COMPARATIVE DRAMA最新文献

{"title":"What Kind of Cosmopolitanism? Transplantation and Displacement in the (Re)construction of Theatrical Nationality in Early Twentieth-Century China and Japan","authors":"Yang Gao","doi":"10.1353/cdr.2023.a913243","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913243","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"16 1","pages":"167 - 193"},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139234274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)","authors":"Alan Farmer","doi":"10.1353/cdr.2023.a913247","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913247","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em> by Peter Platt <!-- /html_title --></li> <li> Alan Farmer (bio) </li> </ul> Peter Platt. <em>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em>. Edinburgh: Edinburgh University Press, 2020. Pp. x + 198. $110.00 cloth, $24.95 paper, $110.00 eBook. <p>Peter Platt's compelling new book, <em>Shakespeare's Essays: Sampling Montaigne from</em> Hamlet <em>to</em> The Tempest, is the culmination of over two decades of research on Shakespeare's thinking and his later plays. Platt's first book, <em>Reason Diminished: Shakespeare and the Marvelous</em> (University of Nebraska, 1997), focused on Shakespeare's late plays and the concept of wonder, while his next book, <em>Shakespeare and the Culture of Paradox</em> (Routledge, 2009), looked at the way logical opposites could be juxtaposed in order to question such concepts as justice, love, knowledge, and truth, a pervasive intellectual maneuver in the works of both Montaigne and Shakespeare. Most recently, Platt co-edited with Stephen Greenblatt an edition of John Florio's 1603 translation of Montaigne's <em>Essays</em> (New York Review of Books, 2014). One motivation for Platt's writing <em>Shakespeare's Essays</em> can perhaps be found in Greenblatt's introduction to this edition. In it, Greenblatt claims that, apart from some \"passages in <em>King Lear</em> and <em>The Tempest</em>, the attempts to establish the direct influence of Montaigne on Shakespeare have never seemed fully and decisively convincing\"(xxxi). After all, there is uncertainty about when Shakespeare may have read the <em>Essays</em>, either in French or in Florio's translation, and therefore about when Montaigne's influence can first be detected. But there is also the \"more intractable problem\" of Shakespeare and Montaigne sharing the same \"historical moment,\" which could have led to \"a shared grappling with pressing questions of faith, consciousness, and identity\"(xxxii). Why assume Shakespeare was influenced by Montaigne rather than their both being shaped by the same currents of thoughts circulating in Europe and England in the late 16th and early 17th centuries? <em>Shakespeare's Essays</em> can arguably be seen as Platt's extended reply to his co-editor.</p> <p>Platt opens the book with an important question: \"Why do critics and audiences feel that there is something 'different' about the plays that Shakespeare wrote after 1603?\" (1). According to Platt, stylistic and thematic features that mark Shakespeare's later plays—\"the darkness of their comedy\" and \"the general pessimism of the largely tragic period that followed,\" their exploration of \"doubt, contingency, uncertainty, and mutability\" along with \"instabilities of self, knowledge, and form\" (1)—can be traced back to Shakespeare's rea","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (review)","authors":"Crystal U. Davis","doi":"10.1353/cdr.2023.a913253","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913253","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em> by Kate Mattingly <!-- /html_title --></li> <li> Crystal U. Davis (bio) </li> </ul> Kate Mattingly. <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>. Gainesville: University Press of Florida, 2023. Pp. ix + 244. $85.00. <p>In <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>, Kate Mattingly offers an archival and autoethnographic analysis of how dance criticism has provided the frameworks within which dance history, careers, and curricula have developed and thus shaped the dance field. It engages a number of ongoing discussions in the field of dance, from the relationship between the moving body of dance and writing about dance; to the evolution of values and orientations in dance curricula; to the emergence of digital dance performance; to the tension between critic and artist, as well as the role of racial bias that culls the potential of dance criticism to reify a more racially inclusive span of dance performance. It also presents historical connections between these varying topics in an innovative way, thus helping to strengthen our understanding of dance history through the influence of dance criticism.</p> <p>Mattingly starts with John Martin's significant role in forging the terms and frameworks of talking about dance. Martin's influence includes the well-worn term \"modern dance\" itself, aesthetic orientation of how to look at and talk about dance, and what is deemed valid and what is invisibilized in dance criticism's early years. Mattingly continues by articulating the ways in which a theatrical approach and orientation to critiquing dance no longer served many dance artists as postmodernism began to disrupt the existing aesthetic expectations and storylines of early modern dance pioneers. In this context, the artist-critic emerges, where dancers begin to write about their work on their own terms, about the work of dance critics, and even the discourse of dance criticism itself. As dance critics continued to write about dance, the first dance programs in higher education began to emerge. Mattingly eloquently articulates the debate of early dance programs between dance as artistic prowess and technical display prominent in performance environments and dance as physical research process more aligned with the academic world of inquiry known in the humanities. Upon striking this distinction, this book continues by elucidating the emergence of Dance Studies and its relationship to dance as an academic field of study. Mattingly concludes with a rousing glimpse into the democratized future trajectory of dance criticism emerging in the proliferation of digital platforms that offer new frameworks for dance. This historical analysis of the dynamic relationship between dance criticism, the performing body, a","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The world's a theatre of theft\": Islamic Imposture in Tomkis' Albumazar","authors":"Corinne Zeman","doi":"10.1353/cdr.2023.a913245","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913245","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> \"The world's a theatre of theft\":<span>Islamic Imposture in Tomkis' <em>Albumazar</em></span> <!-- /html_title --></li> <li> Corinne Zeman (bio) </li> </ul> <blockquote> <p><em>The Goblins whom I now am coniuring vp . . . [are] thin-headed fellowes that liue upon the scraps of inuention and trauell with such vagrant soules, and so like Ghosts in white sheets of paper, that the Statute of Rogues may worthily be sued vpon them, because their wits haue no abiding place, and yet wander without a passe-port. Alas, poore wenches (the nine Muses!) how much are you wrongd, to haue such a number of Bastards lying vpo[n] your hands? But turne them out a begging; or if you cannot be rid of their Riming company (as I thinke it will be very hard) then lay your heauie and immortall curse vpon them, that whatsoeuer they weaue (in the motley-loome of their rustie pates) may like a beggers cloake, be full of stolne patches, and yet neuer a patch like one another, that it may be such true lamentable stuffe, that any honest Christian may be sory to see it. Banish these Word-pirates, (you sacred mistresses of learning) into the gulfe of Barbarisme.<sup>1</sup></em></p> —Thomas Dekker, The Wonderfull Yeare (1603) </blockquote> <p>Tudor and Stuart writers raced the languages of fraud and thievery, turning Islamicate loanwords, proper names, and ethnonyms into a working vocabulary for everyday subterfuges. In this essay, I demonstrate that in performance and on the printed page, early modern England fixated on Islamic \"imposture\"—the notion that Islam was an extravagantly enacted con job. The discourses of Islamic imposture surface in rogue pamphlets and city comedies, where they frame the clandestine workings of swindlers and thieves, a discursive strategy used to combat the daily convolutions of truth, legality, and credit in seventeenth-century London. Tracing the cooption and criminal redeployment of Islamicate cultures reveals the mutual imbrications of racialization and class formation and the role of translation in epistemic injustice. <strong>[End Page 222]</strong></p> <p>With the discourses of Islamic imposture as my lens, I turn to the little studied discipline of astrology. Over the course of the seventeenth century, European astrology—its principles borrowed wholesale from the Arabic and Persian traditions—was dismissed as an Islamicate grift and delegitimated as a scientific discipline. Satirists invoked the names of Muslim stargazers to condemn the guile of charlatans and the credulity of gulls. Interestingly, these sendups center on matters of linguistic propriety. Pretenders to celestial knowledge were said to counterfeit expertise by varnishing their prognostications with abstruse jargon taken from Arabo-Persian astrological texts. Thomas Tomkis' <em>Albumazar</em>, a 1615 university drama adapted from Giambattista Della Porta's <","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Paul Griffiths's let me tell you, Hamlet, and the Intertextual Mode of Literary Adaptation","authors":"H. Hamlin","doi":"10.1353/cdr.2023.a904532","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904532","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"57 - 85"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43682591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Introduction: Shakespeare and Contemporary Fiction","authors":"G. Herren, Niamh J. O'Leary","doi":"10.1353/cdr.2023.a904529","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904529","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"1 - 7"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43895710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The Isle Is Full of Noises\": the Many Tempests of Margaret Atwood's Hag-Seed","authors":"M. Caldwell","doi":"10.1353/cdr.2023.a904535","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904535","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"119 - 137"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism","authors":"Amy Muse","doi":"10.1353/cdr.2023.a904530","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904530","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"27 - 9"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49057500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The world to me is but a ceaseless storm\": Pericles, The Porpoise, and the Resistance of Exile","authors":"Rebekah Bale","doi":"10.1353/cdr.2023.a904533","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904533","url":null,"abstract":"T adaptation of Shakespeare’s plays into fiction has a long history. Early on it was considered a useful way to introduce the stories of the plays to children, as in Charles and Mary Lamb’s Tales from Shakespeare, and more recently, Leon Garfield’s Shakespeare Stories. However, contemporary authors have seen an opportunity to adapt and expand the stories of and within the plays in more sophisticated and mature ways. The most high-profile examples of this trend come from the Hogarth Press’s series of “retellings” begun in 2016, which features adaptations by such giants of contemporary fiction as Margaret Atwood, Ann Tyler, Jo Nesbø, and Jeanette Winterson. There is a clear advantage to having a familiar story to work with, and Hogarth authors were given the freedom to choose the play on which to base their work. The authors involved, it is fair to say, represent a range of talent and genre as well as literary heft. The plays chosen also largely represent Shakespeare’s major works. However, the novel on which I focus in this essay, Mark Haddon’s The Porpoise (2019), takes a slightly different tack by adapting one of Shakespeare’s lesser known, collaboratively (and thus unevenly) written late romances, Pericles.","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"87 - 96"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45506506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Contributors","authors":"","doi":"10.1353/cdr.2023.a904537","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904537","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","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":"135046045","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}