Abstract This article investigates the relationship between sin and its retribution as depicted in three Middle English biblical plays concerned with retribution, Noah’s Flood, the Harrowing of Hell and the Last Judgement, in the Chester biblical drama collection. The plays’ general tenor is, to modern sensibilities, conservative and disciplinarian with respect to social mores. Yet, studying the portrayal of sin against the plays’ social background may uncover secular mutations of the Christian conceptualisation of sin as a function of gender as well as estate. Chester’s Last Judgement dramatises sin in accordance with fifteenth-century ecclesiastical and secular developments which criminalise people along gender-specific, not just trade-specific, lines. In showing Mulier as the only human being whom Christ leaves behind in hell after his redemptive descensus, the Harrowing dooms not just the brewers’ and alehouse-keepers’ dishonesty, as imputed to brewsters in late medieval England, but women themselves, if under the guise of their trade-related dishonesty. The underside of the Chester Noahs’ cleansing voyage is women’s ideological and social suppression. Whether or not we regard the Good Gossips’ wine-drinking – for fear of the surging waters – or Mrs Noah’s defiant resistance to her husband as a performance of the sin of humankind calling for the punitive deluge, the script gives female characters a voice not only to show their sinfulness. Rather, like the Harrowing of Hell and less so the Last Judgement, Noah’s Flood, I argue, participates in a hegemonic game which appropriates one sin of the tongue, gossip, to make it backfire against those incriminated for using it in the first place: women.
{"title":"“L’enfer, c’est les autres”: En-gendering Sin in Middle English Religious Drama. The Case of Chester","authors":"E. Ciobanu","doi":"10.2478/abcsj-2021-0006","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0006","url":null,"abstract":"Abstract This article investigates the relationship between sin and its retribution as depicted in three Middle English biblical plays concerned with retribution, Noah’s Flood, the Harrowing of Hell and the Last Judgement, in the Chester biblical drama collection. The plays’ general tenor is, to modern sensibilities, conservative and disciplinarian with respect to social mores. Yet, studying the portrayal of sin against the plays’ social background may uncover secular mutations of the Christian conceptualisation of sin as a function of gender as well as estate. Chester’s Last Judgement dramatises sin in accordance with fifteenth-century ecclesiastical and secular developments which criminalise people along gender-specific, not just trade-specific, lines. In showing Mulier as the only human being whom Christ leaves behind in hell after his redemptive descensus, the Harrowing dooms not just the brewers’ and alehouse-keepers’ dishonesty, as imputed to brewsters in late medieval England, but women themselves, if under the guise of their trade-related dishonesty. The underside of the Chester Noahs’ cleansing voyage is women’s ideological and social suppression. Whether or not we regard the Good Gossips’ wine-drinking – for fear of the surging waters – or Mrs Noah’s defiant resistance to her husband as a performance of the sin of humankind calling for the punitive deluge, the script gives female characters a voice not only to show their sinfulness. Rather, like the Harrowing of Hell and less so the Last Judgement, Noah’s Flood, I argue, participates in a hegemonic game which appropriates one sin of the tongue, gossip, to make it backfire against those incriminated for using it in the first place: women.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"27 1","pages":"87 - 107"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90809125","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}
Abstract As this article is less about charity per se than it is about the relationships between place and institutional policies of benevolence, my intention is to look at how practices and laws of public charity operated in a city whose economic and social geography was changing after 1700, when the streets were populated with vulnerable people driven into poverty and when the subjects of pauperism and poor laws “engaged the attention of the legislature with increasing frequency” (Purdy 287). This article looks at the modus operandi of private and public philanthropic societies in eighteenth-century London in order to observe how both religious- and secular-driven charitable societies were motivated by the same goal of social reform, whether prompted by the Enlightenment or religious values. While the notion of Pietas Londinensis indicated the existence of various operating charities and casual philanthropic acts in the London area, charitable institutions had not been set up until the eighteenth century. In late Stuart and Georgian Britain charitable, London was shaped both by economic forces and by the various cultural meanings people attached to its space, and this new paradigm transferred all matters concerning the poor from parochial obligation to civic responsibility. The article will focus on the mechanisms which made this transfer possible while considering acts of public charity and philanthropic societies that emerged in the long eighteenth century, from hospitals and infirmaries to almshouses and charity schools, with a view to observing the changes in English mentality as a result of charitable activity.
{"title":"Charitable London: F(o)unding the First Philanthropic Societies in the Metropolis","authors":"Elena Butoescu","doi":"10.2478/abcsj-2021-0007","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0007","url":null,"abstract":"Abstract As this article is less about charity per se than it is about the relationships between place and institutional policies of benevolence, my intention is to look at how practices and laws of public charity operated in a city whose economic and social geography was changing after 1700, when the streets were populated with vulnerable people driven into poverty and when the subjects of pauperism and poor laws “engaged the attention of the legislature with increasing frequency” (Purdy 287). This article looks at the modus operandi of private and public philanthropic societies in eighteenth-century London in order to observe how both religious- and secular-driven charitable societies were motivated by the same goal of social reform, whether prompted by the Enlightenment or religious values. While the notion of Pietas Londinensis indicated the existence of various operating charities and casual philanthropic acts in the London area, charitable institutions had not been set up until the eighteenth century. In late Stuart and Georgian Britain charitable, London was shaped both by economic forces and by the various cultural meanings people attached to its space, and this new paradigm transferred all matters concerning the poor from parochial obligation to civic responsibility. The article will focus on the mechanisms which made this transfer possible while considering acts of public charity and philanthropic societies that emerged in the long eighteenth century, from hospitals and infirmaries to almshouses and charity schools, with a view to observing the changes in English mentality as a result of charitable activity.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"14 1","pages":"108 - 130"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86728249","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":"Elena Butoescu. Literary Imposture and Eighteenth-Century Knowledge: The Tradition of the Literary Faker in England from Marana to Goldsmith. Bucharest: Zeta Books, 2019. Pp 475. ISBN 978-606-697-092-1 (paperback); ISBN 978-606-697-093-8 (ebook)","authors":"Dragoş Ivana","doi":"10.2478/abcsj-2021-0012","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0012","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"22 1","pages":"217 - 220"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83800647","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}
Abstract This essay attempts to trace the ways in which Dana Gioiaʼs use of form relates to, and simultaneously differs from Romanticism, Modernism and postmodernism. His particular brand of formalism takes up the notion of a connection between truth and beauty, without presuming to identify one with the other, and, at the same time, resisting both the Modernist obsession with dissolution and fragmentariness and postmodernism’s skepticism towards grand narratives. Form becomes a coalescing agent, uniting different aspects and levels of reality, and narratives are instrumental in shaping both the individual and the social body. The power to name (point to and describe) and to tame (to translate dark or incomprehensible aspects of reality), inherent in language, is the means by which poetry shapes our social and cultural world.
{"title":"Naming and Taming the Truth: Dana Gioia’s Transformative Poetry","authors":"R. Doncu","doi":"10.2478/abcsj-2021-0003","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0003","url":null,"abstract":"Abstract This essay attempts to trace the ways in which Dana Gioiaʼs use of form relates to, and simultaneously differs from Romanticism, Modernism and postmodernism. His particular brand of formalism takes up the notion of a connection between truth and beauty, without presuming to identify one with the other, and, at the same time, resisting both the Modernist obsession with dissolution and fragmentariness and postmodernism’s skepticism towards grand narratives. Form becomes a coalescing agent, uniting different aspects and levels of reality, and narratives are instrumental in shaping both the individual and the social body. The power to name (point to and describe) and to tame (to translate dark or incomprehensible aspects of reality), inherent in language, is the means by which poetry shapes our social and cultural world.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"8 1","pages":"26 - 48"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75279426","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":"Literature, Social Isolation and the Quest for Emotion in the Accelerated Post-Humanities","authors":"A. Neagu","doi":"10.2478/abcsj-2021-0001","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0001","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"185 3-4","pages":"1 - 4"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72470112","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}
Abstract Twentieth-century drama has made the stage a site for reflecting on science. Michael Frayn’s Copenhagen, considered by many as one of the most striking contributions to “science plays,” portrays the elusive yet crucial short meeting of the two pillars of quantum physics, Niels Bohr and Werner Heisenberg, in the autumn of 1941. The play employs ‘real’ scientists as characters that recurrently refer to and explain their scientific ideas such as uncertainty and complementarity, recognized as the Copenhagen Interpretation. Adopting the approach of possible worlds theory, this article analyses the concept of ‘possible worlds’ as projected in Copenhagen in light of the idea that physics itself has proposed a proliferation of parallel universes (multiverse). In fact, our main thesis is that the play offers an alternate history and brings about a myriad of counterfactuals that are tested as “drafts.”
{"title":"Narrative Quantum Cosmology in Michael Frayn’s Copenhagen","authors":"Omid Amani, Hossein Pirnajmuddin","doi":"10.2478/abcsj-2021-0005","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0005","url":null,"abstract":"Abstract Twentieth-century drama has made the stage a site for reflecting on science. Michael Frayn’s Copenhagen, considered by many as one of the most striking contributions to “science plays,” portrays the elusive yet crucial short meeting of the two pillars of quantum physics, Niels Bohr and Werner Heisenberg, in the autumn of 1941. The play employs ‘real’ scientists as characters that recurrently refer to and explain their scientific ideas such as uncertainty and complementarity, recognized as the Copenhagen Interpretation. Adopting the approach of possible worlds theory, this article analyses the concept of ‘possible worlds’ as projected in Copenhagen in light of the idea that physics itself has proposed a proliferation of parallel universes (multiverse). In fact, our main thesis is that the play offers an alternate history and brings about a myriad of counterfactuals that are tested as “drafts.”","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"40 1","pages":"67 - 86"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78585337","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}
Abstract According to Giorgio Agamben, the Greek term for ‘habitual dwelling place,’ or ‘habit,’ is ethos. The rise to prominence in the twentieth century of the modern idea of the suburb, or ‘suburbia,’ held open the door to the potential realization of the American (and Canadian) dream ethos of universal home ownership. The tantalizing appeal of a the ideal of ‘home’ and ‘homeland’ have become key terms in the Post World War Two pursuit of a mode of ‘dwelling’ linked to consumer capitalism. Yet for Frankfurt School critics such as Theodor W. Adorno, the pursuit of this suburban ideal induced a deep sense of ennui such that to feel ‘at home’ in such a suburban environment challenged the very foundations of the dwelling place of Western civilization. “It is part of morality,” Adorno concluded in his book, Minima Moralia, “not to be at home in one’s home.” This text is an exercise in examining this question of “dwelling” and “home” through an allegorical poetical focus (drawn from Walter Benjamin and Charles Baudelaire) focusing on a newly completed suburb in the Canadian city of Halifax, Nova Scotia.
根据Giorgio Agamben的说法，希腊语中“习惯性居所”或“习惯”的意思是“ethos”。20世纪，现代郊区概念(suburbia)的兴起为实现美国(和加拿大)普遍拥有住房的梦想打开了大门。“家”和“家园”的理想诱人的吸引力已经成为二战后追求一种与消费资本主义相关的“居住”模式的关键术语。然而，对于法兰克福学派的批评家，如西奥多·阿多诺(Theodor W. Adorno)来说，对这种郊区理想的追求引发了一种深深的无聊感，以至于在这样一个郊区环境中感到“宾至如归”，挑战了西方文明居住地的基础。“这是道德的一部分，”阿多诺在他的书《最低道德》(Minima Moralia)中总结道，“不待在自己的家里。”本文通过对加拿大新斯科舍省哈利法克斯市一个新建成的郊区的讽喻性诗歌焦点(取自瓦尔特·本雅明和查尔斯·波德莱尔)来研究“居住”和“家”的问题。
{"title":"Homes for Canadians (I)","authors":"David Brian Howard","doi":"10.2478/abcsj-2021-0011","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0011","url":null,"abstract":"Abstract According to Giorgio Agamben, the Greek term for ‘habitual dwelling place,’ or ‘habit,’ is ethos. The rise to prominence in the twentieth century of the modern idea of the suburb, or ‘suburbia,’ held open the door to the potential realization of the American (and Canadian) dream ethos of universal home ownership. The tantalizing appeal of a the ideal of ‘home’ and ‘homeland’ have become key terms in the Post World War Two pursuit of a mode of ‘dwelling’ linked to consumer capitalism. Yet for Frankfurt School critics such as Theodor W. Adorno, the pursuit of this suburban ideal induced a deep sense of ennui such that to feel ‘at home’ in such a suburban environment challenged the very foundations of the dwelling place of Western civilization. “It is part of morality,” Adorno concluded in his book, Minima Moralia, “not to be at home in one’s home.” This text is an exercise in examining this question of “dwelling” and “home” through an allegorical poetical focus (drawn from Walter Benjamin and Charles Baudelaire) focusing on a newly completed suburb in the Canadian city of Halifax, Nova Scotia.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"93 6 Pt 1 1","pages":"187 - 216"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89472892","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":"Subarno Chattarji. The Distant Shores of Freedom: Vietnamese American Memoirs and Fiction. New Delhi: Bloomsbury India, 2019. Pp. 262. ISBN: 978-93-88271-46-2","authors":"Vitor Soster","doi":"10.2478/abcsj-2021-0013","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0013","url":null,"abstract":"","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"47 1","pages":"221 - 224"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80553491","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}
Abstract Ferris Wheels seem to fascinate film-directors – notably Carol Reed in The Third Man (1949), based on Graham Greene’s story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry’s example when developing his film-script (later published as a novella) – work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically.
{"title":"Ferris Wheels, Faust, and Forms of Influence in Malcolm Lowry and Graham Greene","authors":"R. Stevenson","doi":"10.2478/abcsj-2021-0010","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0010","url":null,"abstract":"Abstract Ferris Wheels seem to fascinate film-directors – notably Carol Reed in The Third Man (1949), based on Graham Greene’s story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry’s example when developing his film-script (later published as a novella) – work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"4 1","pages":"175 - 186"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88767493","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}
Abstract This article addresses the age-old correlation between poetic genius and madness as represented in Malcolm Bradbury’s academic novel Eating People Is Wrong (1959), zeroing in on a student-cum-poet and a novelist-cum-poet called Louis Bates and Carey Willoughby, respectively. While probing this unexplored theme in Bradbury’s novel, I pursue three primary aims. To begin with, I seek to demonstrate that certain academics’ tendency to fuse or confuse the poetic genius of their students and colleagues with madness is not only rooted in inherited assumptions, generalizations, and exaggerations but also in their own antipathy towards poets on the grounds that they persistently diverge from social norms. Second, I endeavour to ignite readers’ enthusiasm about the academic novel subgenre by underscoring the vital role it plays in energizing scholarly debate about the appealing theme of poetic madness. Lastly, the study concedes that notwithstanding the prevalence of prejudice among their populations, universities, on the whole, do not relinquish their natural veneration for originality, discordant views, and rewarding dialogue.
{"title":"Poetic Madness in Malcolm Bradbury’s Eating People Is Wrong","authors":"Noureddine Friji","doi":"10.2478/abcsj-2021-0002","DOIUrl":"https://doi.org/10.2478/abcsj-2021-0002","url":null,"abstract":"Abstract This article addresses the age-old correlation between poetic genius and madness as represented in Malcolm Bradbury’s academic novel Eating People Is Wrong (1959), zeroing in on a student-cum-poet and a novelist-cum-poet called Louis Bates and Carey Willoughby, respectively. While probing this unexplored theme in Bradbury’s novel, I pursue three primary aims. To begin with, I seek to demonstrate that certain academics’ tendency to fuse or confuse the poetic genius of their students and colleagues with madness is not only rooted in inherited assumptions, generalizations, and exaggerations but also in their own antipathy towards poets on the grounds that they persistently diverge from social norms. Second, I endeavour to ignite readers’ enthusiasm about the academic novel subgenre by underscoring the vital role it plays in energizing scholarly debate about the appealing theme of poetic madness. Lastly, the study concedes that notwithstanding the prevalence of prejudice among their populations, universities, on the whole, do not relinquish their natural veneration for originality, discordant views, and rewarding dialogue.","PeriodicalId":37404,"journal":{"name":"American, British and Canadian Studies","volume":"43 1","pages":"5 - 25"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84378896","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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