平息暴风雨

Q3 Arts and Humanities
Renaissance Drama Pub Date : 2021-03-01 DOI:10.1086/713985
Caroline Pirri
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引用次数: 0

摘要

Tempest与美洲的联系可以追溯到其最初的出版。1623年的《第一对开本》中,该剧的正片以一位土著长矛手的木刻为特色,很可能是从西奥多·德·布里的插图到托马斯·哈里奥特的《简短而真实的报告》(1588)中绘制的。《暴风雨》和《新世界》之间的传奇联系经历了该领域的许多批评。虽然早期的历史学者坚持与《新世界》有档案关系,引用威廉·斯特拉奇的《Wrack的真相汇编》(对1609年海洋冒险号在百慕大群岛附近沉船的第一手描述)作为对该剧开场沉船的影响,但后殖民主义和新历史主义学者更倾向于强调与美国定居的主题联系,在普罗斯彼罗对岛上土著居民的征服中看到了一个帝国征服的寓言。然而,最近,学者们开始质疑
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Unsettling The Tempest
1 he Tempest’s link to the Americas reaches back to its initial publication. The frontispiece to the play in the 1623 First Folio featured a woodcut of t an indigenous spearfisher, likely drawn from Theodor De Bry’s illustrations to Thomas Hariot’s A Brief and True Report (1588). The storied connection betweenThe Tempest and theNewWorld has endured throughmany criticalmovements in the field.While early historical scholars insisted on an archival relationship to theNewWorld, citingWilliamStrachey’sTrueRepertory of theWrack (afirsthand account of the Sea Venture’s 1609 wreck off the Bermudas) as an influence on the play’s opening shipwreck, postcolonial and New Historicist scholars have preferred to emphasize a more thematic connection to American settlement, seeing in Prospero’s subjugation of the island’s native inhabitants a fable for imperial conquest.More recently, however, scholars have begun to contest the idea that The
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来源期刊
Renaissance Drama
Renaissance Drama Arts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
8
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