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You submitted the following rating and review. We'll publish them on our site once we've reviewed them. Continue shopping. Item s unavailable for purchase. Please review your cart. You can remove the unavailable item s now or we'll automatically remove it at Checkout. Remove FREE. Unavailable for purchase. The pronouncement is charged with understated irony as the odour is despised by the mother. I rescued people from a bombed building I shot two rabid wolves who were menacing the schoolyard None of the activities associated with the mother are included, suggesting that the girl has detached herself from her primary love object and its attendant identifications, or in other words, she has recognized that the mother does not have the phallus.

This is corroborated by Pickmann who affirms:. In the operation of substitution [from mother to father as object-choice], a girl does not discover the production of the new signified that she expects, the one that will tell her what Woman is. Worse than that, the apparent universality of the phallic signifier can only reflect back to her the radical absence of a feminine trait of identification.

It is as if the advent of sexual difference in the world deprives the girl of an existence thus far founded on sexual identity [i. Nevertheless, she becomes progressively more aware that for others, defining a girl was largely a question of behavioural codes and of social value:. The word girl had formerly seemed to me innocent and unburdened, like the word child , now it appeared that it was no such thing. A girl was not, as I had supposed, simply what I was, it was what I had to become. It was a definition, always touched with emphasis, with reproach and disappointment.

It is synonymous with the function of castration that limits the ways in which jouissance may be obtained. To visualize this difference, I have borrowed and combined diagrams based on set theory from Fink Subject , and Morel We note first of all that the logic of the masculine side forms a closed set since it is constituted by a limit based on a grounding exception. We are therefore placed before a forced choice, a paradoxical one which, as Colette Soler points out,.

In reality, the one who is designated as the subject, far from being the agent of this choice, bears its brunt. In the animal imagery of the story, the foxes, we have seen, function as representatives of the drives; moreover, these fox-drives belong to the father and they need to be fed; they will be fed horse-meat. The scene is thus framed and distanced by the wall that both divides the children from the killing field, and gives them access to it in a restricted, focused way. Laird is the one who reacts to the scene. This occurs in three different stages: a before, an atemporal present moment, and an after.

So what accounts for this change in her view of her father? In the paragraph that immediately precedes this statement of wariness, the girl gives expression to several things: her intention not to watch the killing of Flora; the fact of looking at herself in a mirror; and the memory of her father shooting Mack:. This time I didn't think of watching it.

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That was something to see just one time. I had not thought about it very often since, but sometimes, when I was busy, working at school, or standing in front of the mirror combing my hair and wondering if I would be pretty when I grew up, the whole scene would flash into my mind; I would see the easy, practiced way my father raised the gun, and hear Henry laughing when Mack kicked his legs in the air. But this paternal gaze is suddenly complicated: he is in his role as the exception who guarantees, by embodying it, the limit of the Symbolic law; he is the faithful upholder of its neutral necessity, but is accompanied and therefore the girl is also gazed at by Henry, the hired hand, who functions as the underside of that benevolent neutrality, as the Real father of unrestrained jouissance.

From the conjoined presence of the two men came, and comes again, the shot that kills the horse: this mark of Symbolic castration, which includes the knowledge of mortality, draws a line, materialized in sound, sight and effect, before the onlooking children. The guardedness the girl feels towards her father is not a manifestation of moral reproach, but the unconscious recognition of sexual difference as such.

Unlike the obedient male horse Mack, who submits to the law by accepting to be led by the halter to his death, Flora fights to escape her fate:. She was running free in the barnyard, from one end to the other. It was exciting to see her running, whinnying, going up on her hind legs, prancing and threatening like a horse in a Western movie. So she runs towards the gate to close it:. I could run very fast.

I ran across the garden, past the tree where our swing was hung, and jumped across a ditch into the lane. There was the open gate. She had not got out, I could not see her up on the road; she must have run to the other end of the field.

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The gate was heavy. I lifted it out of the gravel and carried it across the roadway. I had it half way across when she came in sight, galloping straight towards me. It is a statement proffered without excuses or justifications; it presents the accomplishment of the action as something entirely unmotivated, to be understood in its own self-evidence, as if this gesture of opening came from a place she had no awareness of, born, as it were, of its own necessity.

In that sense, the opening of the gate has the structure, not of an action, but of an act , understood in the following way:. Even if a careful consideration of the pros and cons precedes it, one recognizes an act as that which exceeds its reasons. That's why the act is foundational, primordial, creative. Every act worthy of the name creates a new truth, which isn't by virtue of that fact eternal, but which has a chance to be unforgettable for the subject supported by this act. Thus the act creates a truth eternized in the subject, who changes because of it.

Time then reasserts itself around this moment of exception, this pulsation of the unconscious, itself outside of time and logic. Death will come. In this contradictory way, she experiences, and immediately assumes, her mode of Symbolic castration: the feminine mode. That she unconsciously knows that this choice will henceforth determine her place in the Symbolic order is correlated to the fact that her father, as its representative, must recognize the significance of her act if she is not to be cast out of the community.

This bloody image also links sexuation to the inescapability of death and sexual reproduction, or in other words, to our mortality. But the girl has no words to communicate her experience, grounded as it is in the failure of the signifier. The mother is silent. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths.

View on palgrave. How do Shakespearean plays sustain clashing values within them, or imposed on them? Is Shakespeare anti-Semitic? Can Shakespeare be a feminist? How is value subject to context, to market, and demand? A wide range of moral, political, and A wide range of moral, political, and aesthetic values—profitable or heartening or threatening from case to case—have been associated with Shakespeare, and those values have changed over time. And conflicting values may coincide at different levels of discussion of a given play, at once driving diversity in entertainment industries and sustaining traditional aesthetic principles, or in some other concatenation.

Instead of following formulae or jumping to conclusions, the contributors urge us not to flatten out the contradictory sets of values in these designs, but to set these clashes at the heart of action and inquiry. This is an instance where arts This is an instance where arts make some sites legible. The sites of performance can change or sustain collective memory. The meanings of various sites of performance also go beyond mere brute location. Our knowledge of sites is skewed by available histories offered by various archives and by collective memory.

As much as we recognize and celebrate the mobility of global Shakespeare, the complexities of site remind us that Shakespeare can be as grounded and site-specific in articulation as it can also be ungrounded and fluid in discursive formation. When staged in Denmark, the fictional setting interacts with the real Kronborg Castle to create a unique hybrid locality. The Globe in London, though it is not the only venue associated with the playwright, has generated from its particular authority many portable ideas and tropes about Shakespearean performance that have in turn affected other sites.

The flurry of commemorative events passed around the globe in the landmark year of suggests that Shakespeare is an adaptably mobile floating signifier moving across geographic spaces and touching down variously. How do these sites differ and how are they implicated in one another? Alexa Huang and Elizabeth Rivlin.

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At a time when Shakespeare is becoming increasingly globalized and diversified it is urgent more than ever to ask how this appropriated 'Shakespeare' constructs ethical value across cultural and other fault lines. Shakespeare and the Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity. What makes Shakespeare centrally 'exceptional' to the current humanities curriculum, a measure and minimum unit for University administrations and the general public to recognise the activity of 'the humanities'?

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The essays in this issue The essays in this issue of the Yearbook ask how we might push this question beyond categories of the exceptional, the superlative, the above, beyond, below, or even the normative, in order to scale Shakespeare historically, canonically, and ontologically in relation to 'the human'. Hirsch, Hugh Craig Ashgate, more. In , for the second volume of this journal, Ian Lancashire reflected on the state of computing in Shakespeare.

The volume also includes an essay reviewing other recent work in Shakespeare studies. The Shakespearean International Yearbook continues to provide an annual survey of important developments and topics of concern in contemporary Shakespeare studies across the world. Digital Humanities and Shakespeare. Paperback, hardback, and e-book editions , , From the novels of Lao She and Lin Shu to Lu Xun's search for a Chinese "Shakespeare," and from Feng Xiaogang's martial arts films to labor camp memoirs, Soviet-Chinese theater, Chinese opera in Europe, and silent film, Shakespeare has been put to work in unexpected places, yielding a rich trove of transnational imagery and paradoxical citations in popular and political culture.

View on cup. Bielefeld, Germany: Transcript Verlag, Werden Klassiker heute noch studiert, weil sie universelle Werte vermitteln und den heutigen Lesern etwas mitzuteilen haben? Oder nur, weil sie uns erlauben, einen Blick auf die Vergangenheit zu werfen? Worin besteht die Beziehung zwischen "jetzt" und "damals"? Paperback and e-book editions Co-editd with Charles Ross. The past The past decades have witnessed diverse incarnations and bold sequences of screen and stage Shakespeares that gave rise to productive encounters between the ideas of Asia and of Shakespeare.

Kurosawa's Throne of Blood Macbeth, and Ran Lear, are far from the earliest or the only Shakespeare films from Asia; around the time Asta Nielsen's cross-dressed Hamlet was filmed, gender-bender silent film adaptations of The Merchant of Venice and Two Gentlemen of Verona were being made in Shanghai. In the other direction, Hollywood and the global economy in general have brought Asian cultures forcefully into the Western cultural register, as evidenced by the mediation and reception of Shakespeare and world cultures on screens big and small, including silent film, television, feature film, documentary, and such media as online games, anime, and YouTube.

In both directions of the intercultural traffic, Asian audio-visual idioms have been appropriated along with Shakespeare's text on stage and on screen. Therefore, we need to ask: On what terms do transnational Shakespeares animate and redirect the traffic between different geo-cultural or virtual localities? In turn, how do the collaborative processes of signification operate as local stagings of Shakespeare and global locales? Class, Boundary, and Social Discourse in the Renaissance, ed.

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The past two decades of theoretical ferment have witnessed tremendous changes in Renaissance studies in terms of scope and methodology, framed by the rise of Foucaultian-inflected social theories and Marxist literary criticism. The concept of boundary in our book title names two things: that which separates different gender, class, and geo-cultural identities, and that from which these identities are derived.

The boundary is a faultline that divides, frames, and unites contending images of the self and the collective. Class a designation associated with race and gender and patterns of belonging, betrayal, and exclusion are all central to the debate about the fashioning of Renaissance literary identities and the formation of postmodern theoretical positions. It is equally important to recognize that, as these boundaries are being reconstituted by new critical approaches, the boundary between the text and the critic also needs to be reevaluated.

If literary history has lost its innocence through the intervention of various approaches associated with new historicism such as cultural poetics, one needs no reminding, at this juncture, that the questions of class and social discourse of the Renaissance are also our own. Articulated differently under differing historical circumstances, these questions that beleaguered the men and women of Renaissance Europe continue to speak to us with unflinching urgency.


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Class, Boundary and Social Discourse in the Renaissance is a collection of eight essays that focus on different aspects of the Renaissance social discourse and how it is fashioned by ideological and scholarly maneuvers, by the complex negotiations between resonating cultural forces and texts. Sun Yanna. Digital Scholarship.

Even though it is not the only Shakespeare became both an author of the Globe and a playwright of global stature.

French theatre of the Napoleonic era

View on thetheatretimes. It helps explain why, even before mass communication, Shakespeare was a hit with readers ranging from Soviet communists to German Romanticists like Goethe. Shakespearean themes and characterization have enriched, challenged, and changed Chinese-language theatres and genres. While censors have reacted differently to Shakespeare While censors have reacted differently to Shakespeare sometimes with a blind eye , self-censorship by directors and audiences is part of the picture as well.

Not all censors work in the capacity of a public official. Many censors are in fact editors, writers and educators who are gatekeepers of specific forms of knowledge. The anthology was intended for young women readers. View on bloggingshakespeare. It is both geometrically abstract and erotically concrete.

It teases us Renaissance Knowledge Network more. ReKN provides a public collaborative annotated bibliography and environmental scan of online materials and digital tools for Early Modern scholars. The advisory board provides scholarly peer review of digital academic work. View on rekn. Translation served as a metaphor for physical transformation or transportation in Shakespeare's plays.

View on blog. Internet Shakespeare Editions more. View on internetshakespeare. Alexa Alice Joubin and Peter Donaldson more. The idea that Shakespeare is a global author has taken many forms since the building of the Globe playhouse. Digital Renaissance Editions more. In order to achieve these ambitious goals, the project relies upon the efforts and expertise of dedicated scholars and developers working with the highest standards of scholarship, design, and usability in mind.

View on digitalrenaissance. The Tempest - Luminary iPad App more. The reading process is The reading process is social rather than solitary. Readers can choose the experts that meet their interests. Readers can share their notes in real time and create their own play text—enhanced by illustrations, podcasts, and videos. View on luminarydigitalmedia. In the art and entertainment industry, race is both visible and invisible in various forms of embodiment. Depending on the context, doing Shakespeare while a minority can invite different responses.

It is one thing for Indian actors to It is one thing for Indian actors to perform Shakespeare in India, where the actor is not part of a minority. Meaningful diversity is the key here. Diversity in the arts is not about checking boxes on some survey form, but rather about a wider range of rich narratives about the human experience. Enriched by multiracial and multiethnic casting and multilingual performance strategies, these performances are far from simple tales of black versus white, or the subaltern versus the authority e.

Being black does not necessarily mean being tribal or believing in witchcraft. Diasporic Shakespeare is all about enriching our experiences with drama. How Shakespeare went viral. Why did Shakespeare — and not his contemporaries A closer look reveals that his narratives contain qualities that are easily adaptable to different cultures and eras, and have given his works broad appeal outside his native England.

View on theconversation. Foste traduzido! View on literatortura. Shakespeare in Borrowed Robes. MIT Global Shakespeares, Shakespeare is proclaimed, once again, the bearer of universal Online discussion of digital mapping tools that forge new or revive old connections in literary and historical texts. Hosts: Cameron Butt, Univ. Book Series. This book series, edited by Alexa Alice Joubin, addresses the mobility of texts and cultures through the global afterlife of Shakespearean drama, poetry, and motifs in its literary, performative, and digital forms of expression in the This book series, edited by Alexa Alice Joubin, addresses the mobility of texts and cultures through the global afterlife of Shakespearean drama, poetry, and motifs in its literary, performative, and digital forms of expression in the twentieth and twenty-first centuries.

Books will investigate the Anglophone and worldwide history of production and reception of conflicting myths of Shakespeare as a global author and national poet to uncover blind spots in current methodologies and propose new paradigms. Focusing on scholarly polemic and important studies of 25, to 50, words that capture global Shakespeares as they evolve, the series efficiently disseminates big ideas and cutting-edge research to a wide market in ebook and print formats.

Volumes will be published within three months of acceptance of final manuscript. Global Shakespeare. The Imprint works to imagine new forms of early modern scholarship — rigorously peer reviewed and The Imprint works to imagine new forms of early modern scholarship — rigorously peer reviewed and professionally produced — that exploit the affordances of digital media, mounted in Scalar, an open source, media-rich publishing platform. Our inaugural publication, The Making of a Broadside Ballad, ed.

Patricia Fumerton, Andrew Griffin, and Carl Stahmer, is on track for publication in the spring of View on emc. This book series publishes substantial comparative research on the literary and cultural traditions of premodern and modern East Asia and their relation to the world.

It welcomes in particular forms of comparative analysis that combine the depth of area-studyexpertise and philology with theoretical acumen and a courageous orientation towards fundamental questions. Comparative Literature and East Asian Studies. View on brill. View on punctumbooks. View on futurefossilflora. When the little mermaid was born, she found herself in a strange place.

There was no one around her except for a suitcase that had sunken to the bottom of this dark corner of the ocean. With profound sadness she opened the suitcase to With profound sadness she opened the suitcase to find a cruel joke on her. She did her best to stay alive. Creative Writing and Flash Fiction. View on lunchreview.

Alice et autres merveilles (1/5) de Fabrice Melquiot -- Atelier théâtre jeunes Wissembourg

Performance Reviews. If so, would the laughter be empathetic and solidary rather than callous? The answer lies in physical theater The answer lies in physical theater which is uniquely poised to activate elements of farce in the play. Shrew is one of the Shakespearean comedies that tends to clash with modern sensibilities and is therefore generally considered challenging to stage.

The so-called play-within-a-play could also be a fanciful dream of the inebriated Sly. There was no induction or framing scene, though a fair amount of extratextual material had been introduced. Book Reviews. Lear as a seminal text on the relationship between literature and politics, specifically succession as a philosophical and political issue in British Romanticism and American modernism. Sun suggests that King Lear helps William Sun suggests that King Lear helps William Wordsworth, journalist James Agee, and photographer Walker Evans articulate their anxieties about literary representation and political successions.

The Introduction announces that the book intends to show how Wordsworth, Agee, and Evans become successors to Lear when they turn to the play as a source of inspiration as they grapple with questions of sovereignty and the relationship between literature and politics. Succeeding King Lear begins with a chapter on sovereignty and King Lear, devotes two chapters to Wordsworth, and concludes with a fourth and the final chapter on Agee and Evans.

Writing The Borderers in , Wordsworth sets his play on a heath. Herbert's lines echo those of Lear's, and Herbert's relationship with Matilda bears resemblance to that between Lear and Cordelia. The play also contains echoes of Iago, Othello, and Macbeth. Fast forward to Let Us Now Praise Famous Men, a work of documentary journalism with photos by Evans and text by Agee, reframes the lives of cotton tenant farmers in the American South during the Depression for public consumption and private reflection on what it means to be a spectator.

Sun finds cursory links between that work and Lear in Agee's and Evans's epigraphs that quote the disillusioned former monarch on the heath. The chapters on Sun's own interpretation of the crisis of succession in Lear and the first chapter on Wordsworth are more successful.

Chapter one examines King Lear's "unrelenting and cruel probing of spectatorship" Sun , This long chapter suggests that Lear yearns for an unattainable form of freedom: freedom from the burden of the political realm. Sun notes that "freedom so conceived does not take place between. In the post-imperial and post-colonial age, the rise of the modern nation depends all the more on soft power and cultural diplomacy.

The opening and closing ceremonies of the Beijing and London Olympics in and are recent The opening and closing ceremonies of the Beijing and London Olympics in and are recent examples of how nation states construct and market national cultures to international communities. In this context, the rediscovery and marketing of national poets becomes culturally urgent and politically expedient. Tang Xianzu and Shakespeare have recently become the vehicle for British and Chinese cultural diplomacy and exchange.

Multiple projects in the field of comparative drama emerged in this context. While it is published by Bloomsbury Arden Shakespeare, packs the latest scholarly apparatus and is a collection of pioneering, rigorous scholarship from late Ming Chinese and early modern English studies. View on uhpress. Chinese Literature Today 7. While it may seem institutionalized, propaganda can be deeply intertwined with personal memories and provoke nostalgic emotions. Propaganda performances in China shape national and personal histories.

Staging Chinese Revolution tells the The book demonstrates convincingly that, contrary to popular understanding, propaganda is far from a monolithic genre, and that propaganda is not limited to totalitarian regimes. New Books in the Field: Race. Plenary Session. Forster Studies , and Global Shakespeare.


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