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Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England.
... In an early modern context and to an early modern audience, a play such as Love's Cure could not sanction what Pérez Díez identifies as transgenderism and fluid gender identity, mainly because such term were not part of the early modern English "encyclopaedia" as defined by Eco (1984a) -namely, the shared body of knowledge of a cultural group which regulates the group's understanding and production of meaning. 4 In a culture desperate to maintain an ordered and functioning society, as we will see, gender had to be discernible: even hermaphrodites were required to make a choice (see Greenblatt 1988;Fletcher 1995). It is thus quite preposterous to critique -as Robinson does (2006, 212-19), for instance -early modern texts because they do not consider certain themes from a 21 st -century perspective. ...
... Clara herself admits that she began to doubt her body because "Custom [had] wrought so cunningly on nature" (V.iii.93-95). Nurture (taught or habitual behaviour) could influence nature (one's sex-gender and the proper balances therewith associated), even to the point of physical metamorphosis (see also Greenblatt 1988). This medical way of thinking about the body returns when the fencing master, Piorato, claims to Bobadilla that he could cure Lucio if there were "but one spark / Of fire remaining in him unextinct" (III.ii.8-9). ...
... Unsurprisingly, then, nobody in the play is interested in what today we'd call the siblings' gender identity: what matters is the performance of the new -gendered -social roles 18 they carry out, as in the real-life early modern world (see Greenblatt 1988;Laqueur 1990;Fletcher 1995). Incidentally, the siblings are very aware of the discrepancy between their nature (i.e., the sex-gender we have mentioned above), their performance of gendered roles and their society's ideas about what the right performance is -all the more so because they seem to identify with their birth-sex. ...
The instability of the medical definition of human sex and gender in early modern times was such that “male” and “female” became a matter of performance rather than pure biology. This paper aims to show that the Jacobean play Love’s Cure (1615) exposes how not only gender, but also society and its codified behaviours (e.g., honour) are artificial, conventional constructions. The analysis of the text will rely on metatheatrical references and dynamics in the play, but also on early modern medical theories and cultural phenomena such as clothing and the carnivalesque-like exceptionality of theatre.
... Societal negotiations are not onedimensional, with two positions coming to terms with a compromise in the middle; they are multidimensional, with different positions negotiating on different terms. These different terms, resulting in different positions, are dependent on power structures in society and are not static but rather move around as a consequence of the negotiation itself (Jordheim, 2009; see also Greenblatt, 1988). On an analytical level, this means that negotiations are dynamic and do not relate to fixed positions like 'for geography education' and 'against geography education'. ...
... Taking my cue from the work of Michel Foucault (1966, 1969, 1971, what is sometimes called "The New Historicism" (Greenblatt, 1988;Veeser, 1989;Gallagher & Greenblatt 2000), Mikhail Bakhtin's reflections on historical writing (Bakhtin, 1986;Morson and Emerson, 1990), and Rick Altman's emphasis on the history of artistic creators rather than critics (Altman, 1999: 30-48), I developed an alternate approach to analyzing genre, one which could be dubbed "historicist." A historicist approach, which could be opposed to a "presentist" or retroactive approach to history, focuses on the period of a genre's emergence, in which confusion often reigns over what to call a grouping of music, and over which texts/artists should be included in that grouping. ...
... Such interest in history and memory has come, among other things, from the effort to overcome the past mankurtization of the Soviet era and to restore historical continuity. The New Historicism and works of American literary historian Stephen Greenblatt, especially his famous phrase "I began with the desire to speak with the dead" (Greenblatt 1988), should be mentioned here as well. ...
... El propio Rojas escribe, en su prólogo, que ha optado por el nombre «tragicomedia», porque la acción empieza alegremente y «acab[a] en tristeza» (Rojas 1991: 202). El enlace es cómico en la medida en que se caracteriza por la «fricción erótica» (Greenblatt 1988: 89; traducción mía) típica del género respectivo y palpable desde el primer encuentro de Calisto y Melibea. El desenlace es trágico en la medida en que todos los protagonistas acaban por encontrar la muerte: después de negarles a sus cómplices su parte de la recompensa de Calisto, la alcahueta es asesinada por ellos; el joven galán fallece al caerse del muro de la huerta de Melibea, quien, desconsolada por el accidente mortal de su amante, se precipita desde lo alto de la torre de su casa para unirse con él en la eternidad. ...
El personaje renacentista de Celestina experimentó, a partir del siglo XIX, un nuevo auge. No sólo reapareció en numerosos textos literarios, sino que también se convirtió en un frecuente motivo del arte pictórico. El pintor malagueño Pablo Picasso mostró un gusto especial por Celestina. A lo largo de su obra representó varias veces a la alcahueta, contribuyendo a su elevación a la categoría de mito moderno, esto es, según Roland Barthes, un objeto que transmite un mensaje complementario a su sentido propio. En el caso de Celestina, dicho mensaje remite a una identidad colectiva diametralmente opuesta a lo que se considera el buen gusto. El dibujo Celestina teje recurre al inventario metafórico del folklore para posibilitar la recepción del mito por parte de un público amplio. El retrato Celestina, cuyo modelo fue la dueña de un prostíbulo barcelonés, insiste en la función referencial de la alcahueta, gracias a la que el mito puede perpetuarse en el presente del pintor. Con los grabados de la Suite 347, Picasso reactualiza las prácticas editoriales propias del Renacimiento, haciendo dialogar sus pinturas con sus fuentes textuales. De esta manera, consigue destacar la esencia visual del mito celestinesco.
... Thereby they challenge a long tradition of thinking, which has been crucial for revealing colonial inequalities. Since Stephen Greenblatt's (1988) famous analysis of the structure of power in discourse in early modern England, in which he demonstrates the embeddedness of representation of speech, the presence of otherness has been configured in terms of a muted, disfigured voice, in Anglo-American academia as well as in French universities, though the latter case has focused on power dynamics in the uneven translation process from orality to writing (de Certeau 1992;Mignolo 1995;Said 1993;Todorov 1999). Like scholars in Early Modern Black Diaspora Studies, I am not contesting the fact that the expressions of agency of others are embedded in layers of codes of representation, ideologies, and underlying motives. ...
This introductory theoretical chapter makes the case for reading seventeenth-century French travel writing to the Caribbean in situ. Using Édouard Glissant’s notion of point of entanglement, it argues for a shift in perspectives that would seek to undo the colonial bias of early modern texts and seek other entangled ramifications of French Caribbean literature. In so doing, the book brings attention to ways in which enslaved and Indigenous peoples actively contributed to shaping early colonial society and, indeed, the representations of it. The first section discusses discourses of silencing around French coloniality in the period and presents the theoretical points of departures that have been guiding the work. The following section is devoted to a more thorough discussion of the notion of baroque and how this book uses it as an operative concept to read through the entanglements of travel writing. The third section gives a contextual framing for the analysis. It sketches the history of the period that the travel narratives describe and presents the population of the islands. Finally, the fourth section offers a more detailed account of the travelogues, their writers and the predicaments that dictated these texts, and ends by outlining the chapters or points of entanglement that will be approached, namely geography, the self, and language.
... Thereby they challenge a long tradition of thinking, which has been crucial for revealing colonial inequalities. Since Stephen Greenblatt's (1988) famous analysis of the structure of power in discourse in early modern England, in which he demonstrates the embeddedness of representation of speech, the presence of otherness has been configured in terms of a muted, disfigured voice, in Anglo-American academia as well as in French universities, though the latter case has focused on power dynamics in the uneven translation process from orality to writing Mignolo 1995;Said 1993;Todorov 1999). Like scholars in Early Modern Black Diaspora Studies, I am not contesting the fact that the expressions of agency of others are embedded in layers of codes of representation, ideologies, and underlying motives. ...
This chapter situates travel writing in the Caribbean region, looking at how geography might enter productively in travel narratives as a point of entanglement. Using Glissant’s notion of archipelagic thinking alongside Henri Lefebvre’s and Michel de Certeau’s theories of the construction of space, it argues that whereas the travelers sought to territorialize the islands, the archipelago drew them into more erratic movements, which impacted on the ways in which they presented the Caribbean. Indigenous ways of life notably introduce ruptures in the narrative of conquest. The chapter starts with an analysis of how travelers negotiated their representation of space with an existing European island imaginary. The next section offers an examination of the limitations of discursive acts of control, such as naming, at the point of encounter of the histories, cultures, and geographies of the region. The last two sections look at spatial practices following de Certeau’s distinction between mapping and touring space. It pays attention to movements between islands and interrogates how ways of practicing space both draw from and are contrasted with other ways of living the archipelago.
... Thereby they challenge a long tradition of thinking, which has been crucial for revealing colonial inequalities. Since Stephen Greenblatt's (1988) famous analysis of the structure of power in discourse in early modern England, in which he demonstrates the embeddedness of representation of speech, the presence of otherness has been configured in terms of a muted, disfigured voice, in Anglo-American academia as well as in French universities, though the latter case has focused on power dynamics in the uneven translation process from orality to writing Mignolo 1995;Said 1993;Todorov 1999). Like scholars in Early Modern Black Diaspora Studies, I am not contesting the fact that the expressions of agency of others are embedded in layers of codes of representation, ideologies, and underlying motives. ...
... For Greenblatt, figures like Marlowe, Shakespeare, exemplify "an increased self-consciousness about the fashioning of human identity as a manipulable, artful process." (Greenblatt 2008:2) He is adamantly committed to the possibility of fashioning one's identity, although this might imply commitment to "selfhood conceived as a fiction". ...
James Clifford’s Partial Truths is an introduction to an anthropological collection of essays, perceived as illustrative of a historical and theoretical movement, of a conceptual shift, consisting in a sharp separation of form from content to its utmost degree, the fetishizing of form. (Carstea 2021: 52) Ethnography, a hybrid activity, thus appears mainly as writing, as collecting. Viewed most broadly, perhaps, it is a mode of travel, a way of understanding and getting around in a diverse world that, since the sixteenth century, has been cartographically unified. I will argue, in concurrence with the postmodernist tenets of anthropology, put forth by James Clifford, that ethnographic knowledge could not be the property of a single discourse or discipline: the condition of off-centredness in a world of distinct meaning systems, a state of being in culture while looking at a culture, permeates postmodernist writing. Thus, to an important degree, the truth recorded is a truth provoked by ethnography, as Clifford acknowledges. The fictional, fashioned self is invariably associated with its culture and its language, namely its coded modes of expression. The subjectiveness he finds is “not an epiphany of identity freely chosen, but a cultural artefact,” (Greenblatt 2008: 257) because the self manoeuvres within possibilities and constraints offered by an institutionalised assortment of collective codes and practices. I will conclude that ethnographic truths cannot be other than inherently partial and incomplete, a fact which justifies and substantiates the experimental, artisanal quality tied to the work of writing, of cultural accounts. Textualization engenders meaning by way of a circuitous movement which insulates and subsequently adds context to an event or fact in its engulfing reality. Ethnography is the interpretation of cultures.
... These conditions caused a degree of spatial and cultural uprootedness. If Park's microbiological terminology is accepted, it may be stated that arriving Europeans infected Native Americans-literally and figuratively-with previously unknown diseases and with their culture (Davis, 2002, Greenblatt, 1989Harris, 2004). Having subdued Native Americans, the emergent nation of the United States chose to accept and assimilate masses of immigrants, in the process exposing itself to infection by foreign cultures. ...
As an exceptionally rich analogy, the body politic continues to influence contemporary conceptual systems, although quite differently to those of the pre-Enlightenment era. In recent years, the idea of the macroscopic correspondence between the human body and society has been reinterpreted as THE SOCIETY IS A HUMAN BODY metaphor, with Cognitive scholars reexamining previous findings of cultural criticism in terms of CMT and CBT. The rhetorical efficacy of this metaphor stems from the ease of blending its two constituent domains into complex, yet comprehensible wholes; in fact, these domains have coalesced to a degree, as there was a period when every mention of the BODY implied a (sub)conscious commentary on the SOCIETY, and vice versa. An adaptive metaphor, the body politic stands as a touchstone of the political beliefs of those who employ it. In the paper I analyse a particularly pervasive subset of micrometaphors that form a part of the modern body politic analogy, namely, the IMMIGRANTS ARE INVADING PATHOGENS metaphors. I demonstrate how the (post)modern American political discourse employs the analogy of the body politic in order to lay the blame for all social ills on immigrants, likening foreigners to germs, parasites and other pathogens that creep into America.
This study aims to examine how Manu legitimizes authority and social order and analyze how his stories shape cultural values and beliefs over time, functioning in literary texts and historical documents. Manu is a mythical figure in Hindu tradition. He has been studied as a lawgiver among Hindu believers. His laws are part of cultural practices and also there are some questions about his stories and doctrines. Based on the concepts set on mythical and cultural aspects of Manu tradition, this study examines the novel, Manu and Manu culture using the new historical perspective of power dynamics. This research further tries to see and reinterpret these narratives as cultural poetics, where myths shape societal norms and behaviors, rooted in historical circumstances. It implies the ideas of Manu culture and the novel Manu to examine how Manu codifies social norms and human cultural landscapes. However, interpretations vary with debates on their historical context and relevance regarding cultural hegemony and power dynamics. Implying the New Historicism, this research article concludes that Manu, in both myth and the novel, Manu, embodies a dynamic interplay of culture, power, and history, with its influence as a vehicle for societal norms and values. Amid the diverse arrays of cultural interpretations of Manu, this research is meaningful in reexamining Manu tradition and analysis of the novel Manu from the New Historical perspective.
One of the most unfortunate circumstances that characterised apartheid South Africa was the banning of writers whose literary works were deemed undesirable and/or offensive by the then government. The banning of writers and their artistic works was driven by the need to prevent literary artists from the alleged peddling of falsehood about apartheid and its deleterious effects on the majority of Black South Africans. It was this censorious climate in the history of South African politics that prompted various scholars to interrogate the effects of apartheid’s identitarian policies and censorship especially on writers in general. While some looked at why literature became the object of repressive measures under apartheid South Africa in particular, others traced the historical continuum on how literature came to be viewed as a phenomenon in need of regulation in the world in general. This article observes that none of the existing studies looks at the strategies employed by writers, amid serious repressive measures and censorial mechanisms put in place, to expose the injustices faced by Africans under apartheid. The article sought to investigate various strategies used by John Maxwell Coetzee, James Matthews, Dyke Sontse, Ezekiel Mphahlele, and Nadine Gordimer in their respective literary works to expose the effects of apartheid policies on South Africans. To achieve this, the article critically analysed selected short stories and novels written from the 1950s to the 1980s—a period during which censorship laws were constantly revised and tightened to deprive writers of freedom of expression. The findings of this study revealed that writers employed complex narrative strategies such as, amongst others, omission and concealment, symbolism, and allegorism to find spaces within the censorious system to get their voices heard.
In an attempt to produce a reconstruction of the genealogy of the sources, this essay investigates the relationship between Measure for Measure and the Gospel of Matthew, examining in particular the possibility that the episode related to Claudio’s supposed beheading is somehow associated with the death of John the Baptist, as recorded in Matthew 14:1-12. In Shakespeare as well as in the Evangelist’s text, the request for the head is charged with a highly symbolic value: it is a visualization of the triumph, the gift that the instigator makes to his own superiority, a narcissistic gratification. It is an expression of personal affirmation; an acknowledgment of one’s own power and of the capacity to make it operative. Doing violence becomes an investigation of one’s own political force. It represents the violation of the corpse, the desecration of the relic. But it is also an appalling solution to put to rest any possible accusation related to immoral or illicit relationships condemned by the law. Moreover, it is a violent act, secretly perpetrated, with neither moral purposes nor royal warning.
This paper delves into the intricate realm of Shakespearean characters in love, employing a psychoanalytical lens to unravel the depths of their emotions, desires, and conflicts. Drawing on psychoanalytic theories, particularly those of Sigmund Freud and Carl Jung, this paper aims to dissect the subconscious motivations and psychological intricacies of characters such as Romeo and Juliet, Orsino and Viola, and other iconic figures. Through this analysis, the paper seeks to offer a nuanced understanding of how Shakespeare masterfully crafted characters whose emotional journeys resonate with universal human experiences. In addition to exploring the psychoanalytical aspects of Shakespearean characters' love, this paper also investigates the socio-cultural influences shaping their romantic dynamics. By examining the historical context in which these plays were written and performed, it aims to illuminate the ways in which societal norms and expectations intersect with individual psychology to influence characters' behaviors and choices. Furthermore, it analyzes how Shakespeare's portrayal of love reflects broader themes of power, gender, and identity, shedding light on the complex interplay between personal desire and societal constraints in Renaissance England. Through this multidimensional approach, it endeavors to provide a comprehensive examination of Shakespearean love that resonates with contemporary audiences while honoring the timeless brilliance of the Bard's storytelling.
Der Beitrag stellt die Frage, ob der von Stephen Greenblatt begründete Forschungsstil des New Historicism Anschlussmöglichkeiten für die ideengeschichtliche Forschung in der Erziehungswissenschaft bietet. Hierzu werden zentrale methodologische Annahmen erläutert, forschungspraktische Anwendungen diskutiert und theoretisch-methodische Probleme, Grenzen und Herausforderungen des Ansatzes aufgezeigt.
Objectives: This paper aims to investigate how the inherent taste in Shakespeare can change through the teaching of the very core of English heritage; Shakespeare, by applying critical pedagogy as a method which in its turn diminishes superiority of the value and taste that is given to his name. Methods: It argues that teaching through the usage of critical pedagogy is a way to tame the idea, the name, and the obsession of and with Shakespeare by answering the question: How could critical pedagogy be a way for educators to specialize in and inform students of Shakespeare without becoming part of the Western Metaphysical bandwagon that idealizes cover-ups which market preach-hood and forms? Results: The results indicate that there is a need to a reading of the word ‘Shakespeare’ through critical pedagogy. This would make space for the death of the author and the authority that is associated to the word ‘Shakespeare.’ Conclusion: Finally, the paper will conclude with how Anthony Del Col and Conor McCreery's comic book series, Kill Shakespeare (2010-2014), as well as other literary texts, have brought to light ways in which the authority of Shakespeare's dominion over the English literary canon and the pressure of approaching Shakespeare is a window to reading Shakespeare under the scope of critical pedagogy.
Ever since it was published, Margaret Atwood's Hag-Seed (2016) has been scrutinized for its peculiar engagements with the Shakespearean pretext at the cross-section of various discourses, from literary and media studies, through drama pedagogy, even to prison studies. Drawing on the prison metaphor from the original and recontextualizing it as a contemporary prison performance is just one of the multitudinous forms and ways in which The Tempest is incorporated into Atwood's novel. Thus, though it is quite difficult to designate a sole term for what she (un)does with the classic, one striking issue anyone may encounter is its intertwining metatextuality which encapsulates many of its core interpretations as a rewriting and/or adaptation. The present paper aims at unravelling the many layers, means and functions of this particular type of metatextuality and/or metatheatricality found in the novel. We look at the polyphonic nexus of texts and contexts that defines Atwood's novel as an experiment that reconsiders, with a gesture of metatextual homage, the prospects of rewriting-a practice Shakespeare himself was highly familiar within the contemporary age. Nested in the Genettean structuralist framework (Genette 1997 [1982]), our approach is meant to expand its applicability taking into consideration Deleuze and Guattari's concept of rhizome to investigate Atwood's rewriting as an instance of "rhizomatic metatextuality" as well as the strategies of interpretation, appropriation, and reconstruction in fan fiction rewriting (see Jenkins 1992). Placing metatextuality as the central interpretive key of the novel, we shall discuss the roles of theatre (and art, in general) represented in Hag-Seed as an aesthetic and art history account, as well as the status of the interpreter or the intended audience of both the novel and the play within.
This article discusses experimental translation on the example of intralingual translation in the Play On! Translation project accompanying the Oregon Shakespeare Festival, and intersemotic/intermedial translation in the OMGShakespeare series and Star Trek-related texts. These are approached as exercises in post-translation as defined by Edwin Gentzler in his volume on the subject.
In political office and masculinity, Lear suffers overlapping anxieties of impotence. As his daughters suggest: he has failed to know himself. This reference to nosce te ipsum points to classical philosophy as an antidote to the dangers of politics, like flattery, as described by Socrates to Timon’s Alcibiades in Plato and Plutarch. Lear’s self-recognition through the figure of Poor Tom—who he insistently identifies as an ascetic, Cynic philosopher—prompts a discarding of his ‘sophistication’, his unnatural complications. Lear’s madness therefore can be read as a descent into wisdom. This is not a “process of purification,” but of profanation—in which the allure of sanctity, the allure of purity, is dispelled through parodic misuse. In his unhinged meditations, Lear intuits his problem was not only flattery, nor sovereignty, but the underlying instrumentality of office: “thou, rascal beadle” (4.6.156). The hypocrisy permitted by angelic, instrumental office is a theme Shakespeare already explored in Measure for Measure. The recognition scene with Cordelia is also a self-recognition scene. Lear envisions a new life defined by sociability, rather than sanctity. The play’s tragic force derives from the foreclosure of this liberated dream of ‘the good life,’ through violence, executed by Edmund’s dutiful officer.
The article studies the formation of the Latvian national identity as depicted in the cultural and historical novel Riga by the writer Augusts Deglavs. The plot is set in the second half of the 19th century when more and more Latvians from the country started to move to Riga. By applying the context-oriented approach and practices of cultural studies, the New historicism, post-colonialism, separate aspects of the dynamics and context of the relationship between Latvians and Baltic Germans in multicultural Riga have been analysed. In addition, the points where social and national identities contact and cross under the conditions of hermetic and hegemonic German culture, like relations with the German language, acquisition of social practices, emergence of the sense of Latvianness, have also been examined. The article also performs a concise evaluation of the historical importance of the Young Latvians’ movement depicted in the novel as the awakener of the national identity. Based on John Austin’s concept of performative language, in studying the emancipation of national identity, attention was paid to the ability of language “to do things”, which proves that words expressed in certain situations can possibly affect and change the run of historical processes.
In the first comprehensive history of libels in Elizabethan England, Joseph Mansky traces the crime across law, literature, and culture, outlining a viral and often virulent media ecosystem. During the 1590s, a series of crises – simmering xenophobia, years of dearth and hunger, surges of religious persecution – sparked an extraordinary explosion of libeling. The same years also saw the first appearances of libels on London stages. Defamatory, seditious texts were launched into the sky, cast in windows, recited in court, read from pulpits, and seized by informers. Avatars of sedition, libels nonetheless empowered ordinary people to pass judgment on the most controversial issues and persons of the day. They were marked by mobility, swirling across the early modern media and across class, confessional, and geographical lines. Ranging from Shakespearean drama to provincial pageantry, this book charts a public sphere poised between debate and defamation, between free speech and fake news.
How do literary works speak across historical distance? When critics attempt to answer this question, they typically invoke biological metaphors that testify to the inability of formal or historical categories alone to explain the mystery of how literary works reach across the boundary between life and death. This essay investigates the embodied cognitive processes that enable literary time travel by undertaking a neurophenomenological analysis of the relation between aesthetic experiences and their neural correlates. A neurophenomenological approach can clarify what eludes formalist and historicist accounts by correlating the intersubjective interactions that constitute aesthetic experience and the transpersonal biocultural processes underlying them. This essay explains how phenomenological theories of reading and aesthetic experience relate to neuroscientific research in four areas: embodied simulation; action understanding; brain-to-brain coupling; and the anti-entropic organization of "free energy" in predictive processing. Correlations between phenomenological theories of consciousness and neuroscientific findings about cognition show how the experience of interacting with past lives as we read is supported by embodied neurobiological processes that are ubiquitous in our everyday cognitive lives and that aesthetic experiences activate and exploit.
How have the English conceived of Scotland? Lorna Hutson's book is an essential intervention in the contested narrative of British nationhood. It argues that England deployed a mythical 'British History' in pursuing dominion over its northern neighbour: initially through waging war, and then striving to make the very idea of Scotland vanish in new figurations of sea-sovereignty. The author explores English attempts at conquest in the 1540s, revealing how justifications of overlordship mutated into literary, legal and cartographic ploys to erase Scotland-as-kingdom. Maps, treatises and military propaganda are no less imaginative in their eradicative strategies than river poetry, chorography, allegory, epic, tragedies, history plays and masques. Hutson shows how Spenser's Faerie Queene, Shakespeare's Henry V and King Lear, Plowden's theory of the King's Two Bodies, Camden's Britannia, and the race-making in Jonson's Masque of Blackness are all implicated in England's jurisdictional claim and refusal to acknowledge Scotland as sovereign nation.
Kilian Schindler examines how playwrights such as William Shakespeare, Ben Jonson, and Christopher Marlowe represented religious dissimulation on stage and argues that debates about the legitimacy of dissembling one's faith were closely bound up with early modern conceptions of theatricality. Considering both Catholic and Protestant perspectives on religious dissimulation in the absence of full toleration, Schindler demonstrates its ubiquity and urgency in early modern culture. By reconstructing the ideological undercurrents that inform both religious dissimulation and theatricality as a form of dissimulation, this book makes a case for the centrality of dissimulation in the religious politics of early modern drama. Lucid and original, this study is an important contribution to the understanding of early modern religious and literary culture.
Eduardo Hopkins intenta extraer algunas de las líneas de mayor presencia que en la teoría literaria general se ha postulado desde la década de los años sesenta hasta la actualidad. El texto literario, como núcleo de investigación específico de la teoría literaria, ha sido parcialmente desplazado, habiéndose llegado a un proceso de dispersión del objeto de estudio en esta disciplina.
Mange forskere med god kjennskap til retorikk har skrevet om Holberg, men hans retorikk og retorikksyn er lite behandlet. Målet med artikkelen er å vise hvordan Holbergs retorikksyn er motsetningsfullt, og et interessant eksempel på retorikkens status i den tidlige opplysningstiden. Holberg var dypt forankret i en retorisk tradisjon, men kritiserte den senbarokke retorikken i tråd med tidens idealer. Å sette merkelappen ”anti-retoriker” på Holberg blir likevel for enkelt. Hans tekster er for avanserte, og hans behov for det jeg vil kalle situasjonell tenkning for stort. Dette viser seg i forhandlingene mellom politisk eller juridisk prinsipp og konkrete situasjoner. Artikkelen hevder at dette kan forstås som Holbergs ”naturrettslige retorikksyn.”
Artikkelen tar utgangspunkt i opplysningstiden og utvikler et historisk perspektiv på begrepet retorisk medborgerskap. Slik trekkes linjene fra vår tids ideal om den engasjerte medborger tilbake til en periode der slike forestillinger var under forhandling, eksempelvis i Ludvig Holbergs forfatterskap. Begrepet brukes også til å analysere Holbergs særegne posisjon som retorikkprofessor som kritiserte retorikken. To styrker fremheves med retorisk medborgerskap som begrep: 1) Det kan brukes til å studere forholdet mellom styrte og styrende. 2) Det impliserer at man anerkjenner verdien av uenighet i offentlig debatt. Et punkt tilføres begrepet: 3) Det bør legges mer vekt på institusjonenes rolle for retorisk medborgerskap. Holberg brukes som eksempel på hvordan institusjoner former en retorisk medborger og en retorisk medborger kan forme institusjoner.
This article provides a recapitulation of Ian Watt’s classic account of the rise of the novel in terms of the rise of the middle class which finds its ideological equivalent in the rise of formal realism. While this account has been frequently countered by revisionist approaches in a largely new historicist mode, which insist that the historical multifariousness of modern novel writing in the eighteenth century is not fully captured by Watt (Lennart J. Davis, Michael McKeon, J. Paul Hunter, Jane Spencer, Nancy Armstrong and Janet Todd in the 1980s, Marcie Frank, Jordan Alexander Stein and Mike Goode more recently), it has not really lost its persuasiveness to this day. As the article tries to show, this persuasiveness rests on the ideological implications of Watt’s account of early novelistic practice rather than its actual historical implementation. This diagnosis has recently been confirmed by Mike Goode’s approach to Sir Walter Scott’s and Jane Austen’s ‘synthesis’ of fully developed formal realism in terms of ‘media behaviors’ and their affordances. In the case of Jane Austen, for example, the fact that later media usage in fanfiction tends to turn to narrative techniques from before Austen’s synthesis (letters, journals, etc.) points to the (perceived) ideological limitations of her technical achievement of smooth assimilation of multiple points of view into a naturalized third-person narrator’s discourse. This opens up new perspectives on Smollett’s practice of unassimilated multiperspectivity, especially in his last novel The Expedition of Humphry Clinker (1771).
This article revisits the kingship of James VI of Scotland and I of England. It argues that there were two defining features of this kingship, its style and its reach. The first is the nature of its absolutism, which drew heavily upon the writings of the Roman public philosopher Seneca. The second is the aspiring imperialism. James cherished the idea of a formal ‘union’ of his crowns, again deriving inspiration from classical Rome. The first part of this article analyses the constitutional theory of James Stuart, as articulated in his writings and those of contemporaries. The second part then conjectures that Shakespeare’s King Lear , first performed in 1606, can be read as a critical, but ultimately approving, commentary on both aspirations, the absolutist and the imperialist.
This Element attends to attention drawn away. That the Globe is a 'distracted' space is a sentiment common to both Hamlet's original audience and attendees at the reconstructed theatre on London's Bankside. But what role does distraction play in this modern performance space? What do attitudes to 'distraction' reveal about how this theatre space asks and invites us to pay attention? Drawing on scholarly research, artist experience, and audience behaviour, This Distracted Globe considers the disruptive, affective, phenomenological, and generative potential of distraction in contemporary performance at the Globe.
The editors introduce this special issue of ABO, highlighting the work of the authors included in the issue. The introduction draws on recent scholarship re-visioning the work of the long, “undisciplined” eighteenth century, arguing for an eighteenth-century studies that embodies our intersectional identities and honors the experiences of bodyminds surrounding texts and authors, as well as the bodyminds that interact with those texts in the present. Throughout the years, scholars have demonstrated that there is no single vision of what eighteenth-century scholarship is or should be, but rather multiple visions. This introduction urges scholars to consider how an eighteenth-century studies that focuses on embodied experience can and should respond to present-day issues of racial inequity, sexism, ableism, heteronormativity, and other forms of systemic oppression which remain deeply rooted in the structures of power of the long eighteenth century. Revising our ideas of what is possible, what is visible, what is required of us as teacher-scholars remains our foremost task.
In this article, I argue that the four plays of the Henriad (Richard II, 1 and 2 Henry IV, and Henry V), as presented in the 1623 Folio, constitute a unified whole intended for reading. The plays are connected not only by the endings of one play leading directly into the beginning of the next, but they are also unified by thematic and verbal echoes. I will focus first on establishing the connections between the plays, and then on the thematic resonances. I show how the plays are connected by verbal echoes, some thematically relevant, some not. I then show how Shakespeare provides differing accounts of Richard’s fall and invites the reader the compare and contrast them with each other. Finally, I turn to Shakespeare’s treatment of the common soldier, which culminates in the confrontation between the disguised Henry V and Michael Williams, Alexander Court, and John Bates, a scene not present in the quarto version of this play. Although this scene can stand alone, one has to have read the previous chapters of the Henriad to comprehend the full force of Shakespeare’s revision.
This book reflects on what medieval Latin authors don't say about the sex nobody had-or maybe some had-and about how they don't say it. Their silences are artfully constructed, according to a rhetorical tradition reaching back to classical practice and theory. The strategy of preterition calls attention to something scandalous precisely by claiming to pass over it. Because it gestures toward what's missing from the text itself, it epitomizes a destabilizing reliance on audience reaction that informs the whole of classical rhetoric's technology of persuasion. Medieval Latin preterition invites our growing awareness, when we attend to it closely, that silence is not single, but that silences are multiple. Their multiplicity consists not in what preterition is, but in what it does. Preterition's multiple silences enabled subversive interpretations by individuals and communities marginalized under dominant regimes of sexuality-as they still do today.
This article examines how the littérateur and theologian al-Jāḥiẓ (d. 869) portrayed the Imāmī community (Rāfiḍa) in terms of both its theological views and its social practices. In addition to their early date and unique beauty, Jāḥiẓ’s texts are unparalleled records of doctrinal debates and sociological insights. What emerges from his writings on the Rāfiḍa is an image of a community of simple-minded fanatics. On the one hand, the Imāmīs adhere to anthropomorphic and deterministic beliefs and are blind followers of authority. On the other hand, they are passionate believers who strongly stand in solidarity with one another. This, for Jāḥiẓ, explains their coalition with the superficial traditionalists against the rationalist Muʿtazila. The article is a stage in a larger monograph project.
Objectives: This paper aims to investigate how the inherent taste in Shakespeare can change through the teaching of the very core of English heritage; Shakespeare, by applying critical pedagogy as a method which in its turn diminishes superiority of the value and taste that is given to his name.
Methods: It argues that teaching through the usage of critical pedagogy is a way to tame the idea, the name, and the obsession of and with Shakespeare by answering the question: How could critical pedagogy be a way for educators to specialize in and inform students of Shakespeare without becoming part of the Western Metaphysical bandwagon that idealizes cover-ups which market preach-hood and forms?
Results: The results indicate that there is a need to a reading of the word ‘Shakespeare’ through critical pedagogy. This would make space for the death of the author and the authority that is associated to the word ‘Shakespeare.’
Conclusion: Finally, the paper will conclude with how Anthony Del Col and Conor McCreery's comic book series, Kill Shakespeare (2010-2014), as well as other literary texts, have brought to light ways in which the authority of Shakespeare's dominion over the English literary canon and the pressure of approaching Shakespeare is a window to reading Shakespeare under the scope of critical pedagogy.
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