adaptations, from the West to the East, from 1606 to date, is the fatalism that the witches weave, in their seeming absence as well as in their portentous presence. We cannot help but consider them as yardsticks in any tragedy that deals with the age-old dilemma of predestination and free will. Full article

This article re-evaluates Derek Jarman’s adaptation of William Shakespeare’s The Tempest (1979) based on archival research into the cinematic and historical intertexts that influenced the film. Specifically, it focuses on the impact of Pier Paolo Pasolini on Jarman’s aesthetics, particularly the Italian filmmaker’s last work: Salò, or the 120 Days of Sodom (1975). The article explores how Jarman used Pasolini’s work as a filter through which to frame his adaptation of Shakespeare’s play. In so doing, he produced a decidedly Pasolinian twist on The Tempest, which he explicitly referred to in his notes as “Shakespeare’s Salò.” Bridging the gap between the Renaissance and Jarman’s contemporary moment, Jarman’s film offers a meditation on ideas of captivity and captivation in The Tempest, which extends from the play and film’s literal representations of imprisonment to their exploration of the affective power of performance and spectacle. Full article

In this article I argue that Helen of Troy in Thomas Heywood’s The Iron Age I & II can be read as a figure for Elizabeth I during her final decade. Heywood appropriates multiple sources to emphasise images of age, decay and death which connect Helen and Elizabeth by evoking concerns that were prevalent as the Queen aged. Whether we date the plays as late Elizabethan or early Jacobean, Heywood was writing at a time when people were thinking (in anticipation or retrospection) about Elizabeth’s death and the end of the Tudor line. In The Iron Age II, Heywood shows Helen lament the loss of her fabled beauty when she gazes into a mirror and sees an aged face that resembles Elizabeth’s. With her despair compounded by her guilt over the Trojan War, Helen turns to suicide and Heywood ends the entire Age pentalogy with a glance to the succession. Ultimately, in his treatment of Helen, Heywood subversively brings to centre stage images that Elizabeth (and her government) had tried to quash and opens up new forums for political commentary at London’s popular theatres. Full article

Although Shakespeare and his plays have been a frequent subject of videogame adaptations in the past, these have often been confined to either theatre-making games (which present the staging of Shakespeare plays using the mechanisms of strategy or simulation videogame genres) of education/trivia games that aim to familiarise players with Shakespeare’s texts. While references to Shakespeare abound in videogames, there have been relatively few attempts to directly adapt one of his plays into the form of an interactive videogame narrative, where the player controls one or more of the principal characters and can affect the outcome of the story. This paper will examine four videogame adaptations of Shakespeare’s Hamlet, whose differing approaches to player-agency and interactivity in relation to narrative of the classic play demonstrate the interactive potential of Shakespearean drama. While the player-driven overwriting or rewriting of the classic text may appear irreverent, it is, in each game, dependent on some conception the original play and the past tradition that it represents, which is translated into the contemporary medium of the videogame. This illustrates Jacques Derrida’s contention that the longevity and translatability of Shakespearean texts are due to their ‘spectral’ qualities, in that they allow the past to be re-examined through the lens of the present and vice versa. Full article

The ultimate goal of precision disease modeling is to artificially recreate the disease of affected people in a highly controllable and adaptable external environment. This field has rapidly advanced which is evident from the application of patient-specific pluripotent stem-cell-derived precision therapies in numerous clinical trials aimed at a diverse set of diseases such as macular degeneration, heart disease, spinal cord injury, graft-versus-host disease, and muscular dystrophy. Despite the existence of semi-adequate treatments for tempering skeletal muscle degeneration in dystrophic patients, nonischemic cardiomyopathy remains one of the primary causes of death. Therefore, cardiovascular cells derived from muscular dystrophy patients’ induced pluripotent stem cells are well suited to mimic dystrophin-associated cardiomyopathy and hold great promise for the development of future fully effective therapies. The purpose of this article is to convey the realities of employing precision disease models of dystrophin-associated cardiomyopathy. This is achieved by discussing, as suggested in the title echoing William Shakespeare’s words, the settlements (or “leagues”) made by researchers to manage the constraints (“betwixt mine eye and heart”) distancing them from achieving a perfect precision disease model. Full article

This article addresses issues and questions at the intersection of religion and theatrical drama from the perspective of Muslim-Christian comparative theology. A case study approaching an actual performance of Shakespeare’s Romeo and Juliet from this disciplinary point of view also takes into account the Syrian context, develops a framework for “mutual witnessing”, and the practice of drama therapy. Accordingly, the case-method proceeds to address two interrelated challenges. The first is how to relate to the adaptive praxis and theological sensibilities of performers who inhabit a political and religious situation that is radically different from one’s own. The second regards in a more specific way of reframing a case of Christian martyrdom in terms of witnessing that remains open and hospitable to religious others, and particularly in this case to Syrian Muslims. As an exercise of comparative theology, this case-method approach focuses on notions of “witnessing truth” that appear and are cultivated in the work of liberation theologian Jon Sobrino and in Ibn ‘Arabī’s Fusūs al-Hikam, specifically the chapter on Shuayb. In conclusion, this exercise turns to the performance itself as a potential foundation for shared theological reflection between Muslims and Christians. As such, this article attempts to render how theatrical action creates a “religious” experience according to the structure and threefold sense that Peter Brook observes. Full article