COMPARATIVE DRAMA最新文献

{"title":"Communal Justice in Shakespeare's England: Drama, Law, Emotion by Penelope Geng (review)","authors":"Jessica Winston","doi":"10.1353/cdr.2022.0025","DOIUrl":"https://doi.org/10.1353/cdr.2022.0025","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"414 - 417"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44105272","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 Theatre of Anthony Neilson by Trish Reid (review)","authors":"M. Shaw","doi":"10.1353/cdr.2022.0030","DOIUrl":"https://doi.org/10.1353/cdr.2022.0030","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"435 - 437"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44683787","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":"Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón's Spain by Dian Fox (review)","authors":"Victoria M. Muñoz","doi":"10.1353/cdr.2022.0017","DOIUrl":"https://doi.org/10.1353/cdr.2022.0017","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>Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain</em> by Dian Fox <!-- /html_title --></li> <li> Victoria M. Muñoz (bio) </li> </ul> Dian Fox. <em>Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain</em>. Lincoln: University of Nebraska Press, 2019. Pp. 336 + 5 illus. $55.00 Hardback and ebook. <p><em>Hercules and the King of Portugal</em> traces early modern ideations of imperial Iberia and masculinity as represented in contemporary poetry, drama, and royal iconography. Dian Fox studies accounts of the gender performances of the divine hero, Hercules, dubbed “Hercules Hispanicus,” and the lost heir of the Portuguese Aviz dynasty, King Sebastian I (1554–78, ruled 1557–78), who is memorialized as <em>Sebastião</em> “<em>el encubierto</em>.” The book is split into two parts that examine representations of Hercules and Sebastian, respectively, showing how these figures factored into Spanish and Portuguese national identity. Fox’s study also uncovers the tension between the idealized masculinities of Hercules and Sebastian and their famous violations of appropriate male conduct. In Part I (“Hercules”), Chapter 1, Fox traces the Spanish iconography of Hercules, from whom the Habsburg royals claimed direct, legitimizing descent. The Spanish people accessed the heroic figure through local artefacts and legends, as in “the cult(s) of Melkart/Herakles/Hercules” (36), which located some of the classical hero’s famous labors in Iberia. Meanwhile, contemporary editions and translations of Ovid’s <em>Metamorphoses,</em> Seneca’s <em>The Madness of Hercules,</em> and Euripides’s <em>Alcestis</em> revived tales of Hercules’s exploits for contemporary audiences, who availed themselves of an “early modern Spanish national project [that] imagined Hercules as founder and native son” (36).</p> <p>Chapters 3 and 4 treat of two notable emasculating episodes in Hercules' mythology—his donning Medea’s poisoned robe and subsequent death upon a pyre, and his cross-dressed enslavement to Omphale, the Queen of Lydia, which represents a figurative “phallic” death—that are referenced and reflected in four staged <em>comedias</em> by Pedro Calderón de la Barca: <em>Los tres mayores prodigios</em> (The Three Greatest Prodigies) (1636); <em>El pintor de su deshonra</em> (The Painter of His Dishonor) (1650); <em>Las manos blancas no ofenden</em> (White Hands are No Offense) (ca. 1640); and <em>Fieras afemina Amor</em> (Love Feminizes Beasts) (1670 or 1672). For Fox, these works’ effeminate and symbolically castrated male protagonists embody versions of the “<em>hombre esquivo</em>,” here defined as a male who is unattracted to females. Fox casts “immunity to the love of women as a political disorder” (100). She points to the masculine tactic of restoring hon","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"41 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167640","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":"“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre","authors":"C. Quirk","doi":"10.1353/cdr.2022.0011","DOIUrl":"https://doi.org/10.1353/cdr.2022.0011","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"231 - 255"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43722895","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":"Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman (review)","authors":"June Schlueter","doi":"10.1353/cdr.2022.0021","DOIUrl":"https://doi.org/10.1353/cdr.2022.0021","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"357 - 359"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755000","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":"Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu (review)","authors":"Chengzhou He","doi":"10.1353/cdr.2022.0018","DOIUrl":"https://doi.org/10.1353/cdr.2022.0018","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"346 - 349"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989263","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":"“Home Away from Home”: Diasporic Consciousness and Everyday Third Places in Tom Murphy’s Conversations on a Homecoming (1985) and Inua Ellams’ Barber Shop Chronicles (2017)","authors":"Moonyoung Hong","doi":"10.1353/cdr.2022.0012","DOIUrl":"https://doi.org/10.1353/cdr.2022.0012","url":null,"abstract":"or much of its history, the geography of modern drama has been that of “home.” 1 But the ideas of home and belonging have increasingly stirred political and cultural debate in the age of migration, globalization, and transnationalism. As the concept of home evolves and complexifies, so do dramatic expressions of it. Home is no longer the domestic interior of the bourgeoise, as popularized by the naturalist dramas of Ibsen and Chekhov. This article explores non-domestic dramatic spaces—the Irish pub and the African barbershop—as culturally specific “third places” in two plays: Tom Murphy’s Conversations on a Homecoming (1985) 2 and Inua Ellams’ Barber Shop Chronicles (2017). 3 In the context of diasporic studies, both spaces exemplify what Jana Evans Braziel and Anita Mannur have described as the “nomadic turn in which the very parameters of specific historical movements are embodied and—as diaspora itself suggests—are scattered and regrouped into new points of becoming.” 4 Both plays deal with the experiences of their representative diasporic communities, revealing the complex connections between host-homelands and overseas communities. A comparative study of the two plays challenges conventional categories of nation and identity, and demonstrates how these everyday third spaces can become sites of contestation against the hegemonic and homogenizing forces of neo-colonialism and globalization. “Third Place” is","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"256 - 282"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49206930","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":"Staging the Market Mechanisms of Medieval Mating in Den utro hustru","authors":"Mads Larsen","doi":"10.1353/cdr.2022.0013","DOIUrl":"https://doi.org/10.1353/cdr.2022.0013","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"283 - 312"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47400602","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 and Latinidad ed. by Trevor Boffone and Carla Della Gatta (review)","authors":"Matthieu Chapman","doi":"10.1353/cdr.2022.0016","DOIUrl":"https://doi.org/10.1353/cdr.2022.0016","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"339 - 341"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48460090","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":"Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn (review)","authors":"Frances N. Teague","doi":"10.1353/cdr.2022.0019","DOIUrl":"https://doi.org/10.1353/cdr.2022.0019","url":null,"abstract":"Why should theatre historians invest in a book about a financial scandal in the Netherlands? People have been investing in commodities for as long as traders have sailed the seas, but the first stock market was in Antwerp, and the first joint stock was issued by the Dutch East India Company. By early in the 18th century, investing in stocks or commodities was popular across Europe despite the way that bubbles occurred, a bubble being the point when a stock’s price is far higher than its value. When investors ignore this disparity, they lose their money when the market crashes. Specifically in 1720, investors in England, France, and the Netherlands lost fortunes. The South Sea Bubble in London, the Mississippi Bubble in France, and the Wind Trade (or windhandel) in the Netherlands ruined thousands. As one might imagine, such an economic collapse created a “cultural outpouring” of mocking satire, as well as angry demands to repair the system, particularly in the Netherlands. As Goggin and De Bruyn write,","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"350 - 352"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49097184","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}