{"title":"Voices and Publics: An Interview with Stefan Collini","authors":"Helen Thaventhiran, Bridget Vincent","doi":"10.1093/camqtly/bfad021","DOIUrl":"https://doi.org/10.1093/camqtly/bfad021","url":null,"abstract":"","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"96 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139345753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making Belief: Epistemology and Scenography in John Home's Theatrical Adaptation of Ossian","authors":"Ephraim Levinson","doi":"10.1093/camqtly/bfad009","DOIUrl":"https://doi.org/10.1093/camqtly/bfad009","url":null,"abstract":"Abstract:LEVINSON: John Home's The Fatal Discovery is an unusual intervention in the controversy over James MacPherson's 'translations' of Ossian. In this article I argue that Home's play is not simply an adaptation of an Ossianic poem; it makes a case for the historical truth of Ossian's narrative. In so doing, Home confronts the philosophy of his close friend and relative, David Hume, and appropriates the scenographic changes made to DruryLane Theatre by David Garrick in the 1760 s.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126106277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lessons in Modernity","authors":"M. Dilek","doi":"10.1093/camqtly/bfac028","DOIUrl":"https://doi.org/10.1093/camqtly/bfac028","url":null,"abstract":"WHEN HE PORTRAYED SHYLOCK in an 1879 production of The Merchant of Venice, the actor Henry Irving was committed to foregrounding the character’s dignity and soliciting the audience’s sympathy, especially in the scene where the moneylender recognises the painful loss of his daughter. The opening of Julia A. Walker’s Performance and Modernity dwells on this choice, unusual at the time, and the wider cultural commentary, including by Karl Marx and John Ruskin, that followed. Some 250 pages and numerous star turns later, Walker’s ambitiously itinerant monograph nears its close on Pandora, the extrasolar moon of James Cameron’s Avatar (2009), locating there another instance of how a distinct style of performance – in this case, CGI technology – can precondition certain kinds of audience response, whether felt or articulated. Walker’s erudite work sets great store by such counter-intuitive voyages – between disparate media, centuries, and continents – as it seeks to propose a new theory of performance that locates its ontology in the materiality of bodies in motion. As signalled by its subtitle, Enacting Change on the Globalizing Stage, this book finds the forces of globalisation, modernisation, and cultural habituation to be not only represented, but also constituted by the kinesthetics of performance. Walker’s ‘cultural history of modern performance’ (p. 14) vigorously maintains that performance, along with culture, history, and modernity, is the stuff our contemporary societies and subjectivities are made on. The central question animating Walker’s project is this: how does the experience of modernity become palpable and enter our collective consciousness? In response, she proposes a five-step heuristic for the process by which new cultural meanings come into being. The first stage of her schema involves the shock of the new, a modernising phenomenon that ‘changes the material experience of everyday life’ (p. 16). This triggers a shared ‘sensation’ (step two) or, in Raymond Williams’s terms, a new ‘structure of feeling’. In the third step comes an embodied response through performance, which gives visible form to the experience of change as such.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116302185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conrad's Margins and Details","authors":"T. Zulli","doi":"10.1093/camqtly/bfad006","DOIUrl":"https://doi.org/10.1093/camqtly/bfad006","url":null,"abstract":"ENGAGING IN A CRITICAL STUDY ABOUT CONRAD’S FICTION TODAY means entering a crowded arena, jostling with established scholarship and experimental reading methods. Nevertheless, both the topic and the critical approach of Johan Adam Warodell’s book add a convincing and original perspective to Conradian studies. Warodell proposes a change of viewpoint that, in the terms of Edward Said, shifts us ‘from the settled, established, and domesticated dynamics’ of Conrad’s fiction ‘to its unhoused, decentered, and exilic energies’. If we had to define Warodell’s book with a single word, that word would be ‘marginality’. By drawing on Joseph Conrad’s life as well as on his extended corpus of fiction, Warodell analyses all that is marginal, negligible, on the edge, and apparently unimportant in his novels in order to build a discourse which reverses the meaning of literary marginality as we know it today. Every dictionary will define the adjective ‘marginal’ by referring to minimal qualities and bordering positions. In this book, those qualities and positions are made central and considered as the pivot of new stimulating interpretations. Marginality detaches from the meaning it has gained in today’s literary criticism as referred to minority culture and becomes the place where ‘Conrad’s philosophy, writing and working method is made clear’ (p. 11). Conrad’s Decentered Fiction consists of three parts, each made up of three chapters. In the introduction to the volume, Warodell sets the theme and methodology of his study by defining the marginal as a ‘necessary misnomer’ filled with ‘revealing details’ (p. 11) which he unwraps throughout his analysis. Part I of the book considers the technical peculiarities of Conrad’s fiction at the stage of writing where paper, pen, and ink are involved, that is, doodles at the margins of his manuscripts, maps, charts, and drawings. Part II deals with marginality in Conrad’s published texts by engaging with method and writing technique, and focusing on delayed decoding, a crucial concept of Conradian studies. This section also","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125678805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Indebted – Henry James and Honoré de Balzac","authors":"A. Mills","doi":"10.1093/camqtly/bfad010","DOIUrl":"https://doi.org/10.1093/camqtly/bfad010","url":null,"abstract":"Abstract:MILLS: This essay traces the development of Henry James's thought about the work, life and legacy of the French novelist Honoré de Balzac. It proposes that over the course of five critical pieces devoted to his precursor, James adopts Balzac as a figure through which to unfold his own pressing concerns regarding the nature and the costs of the artist's creative responsibility. 'Debt' – as a recurring signifier and motif in these writings—witnesses the evolution of Balzac's importance to James as incomparably, terribly responsible.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124969700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Likeness Only Fancied? Lancelot Andrewes and Gertrude Stein","authors":"Esther Osorio Whewell","doi":"10.1093/camqtly/bfad011","DOIUrl":"https://doi.org/10.1093/camqtly/bfad011","url":null,"abstract":"Abstract:WHEWELL: This essay is a critical experiment in learning to read the early modern by the modernist, and vice versa, and trying at the same time to enact an argument by way of hunch. It walks Lancelot Andrewes (particularly his Easter sermons in 1597, 1604 and 1605) alongside Gertrude Stein (particularly her 1926 'Composition as Explanation') to show how each provides a valuable means to understand the eccentric and beguiling punning and repetitive prose kinetics of other, and to map the related ways by which they both coach our reading attention and teach us about it.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127421373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Mirror and a Razor Lay Crossed","authors":"Aviv Reich","doi":"10.1093/camqtly/bfac038","DOIUrl":"https://doi.org/10.1093/camqtly/bfac038","url":null,"abstract":"comparatist methodology for future work in theatre and performance studies. Rare, after all, is the book in this field that can stretch its illustrative canvas across several periods, geographies, and generic affiliations with the sprightly spirit at work here. All the same, rather than her case studies, it is Walker’s five-step heuristic – ultimately in serious need of further elucidation and exemplification – that is likely to become the book’s central node of critique for scholars, both in her field and in the neighbouring disciplines of intellectual history, philosophy, and sociology. The extent to which mechanics of cultural change can be transhistorically schematised remains an open-ended question. But Walker has thrown down a bold gauntlet for performance scholars to take up in considering some answers.","PeriodicalId":374258,"journal":{"name":"The Cambridge Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121074975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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