Pub Date : 2024-03-06DOI: 10.1353/cdr.2024.a920785
Nicholas Duddy
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Arthur Miller's Suicidology of the Stage:<span>Suicide and Dramatic Form in <em>Death of a Salesman</em></span> <!-- /html_title --></li> <li> Nicholas Duddy (bio) </li> </ul> <p>On August 5, 1962, the body of Marilyn Monroe, Arthur Miller's exwife, was found in the bedroom of her Brentwood home. Tangled bedsheets, bottles of pills, a rotary phone receiver by her hand—the room resembled the mise-en-scène of a murder mystery, and in death the cultural icon received just as much attention as in life.<sup>1</sup> Newspapers across the world announced her death with front page headlines that were both equivocal and sensational: "Marilyn Dead" (<em>Daily News</em>), "Marilyn Phone Riddle" (<em>Daily Express</em>), "Marilyn Monroe Kills Self: Found Nude in Bed … Hand On Phone … Took 40 Pills" (<em>New York Mirror</em>).<sup>2</sup></p> <p>Less than two weeks later, Los Angeles County Coroner Theodore Curphey, clad in a white lab coat, cigar in mouth, sat before a room of reporters to announce the findings of his inquest. He prefaced his ruling with a public appeal:</p> <blockquote> <p>Ladies and gentlemen, I must be frank to state that in seeking in my own mind any justification for this conference the most impelling reason that occurred to me is the importance of recognizing that in the death of Marilyn Monroe she has unwittingly and unfortunately played the greatest role of her career in focusing the attention of every one of us living on the gravity of a worldwide problem that bathetically cries out for a solution.<sup>3</sup></p> </blockquote> <p>Sitting beside Curphey were two men, psychologist Norman Farberow and psychiatrist Robert Litman, who had helped the coroner reach the verdict of a "probable suicide" by performing a "psychological autopsy" on Monroe, studying her lifestyle, behavior, and character traits to uncover her suicidal state of mind.<sup>4</sup> Solemn in their black suits, Farberow and <strong>[End Page 33]</strong> Litman fielded questions from the press about Monroe's final moments. "The only conclusion we could reach was suicide," Litman stated. "Or at least a gamble with death."<sup>5</sup></p> <p>Farberow and Litman had developed this method of psychological enquiry while working with Edwin Shneidman at the Los Angeles Suicide Prevention Center, an organization established just four years earlier as a clinical practice, public health agency, and research site into suicide. The Center's origins, though, date to 1949, the year <em>Death of a Salesman</em> opened in Broadway's Morosco Theatre. While Miller refined <em>Salesman</em>'s production script, Shneidman, who would later be considered "a father of contemporary suicidology," analyzed 721 suicide notes pulled from a coroner's vault and compared them in a blind test to simulated notes written by non-suicidal individuals.<sup>6</sup> This systematic st
{"title":"Arthur Miller's Suicidology of the Stage: Suicide and Dramatic Form in Death of a Salesman","authors":"Nicholas Duddy","doi":"10.1353/cdr.2024.a920785","DOIUrl":"https://doi.org/10.1353/cdr.2024.a920785","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 --> Arthur Miller's Suicidology of the Stage:<span>Suicide and Dramatic Form in <em>Death of a Salesman</em></span> <!-- /html_title --></li> <li> Nicholas Duddy (bio) </li> </ul> <p>On August 5, 1962, the body of Marilyn Monroe, Arthur Miller's exwife, was found in the bedroom of her Brentwood home. Tangled bedsheets, bottles of pills, a rotary phone receiver by her hand—the room resembled the mise-en-scène of a murder mystery, and in death the cultural icon received just as much attention as in life.<sup>1</sup> Newspapers across the world announced her death with front page headlines that were both equivocal and sensational: \"Marilyn Dead\" (<em>Daily News</em>), \"Marilyn Phone Riddle\" (<em>Daily Express</em>), \"Marilyn Monroe Kills Self: Found Nude in Bed … Hand On Phone … Took 40 Pills\" (<em>New York Mirror</em>).<sup>2</sup></p> <p>Less than two weeks later, Los Angeles County Coroner Theodore Curphey, clad in a white lab coat, cigar in mouth, sat before a room of reporters to announce the findings of his inquest. He prefaced his ruling with a public appeal:</p> <blockquote> <p>Ladies and gentlemen, I must be frank to state that in seeking in my own mind any justification for this conference the most impelling reason that occurred to me is the importance of recognizing that in the death of Marilyn Monroe she has unwittingly and unfortunately played the greatest role of her career in focusing the attention of every one of us living on the gravity of a worldwide problem that bathetically cries out for a solution.<sup>3</sup></p> </blockquote> <p>Sitting beside Curphey were two men, psychologist Norman Farberow and psychiatrist Robert Litman, who had helped the coroner reach the verdict of a \"probable suicide\" by performing a \"psychological autopsy\" on Monroe, studying her lifestyle, behavior, and character traits to uncover her suicidal state of mind.<sup>4</sup> Solemn in their black suits, Farberow and <strong>[End Page 33]</strong> Litman fielded questions from the press about Monroe's final moments. \"The only conclusion we could reach was suicide,\" Litman stated. \"Or at least a gamble with death.\"<sup>5</sup></p> <p>Farberow and Litman had developed this method of psychological enquiry while working with Edwin Shneidman at the Los Angeles Suicide Prevention Center, an organization established just four years earlier as a clinical practice, public health agency, and research site into suicide. The Center's origins, though, date to 1949, the year <em>Death of a Salesman</em> opened in Broadway's Morosco Theatre. While Miller refined <em>Salesman</em>'s production script, Shneidman, who would later be considered \"a father of contemporary suicidology,\" analyzed 721 suicide notes pulled from a coroner's vault and compared them in a blind test to simulated notes written by non-suicidal individuals.<sup>6</sup> This systematic st","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140043811","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}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913246
Jaecheol Kim
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> The Paracelsan Philosophy and Plot in <em>Romeo and Juliet</em> <!-- /html_title --></li> <li> Jaecheol Kim (bio) </li> </ul> <h2>Shakespeare, Paracelsus, and the Early Modern Medical Turn</h2> <p>Disease is often communicated through language, and the trajectory of contagion is coterminous with its discursive orbit. Early modern dramatic works, especially the plays of Shakespeare, pay keen attention to the linguistic matrix of disease.<sup>1</sup> Shakespeare lived during a time of important shifts in the history of medicine and disease, when leprosy gradually receded to the margins of social and medical concern, giving way to collective anxieties related to the rise of syphilis and occasional plague outbreaks. English Renaissance drama developed alongside this general shift in the medical concerns and disease control measures of English society.<sup>2</sup> In this essay, I investigate these parallel developments by exploring how Paracelsan medicine affected the literary imagination generally and Shakespeare's imagination in particular as a new system of medical thought, a system circulating in London print shops and apothecaries of the period, and I read <em>Romeo and Juliet</em> as a medical narrative informed by this system.</p> <p>From a medical perspective, the plot of <em>Romeo and Juliet</em> reflects the operation of an organic human body. Ben Jonson's city comedy often reflects the early modern reception of humoralism by defining characters based on the four-humor (or four-element) theory. In Jonson's medical imagination, characters are defined by four different humors: yellow bile (fire), black bile (earth), phlegm (water), and blood (air). Characters not only become constructions of different humors but also often <em>fashion</em> their humors. In <em>Every Man in His Humour</em>, for instance, the gullible <strong>[End Page 252]</strong> countryman Stephen identifies himself as a melancholy man because he believes that it is fashionable in the city. Shakespeare also drew on humoralism to develop his characters. In <em>Romeo and Juliet</em>, for instance, Romeo is associated with melancholy at the beginning of the play because his dominant humor is black bile, while hot-tempered Tybalt embodies yellow bile. Paris is phlegmatic because he associates himself with water, specifically while standing before Juliet's grave, which, as he declares, "with sweet water nightly I will dew, / Or, wanting that, with tears distilled by moans" (5.3.14–15).<sup>3</sup> Humoral theory was thus for early modern dramatists not only a medical philosophy but also a kind of literary principle. However, the focus of my analysis here is neither overt character constructions based on humoralism nor the prominent medical figures in the play such as Friar Laurence, the Apothecary, or the Nurse. Instead, I will show that <em>Romeo and Juliet
{"title":"The Paracelsan Philosophy and Plot in Romeo and Juliet","authors":"Jaecheol Kim","doi":"10.1353/cdr.2023.a913246","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913246","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 Paracelsan Philosophy and Plot in <em>Romeo and Juliet</em> <!-- /html_title --></li> <li> Jaecheol Kim (bio) </li> </ul> <h2>Shakespeare, Paracelsus, and the Early Modern Medical Turn</h2> <p>Disease is often communicated through language, and the trajectory of contagion is coterminous with its discursive orbit. Early modern dramatic works, especially the plays of Shakespeare, pay keen attention to the linguistic matrix of disease.<sup>1</sup> Shakespeare lived during a time of important shifts in the history of medicine and disease, when leprosy gradually receded to the margins of social and medical concern, giving way to collective anxieties related to the rise of syphilis and occasional plague outbreaks. English Renaissance drama developed alongside this general shift in the medical concerns and disease control measures of English society.<sup>2</sup> In this essay, I investigate these parallel developments by exploring how Paracelsan medicine affected the literary imagination generally and Shakespeare's imagination in particular as a new system of medical thought, a system circulating in London print shops and apothecaries of the period, and I read <em>Romeo and Juliet</em> as a medical narrative informed by this system.</p> <p>From a medical perspective, the plot of <em>Romeo and Juliet</em> reflects the operation of an organic human body. Ben Jonson's city comedy often reflects the early modern reception of humoralism by defining characters based on the four-humor (or four-element) theory. In Jonson's medical imagination, characters are defined by four different humors: yellow bile (fire), black bile (earth), phlegm (water), and blood (air). Characters not only become constructions of different humors but also often <em>fashion</em> their humors. In <em>Every Man in His Humour</em>, for instance, the gullible <strong>[End Page 252]</strong> countryman Stephen identifies himself as a melancholy man because he believes that it is fashionable in the city. Shakespeare also drew on humoralism to develop his characters. In <em>Romeo and Juliet</em>, for instance, Romeo is associated with melancholy at the beginning of the play because his dominant humor is black bile, while hot-tempered Tybalt embodies yellow bile. Paris is phlegmatic because he associates himself with water, specifically while standing before Juliet's grave, which, as he declares, \"with sweet water nightly I will dew, / Or, wanting that, with tears distilled by moans\" (5.3.14–15).<sup>3</sup> Humoral theory was thus for early modern dramatists not only a medical philosophy but also a kind of literary principle. However, the focus of my analysis here is neither overt character constructions based on humoralism nor the prominent medical figures in the play such as Friar Laurence, the Apothecary, or the Nurse. Instead, I will show that <em>Romeo and Juliet","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"86 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442823","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}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913255
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Contributors <!-- /html_title --></li> </ul> <p><strong>Crystal U. Davis</strong> is Associate Professor of Dance at University of Maryland, College Park. Her research explores implicit bias and how privilege manifests in the body. Her research has been published in the <em>Journal of Dance Education</em>, in the <em>Palgrave Handbook of Race and the Arts in Education</em>, and in her book, <em>Dance and Belonging: Implicit Bias and Inclusion in Dance Education</em> (McFarland, 2022). Her performances span from East Indian dance to her postmodern choreography examining incongruities between what we say, what we believe, and what we do.</p> <p><strong>Elisabeth Dutton</strong> is Professor of Medieval English Language and Literature at the University of Fribourg, Switzerland. Her research interests include Julian of Norwich, devotional compilations, and early theatre. Her most recent book, <em>Dramatic Wardrobes</em> (Chronos, 2023), co-authored with Racha Kirakosian, discusses clothing in English and German visionary and dramatic texts. Her research projects, funded by the Swiss National Science Foundation, include 'Early Drama at Oxford,' 'Medieval Convent Drama,' and beginning in 2024, 'Women, Martyrdom, and Religious Drama in the Abrahamic Traditions.' She is an experienced theatre director and combines archival work with research through performance.</p> <p><strong>Alan B. Farmer</strong> is Associate Professor of English at Ohio State University. He is the co-creator, with Zachary Lesser, of <em>DEEP: Database of Early English Playbooks</em>, co-editor, with Adam Zucker, of <em>Localizing Caroline Drama</em> (Palgrave, 2006), and has published widely on book history, Shakespeare, and early modern drama. He is currently working on two projects: a study of lost books in the early modern English book trade and another on the popularity of playbooks in Renaissance England.</p> <p><strong>Baltasar Fra-Molinero</strong> is Professor of Hispanic Studies and Africana Studies at Bates College. He is the author <em>of La imagen de los negros en el teatro del Siglo de Oro</em> (The Image of Blacks in Spanish Golden Age Theater) (Siglo Veintiuno Editores, 1995). He is the co-author with Sue E. Houchins of <em>Black Bride of Christ: Chicaba, an African Nun in Eighteenth-Century Spain</em> (Vanderbilt University Press, 2019) and the editor of Don <em>Quixote's Racial Other in Annals of Scholarship</em> (2010). He has recently produced with Nelson López and Manuel Olmeddo Gobante a bilingual critical edition of the Spanish seventeenth-century play <em>El valiente negro en Flandes</em> (The Valiant Black Man in Flanders) (Liverpool University Press, 2023). <strong>[End Page 304]</strong></p> <p><strong>Dian Fox</strong> is Professor Emerita of Hispanic Studies and Women's, Gender, and Sexuality Studies at Brandeis University. She curren
这里是内容的简短摘录，而不是摘要:贡献者Crystal U. Davis是马里兰大学帕克分校的舞蹈副教授。她的研究探讨了隐性偏见以及特权如何在身体中表现出来。她的研究发表在《舞蹈教育杂志》、《帕尔格雷夫种族与教育艺术手册》和她的书《舞蹈与归属:舞蹈教育中的隐性偏见和包容》(麦克法兰，2022年)。她的表演从东印度舞蹈到后现代编舞，审视了我们所说的、所相信的和所做的之间的不协调。伊丽莎白·达顿(Elisabeth Dutton)是瑞士弗里堡大学中世纪英语语言文学教授。她的研究兴趣包括诺里奇的朱利安，宗教汇编和早期戏剧。她最近的一本书，戏剧性的衣橱(Chronos, 2023)，与Racha Kirakosian合著，讨论了英语和德语幻想和戏剧文本中的服装。她的研究项目由瑞士国家科学基金会资助，包括“牛津大学早期戏剧”、“中世纪修道院戏剧”，以及从2024年开始的“亚伯拉罕传统中的妇女、殉难和宗教戏剧”。她是一位经验丰富的戏剧导演，通过表演将档案工作与研究结合起来。Alan B. Farmer是俄亥俄州立大学英语副教授。他与Zachary Lesser共同创作了《DEEP:早期英语剧本数据库》，与Adam Zucker共同编辑了《卡罗琳戏剧本地化》(Palgrave, 2006)，并在书籍历史、莎士比亚和早期现代戏剧方面发表了大量文章。他目前正在进行两个项目:一项是对早期现代英国图书贸易中丢失的书籍的研究，另一项是对文艺复兴时期英国戏剧剧本的流行进行研究。Baltasar Fra-Molinero是贝茨学院西班牙裔研究和非洲研究教授。他著有《西班牙黄金时代剧院中的黑人形象》(西格洛·维因蒂乌诺出版社，1995年)。他与Sue E. Houchins合著了《基督的黑人新娘:芝加哥，18世纪西班牙的非洲修女》(范德比尔特大学出版社，2019年)，并编辑了《学术年鉴》中的《堂吉诃德的种族他人》(2010年)。他最近与Nelson López和Manuel Olmeddo Gobante一起制作了西班牙17世纪戏剧El valiente negro en Flandes (Flanders勇敢的黑人)的双语评论版(利物浦大学出版社，2023)。[endpage 304] Dian Fox是布兰代斯大学西班牙裔研究和女性、性别和性研究的荣誉退休教授。她目前写的是早期现代西班牙文学中男性气概的表现。她的书《大力神与葡萄牙国王》(内布拉斯加州大学出版社，2019年)探讨了标志性的伊比利亚人物如何在17世纪西班牙舞台上表达和混淆国家的男性主义理想。她最近的出版物包括《葡萄牙国王塞巴斯蒂安、米格尔·德·塞万提斯和唐吉诃德:神话和影响的谱系》(2020年);《西班牙评论》(2022)的“性别揭示:María de Zayas的Amar por solo vencer中的阿基里斯/Amadís范式”。杨高，扬州大学新闻与传播学院讲师。他在新加坡国立大学获得博士学位。主要研究方向为二十世纪初中日戏剧在西方的传播与接受的比较研究。著有《1899 - 1931年日本剧团访美欧接待》(上海交通大学出版社，2021年)。最近发表的论文有:《“净化”与“杂交”:1930年梅兰芳、Tsutsui剧团西游中的戏剧民族性建构与接受》，《国际戏剧研究》(2022);《“再戏剧化”与“再整体化”:20世纪初日本巡回剧团对西方戏剧“复兴”的历史影响》，《文艺理论研究》(2021)。Michael P. Jaros是马萨诸塞州塞勒姆州立大学的英语教授，教授研究生和本科生戏剧文学课程。他在联邦荣誉课程任教，同时他也是戏剧系的一名剧作家。他的研究和出版物主要集中在二十世纪和二十一世纪的爱尔兰文化和表演，以及当代美国戏剧。他的。
{"title":"Contributors","authors":"","doi":"10.1353/cdr.2023.a913255","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913255","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 --> Contributors <!-- /html_title --></li> </ul> <p><strong>Crystal U. Davis</strong> is Associate Professor of Dance at University of Maryland, College Park. Her research explores implicit bias and how privilege manifests in the body. Her research has been published in the <em>Journal of Dance Education</em>, in the <em>Palgrave Handbook of Race and the Arts in Education</em>, and in her book, <em>Dance and Belonging: Implicit Bias and Inclusion in Dance Education</em> (McFarland, 2022). Her performances span from East Indian dance to her postmodern choreography examining incongruities between what we say, what we believe, and what we do.</p> <p><strong>Elisabeth Dutton</strong> is Professor of Medieval English Language and Literature at the University of Fribourg, Switzerland. Her research interests include Julian of Norwich, devotional compilations, and early theatre. Her most recent book, <em>Dramatic Wardrobes</em> (Chronos, 2023), co-authored with Racha Kirakosian, discusses clothing in English and German visionary and dramatic texts. Her research projects, funded by the Swiss National Science Foundation, include 'Early Drama at Oxford,' 'Medieval Convent Drama,' and beginning in 2024, 'Women, Martyrdom, and Religious Drama in the Abrahamic Traditions.' She is an experienced theatre director and combines archival work with research through performance.</p> <p><strong>Alan B. Farmer</strong> is Associate Professor of English at Ohio State University. He is the co-creator, with Zachary Lesser, of <em>DEEP: Database of Early English Playbooks</em>, co-editor, with Adam Zucker, of <em>Localizing Caroline Drama</em> (Palgrave, 2006), and has published widely on book history, Shakespeare, and early modern drama. He is currently working on two projects: a study of lost books in the early modern English book trade and another on the popularity of playbooks in Renaissance England.</p> <p><strong>Baltasar Fra-Molinero</strong> is Professor of Hispanic Studies and Africana Studies at Bates College. He is the author <em>of La imagen de los negros en el teatro del Siglo de Oro</em> (The Image of Blacks in Spanish Golden Age Theater) (Siglo Veintiuno Editores, 1995). He is the co-author with Sue E. Houchins of <em>Black Bride of Christ: Chicaba, an African Nun in Eighteenth-Century Spain</em> (Vanderbilt University Press, 2019) and the editor of Don <em>Quixote's Racial Other in Annals of Scholarship</em> (2010). He has recently produced with Nelson López and Manuel Olmeddo Gobante a bilingual critical edition of the Spanish seventeenth-century play <em>El valiente negro en Flandes</em> (The Valiant Black Man in Flanders) (Liverpool University Press, 2023). <strong>[End Page 304]</strong></p> <p><strong>Dian Fox</strong> is Professor Emerita of Hispanic Studies and Women's, Gender, and Sexuality Studies at Brandeis University. She curren","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"85 15","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442850","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}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913254
Subha Mukherji
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe</em> by Julie Stone Peters <!-- /html_title --></li> <li> Subha Mukherji (bio) </li> </ul> Julie Stone Peters. <em>Law as Performance: Theatricality, Spectatorship and the Making of Law in Ancient, Medieval and Early Modern Europe</em>. Oxford: Oxford University Press, 2022. Pp xv + 368. £70. <p>Julie Stone Peters's expansive, exciting, and richly researched book, <em>Law as Performance</em>, opens arrestingly with an account of an aborted trial by combat at Tothill Fields, Westminster, in 1571. The truth was that the parties had settled their legal dispute the day before. But the Queen decreed that the ritual of the trial must go on nonetheless, and entertain the gathered audience—but only for the plaintiffs to fail to show up, and for the event to fail to deliver on the expectations aroused. "This was clearly theatre," Peters writes, "but it was also law" (3). This vivid recounting of a spectacular event simulating a judicial arbitration places law in the wider context of play and playing in London—the whole range from fencing to theatre—and takes us to the heart of her thesis: law <em>as</em> a performance practice, its history, and its varied manifestations. It shifts the common notion of law as doctrine and rules to make available an understanding of law as performative courtroom action. Thus, it effectively displaces <em>logos</em> with <em>ethos</em> and <em>pathos</em> at the centre of the legal scene. But it also demonstrates that legal performance is a "constitutive idea in western jurisprudence" (9), unearthing an array of sources, ancient to early modern, from which law derives sanction, authority, and guidelines.</p> <p>At the same time, Peters brings alive the ambivalence around the theatrical in law—the simultaneous proximity and rivalry that Peter Goodrich so brilliantly excavated (and traced back to Plato) in his short piece on "Law" back in 2001, in the Oxford <em>Encyclopaedia of Rhetoric</em> edited by Thomas O. Sloane. As Kathy Eden pointed out in 1986, "the Renaissance <em>hypocrite</em> originates in the Greek theatre, the Renaissance <em>actor</em> in the Roman law court" (<em>Legal and Poetic Fiction in the Aristotelian Tradition</em>, 5). The observation that law is both theatrical and antitheatrical is not, in fact, unfamiliar to the now mature field of law and literature (though it may yet come as a surprise to legal practitioners unaware of the long, intertwined traditions traced here). What Peters brings to the idea is a grippingly granular analysis of both Aristotle's own oscillations between a rejection of the emotional manipulation of the jury and his visceral intuition of its importance (46–47), and how this paradox plays out in the courtroom. Her a
这里是内容的简短摘录:由朱莉·斯通·彼得斯(Julie Stone Peters)撰写的《作为表演的法律:古代、中世纪和近代早期欧洲的戏剧性、观赏性和法律制定》回顾。作为表演的法律:古代、中世纪和近代早期欧洲的戏剧性、观赏性和法律制定。牛津:牛津大学出版社，2022。Pp xv + 368。£70。朱莉·斯通·彼得斯的著作《作为表演的法律》内容丰富，令人兴奋，研究内容丰富，引人注目地开篇讲述了1571年威斯敏斯特托希尔战场上一场因战斗而流产的审判。事实是，双方在前一天已经解决了他们的法律纠纷。但女王下令，审判的仪式必须继续进行，并招待聚集在一起的观众——但前提是原告没有出庭，事件未能兑现激起的期望。“这显然是戏剧，”彼得斯写道，“但它也是法律”(3)。这生动地叙述了一个模拟司法仲裁的壮观事件，将法律置于伦敦更广泛的戏剧背景中——从击剑到戏剧的整个范围——并将我们带到了她论文的核心:法律作为一种表演实践，它的历史，以及它的各种表现形式。它改变了法律作为理论和规则的普遍观念，使人们可以将法律理解为法庭行为。因此，它有效地用精神和悲情取代了法律场景中心的逻各斯。但它也表明，法律行为是“西方法理学中的一个构成概念”(9)，揭示了从古代到近代早期的一系列渊源，法律从中衍生出制裁、权威和指导方针。与此同时，彼得斯生动地展现了法律中戏剧性的矛盾心理——2001年，彼得·古德里奇(Peter Goodrich)在《牛津修辞学百科全书》(Thomas O. Sloane)编辑的一篇关于“法律”的短文中，出色地挖掘了(并追溯到柏拉图)同时存在的亲近和竞争。正如凯西·伊登(Kathy Eden)在1986年指出的那样，“文艺复兴时期的伪君子起源于希腊戏剧，文艺复兴时期的演员起源于罗马法庭”(《亚里士多德传统中的法律和诗歌小说》，第5页)。事实上，对现在成熟的法律和文学领域来说，法律既是戏剧的，也是反戏剧的这一观察并不陌生(尽管对于不知道这里所追溯的漫长而错综复杂的传统的法律从业者来说，这可能会让他们感到惊讶)。彼得斯对亚里士多德自己在拒绝陪审团的情感操纵和他对其重要性的本能直觉之间的摇摆(46-47页)，以及这个悖论如何在法庭上发挥作用，进行了细致而引人入胜的分析。她对16世纪法国律师艾蒂安·帕斯基耶(Etienne Pasquier)在第四章(244-50)中对西蒙·博比(Simon Bobie)的眼泪的重新演绎的描述，是她揭示伪善双重性的一个杰出例子，重点是法律与修辞的不可分割性及其执行命令。博比是帕斯基耶的客户，阿康维尔的对手:帕斯基耶把他可见的情感表现为一个操纵的面具，阿康维尔的干瘪的眼睛作为男性化的标志，坚忍的真实性，同时用阿康维尔妻子的眼泪作为痛苦的标志，并触发司法的悲情。就好像层次化的表演和自我反思式的模仿被写进了法律实践中——更不用说它在法律培训中的嵌入性了，在第6章(尤其是273-80章)中，它的框架被出色地重构了——卸下了真诚的试金石。正如帕斯基耶对他的案件的迂回指挥被证明是为了使“可见的真理和隐藏的谎言之间的对比”生动起来一样(249)，这种所谓的暴露剧场也被证明是在上演他自己完美的虚伪。本书的成就之一是在不忽视法律的道德承诺的情况下，保持了这种不可消除的模糊性。彼得斯探究了历史上法院的不言自明的道德议程，揭示了在法律代表中处于危险中的情感伦理的核心困境。最有趣的是，她在第二章中对倡导的探索，将焦点放在……
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913250
Dian Fox
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Bad Blood: Staging Race Between Early Modern England and Spain</em> by Emily Weissbourd <!-- /html_title --></li> <li> Dian Fox (bio) </li> </ul> Emily Weissbourd. <em>Bad Blood: Staging Race Between Early Modern England and Spain</em>. Philadelphia: University of Pennsylvania Press, 2023. Pp. v + 218. $55.00. <p>Following the Reconquest's end in 1492, Spain expelled the Jews and Muslims, forcing those remaining to convert to Christianity. At first, subjects suspected of religious recidivism were barred from honors and access to power, some becoming victims of the Inquisition. As the sixteenth century progressed, statutes targeted their descendants (known, respectively, as conversos and Moriscos): any hint of unclean heritage, or "bad blood," could imperil the greater good. Conversos, being white and relatively assimilated, were perceived as especially threatening to the religious establishment for their potential to pass as "Old" Christians. Although many Moriscos were also white, they were less integrated into the larger population and attracted less institutional and cultural animus, at least during much of the sixteenth century—before fear of rebellion eventually led to their 1609-14 expulsion from Spain.</p> <p>The pure-blood statutes, which "inscribe religion as a racial characteristic" (18), have been seen as the source of emerging Western anti-Semitism and of racism more broadly. Emily Weissbourd, sensitized to these matters by reflection on her own Jewish heritage, helps complicate the originary narrative of modern racism in several respects. First, she is skeptical of received academic conventions: for example, her historically-inflected close readings of Spanish fiction and drama illustrate that the preoccupation in early modern Iberia with a "clean" Christian heritage was by no means uncontroversial. Her approach is also intersectional, factoring into the polemics around inherited alterity the contemporaneous rise of the Peninsula's sub-Saharan slave trade. The author's comparative work builds on these foundations to illuminate English consumption and processing of Iberian tropes of essential difference. Ultimately, the author demonstrates that those important Peninsular engines of white Christian claims on power—pure blood orthodoxy and the traffic in Black Africans—also affected and implicated then-contemporary England in incipient racist habits of mind.</p> <p>Weissbourd explains that certain Spanish prose and theatrical texts actually skewered pure blood's purchase on entitlement. She shows that their ironies often failed to penetrate their English translations and adaptations, not to mention modern scholarship. "Far from a totalizing protoracist discourse that enshrines inconvertible difference, discourses of purity of blood in early modern Spanish culture were a site of contesta
作为摘要，这里有一个简短的内容摘录:评论:恶血:早期现代英国和西班牙之间的分期竞赛，作者:艾米丽·韦斯堡。仇恨:早期现代英格兰和西班牙之间的分期竞赛。费城:宾夕法尼亚大学出版社，2023。第v + 218页。55.00美元。1492年收复失地运动结束后，西班牙驱逐了犹太人和穆斯林，迫使剩下的人改信基督教。起初，被怀疑是宗教惯犯的人被禁止获得荣誉和权力，有些人成为宗教裁判所的受害者。随着16世纪的发展，法律针对的是他们的后代(分别被称为皈依者和摩里斯科人):任何不洁遗产的暗示，或“坏血统”，都可能危及更大的利益。皈依者，作为白人和相对被同化的人，被认为是对宗教机构的特别威胁，因为他们有可能被视为“老”基督徒。尽管许多摩里斯科人也是白人，但至少在16世纪的大部分时间里，他们没有融入更大的人口，也没有引起制度和文化上的敌意，直到对叛乱的恐惧最终导致他们在1609年至1614年被驱逐出西班牙。纯血统法“将宗教作为一种种族特征”(18)，被视为西方新兴的反犹太主义和更广泛的种族主义的根源。Emily Weissbourd通过反思自己的犹太血统而对这些问题敏感，在几个方面使现代种族主义的原始叙述复杂化。首先，她对公认的学术惯例持怀疑态度:例如，她对西班牙小说和戏剧的历史影响的仔细阅读表明，现代早期伊比利亚对“干净”基督教遗产的关注绝不是没有争议的。她的方法也是交叉的，考虑到关于继承性的争论，以及同时期半岛撒哈拉以南地区奴隶贸易的兴起。作者的比较工作建立在这些基础上，以阐明英语消费和加工伊比利亚语的本质差异。最后，作者证明了半岛上白人基督教主张权力的重要引擎——纯正的正统血统和非洲黑人的贸易——也影响并暗示了当时的当代英国的早期种族主义思想习惯。Weissbourd解释说，某些西班牙散文和戏剧文本实际上将纯血统的购买与权利联系在一起。她指出，他们的讽刺往往无法渗透到他们的英语翻译和改编中，更不用说现代学术了。“在早期现代西班牙文化中，与将不可改变的差异奉为神圣的原始主义话语相去甚远的是，关于血统纯正的话语是争论、协商甚至恶搞的场所”(52)。这本书考察了三部西班牙散文小说在英国的命运。比如詹姆斯·马贝的《流氓》(1622年)，这是对马特奥Alemán的流浪汉小说Guzmán de Alfarache(1599年，1604年)的极受欢迎的翻译。也许abbe的词汇不足以理解和反映Alemán西班牙语中许多种族和宗教的复杂性和讽刺。富克斯阐述了欧洲将西班牙东方化的冲动，韦斯伯格详细阐述了马贝和Alemán的“毛罗菲利亚”。还有《西班牙吉普赛人》(1623)，这是米德尔顿和罗利等人根据塞万提斯1613年的中篇小说《小吉普赛女孩》和《血的力量》改编而成的戏剧。高贵的白人男性强奸犯，在塞万提斯的作品中毫不悔改，在英国戏剧中被原谅，被改造，被颂扬。Weissbourd总结道:“西班牙吉普赛人比它所借鉴的任何一部西班牙中篇小说都更专注于不纯洁的血统和被破坏的荣誉，也许abbe的英文翻译，由于它持续强调西班牙人的异域摩尔性，提供了一个更本质的种族化差异的写照”(75)。人们的注意力转向了国家舞台上的黑人角色(大概是由黑人演员表演的)。这两个剧院经常把非洲黑人与服务和奴隶制联系在一起。在西班牙，与皈依者和摩里斯科人不同的是，黑人被认为不太容易被认出来，因此无法篡夺白人的特权。有时，作为模范主角(包括圣徒的戏剧)，黑人角色可能意味着纯洁的血统。Weissbourd研究了几部讲述出身高贵的白人女性嫁给令人钦佩的黑人奴隶的喜剧——尽管在她的评估中，她们的角色从根本上促进了“一种规范白人的幻想”(81)。claramont的El valiente negro en Flandes(英勇的黑人……
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913249
Beth Wynstra
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Staging America: The Artistic Legacy of the Provincetown Players</em> by Jeffery Kennedy <!-- /html_title --></li> <li> Beth Wynstra (bio) </li> </ul> Jeffery Kennedy. <em>Staging America: The Artistic Legacy of the Provincetown Players</em>. Tuscaloosa: The University of Alabama Press, 2023. Pp xii + 626. $49.95. <p>Chapter 19 of Jeffery Kennedy's <em>Staging America: The Artistic Legacy of the Provincetown Players</em> is titled "'Unorganized, Amateur, Purely Experimental,' but Still Standing" (291). The adjectives in this chapter title come from an article that Edna Kenton, chronicler the Provincetown Players, wrote for the <em>Boston Transcript</em> in 1918 to introduce the Players and their goals. These descriptors, however, require much unpacking and contextual detail, for "unorganized," "amateur," and "purely experimental," when taken at face value, cannot explain the positive connotations of such goals nor the work required to keep such goals intact. Enter Jeffrey Kennedy, who is more than up for the task of analyzing the complex history and contributions of the Provincetown Players as well as detailing why their goals were significant for American theatre.</p> <p>At the heart of Kennedy's study is what he points out was missing from Kenton's 1918 article (and much scholarship that followed): a focus on George Cram Cook as the founder and driving force of the Provincetown Players. As Kennedy argues, "no one but Cook could have initiated the Provincetown Players and then maintained their experiment as long as he did with the resulting vital contributions to American theatre" (6). Utilizing letters, interviews, board meeting minutes, archival materials as well as providing crisp summaries of the 93 plays produced by the Players, Kennedy offers a multifaceted and voluminous study of Cook and the artists with whom he worked. While Kennedy keeps a close eye on the Players' artistic innovations on the stage, he continuously links the dramatic works with the momentous events happening outside the theatre walls such as the outbreak of World War I, first-wave feminism, and, more than anything, the development of a distinct Bohemian sensibility in Greenwich Village at the start of the 20<sup>th</sup> century. <em>Staging America</em> is an essential sourcebook for those interested in the Players and the birth of a truly American theatre, and it will continue to be a resource for the seasoned scholar or curious student looking for a fascinating study of American modernism, the interconnected web of artists working at the first part of the 20<sup>th</sup> century, and the "purely experimental" spirit that pulsed through much of the dramatic, visual, and literary work of the time.</p> <p>The early chapters of <em>Staging America</em> trace George Cram Cook's childhood and student days in Iowa. Cook gr
这里是内容的一个简短摘录，而不是摘要:由:美国舞台:普罗文斯敦演员的艺术遗产，杰弗里·肯尼迪，贝丝·温斯特拉(传记)杰弗里·肯尼迪。美国舞台:普罗温斯敦演员的艺术遗产。塔斯卡卢萨:阿拉巴马大学出版社，2023。Pp xii + 626。49.95美元。杰弗里·肯尼迪的《舞台美国:普罗温斯敦演员的艺术遗产》第19章的标题是“‘无组织、业余、纯粹实验’，但仍然屹立不倒”(291)。本章标题中的形容词来自埃德娜·肯顿(Edna Kenton)在1918年为《波士顿纪事报》(Boston Transcript)撰写的一篇文章，介绍了普罗温斯敦球员和他们的目标。然而，这些描述需要大量的拆解和上下文细节，因为“无组织的”、“业余的”和“纯粹实验性的”，当从表面上看时，不能解释这些目标的积极内涵，也不能解释保持这些目标完整所需的工作。杰弗里·肯尼迪(Jeffrey Kennedy)登场了，他非常愿意分析普罗温斯敦剧团的复杂历史和贡献，并详细说明为什么他们的目标对美国戏剧具有重要意义。肯尼迪研究的核心是他指出的肯顿1918年的文章(以及随后的许多学术研究)所缺失的东西:关注乔治·克拉姆·库克作为普罗温斯敦球员队的创始人和驱动力。正如肯尼迪所言，“除了库克，没有人能像他那样开创了普罗温斯敦的演员们，并像他那样为美国戏剧做出了重要贡献”(6)。肯尼迪利用信件、访谈、董事会会议记录、档案材料，以及对演员们创作的93部戏剧进行了简明扼要的总结，对库克和与他共事的艺术家们进行了多方面的、大量的研究。当肯尼迪密切关注演员们在舞台上的艺术创新时，他不断地将戏剧作品与剧院外发生的重大事件联系起来，比如第一次世界大战的爆发，第一波女权主义，更重要的是，20世纪初格林威治村波西米亚风格的发展。对于那些对演员和真正的美国戏剧的诞生感兴趣的人来说，《舞台美国》是一本重要的资料书，对于那些寻找美国现代主义、20世纪上半叶艺术家相互联系的网络、以及贯穿当时大部分戏剧、视觉和文学作品的“纯粹实验”精神的迷人研究的经验丰富的学者或好奇的学生来说，它将继续是一个资源。《舞台美国》的前几章追溯了乔治·克拉姆·库克在爱荷华州的童年和学生时代。库克毕业于爱荷华州立大学(后来被称为爱荷华大学)，并被评为班级诗人，以及年鉴上其他预言性的绰号，如“哲学家”和“学监”(57)。他在哈佛研究生院培养的对哲学和希腊历史的学术兴趣，加上对导师的渴望，都是他终身追求的早期指标，也是他给普罗温斯敦球员带来的激情。肯尼迪认为，当库克回到爱荷华州的母校任教时，他为自己的写作课程开发了一种教学法，这种教学法提倡合作、讨论和修改，这些都是著名的、即将成立的爱荷华作家工作室的特点。库克结束了他的第一次婚姻，结束了在大学的教学生涯，他的注意力转向了小说写作，并经常访问芝加哥，在那里他认识了该市文学文艺复兴时期的作家和艺术家，其中一位是爱荷华州同胞兼记者苏珊·格拉斯佩尔。尽管库克和第二任妻子的婚礼即将举行，但他还是对格拉斯佩尔和她敏锐的头脑和艺术敏感性感到了一种联系。在《舞台美国》的前几章，肯尼迪展示了贯穿全书的一条线索:对库克的尊敬，但绝不以揭露这个人的破坏性行为为代价，包括不忠和酗酒。无论是在芝加哥，还是后来在纽约(他和格拉斯佩尔在1912年结婚前搬到纽约)，库克都见证了爱尔兰演员在美国巡演中开创性的工作和创新的表演风格，1913年帕特森选美比赛，以及……
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913251
Alexander Pettit
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill</em> by Beth Wynstra <!-- /html_title --></li> <li> Alexander Pettit (bio) </li> </ul> Beth Wynstra. <em>Vows, Veils, and Masks: The Performance of Marriage in the Plays of Eugene O'Neill</em>. Studies in Theatre History and Culture. Iowa City: University of Iowa Press, 2023. Pp x + 214. $92.50. <p>In this confident and overdue analysis of Eugene O'Neill's staged wives, Beth Wynstra reminds us that dramatizing shabby behaviors can be a form of inquiry rather than a revelation of one's own depravity. The application of this truism to wives in O'Neill, however, turns out to be tricky: they <em>do</em> seem a sour and conniving lot, and O'Neill himself <em>was</em> a lousy husband, serially. Thus, as Wynstra observes, the tradition of dismissing these characters as "undependable," "dangerous," "predatory," "bitches," and, in a depressingly Medieval twofer, "not only lustful but dishonest" (13). These were the judgments both of 1980s feminists troubled by behaviors of O'Neill's stage-wives and of earlier critics who had discerned attitudes in "the Master" (as O'Neill's third wife called him) that they found unobjectionable, per se. No one seems to have considered the possibility that O'Neill's stage-wives might manifest the assessments of causality broadly characteristic of modern drama, naturalism most pointedly.</p> <p>Wynstra corrects this error. In her reckoning, reactive dismissals "halt curiosity about—and more important, empathy for—the heavy burdens and responsibilities that women shoulder, both in O'Neill's time and in our own" (175). Her main lines of argument are complementary if not always confluent. First, she positions the wives in the evolving discourse about companionate marriage and uxorial identity promulgated in the "women's magazines" of the post-Progressive Era. Second, she posits an O'Neill who habitually "depicted smart, complex women" (114). Misogynistic aspects of O'Neill's plays that have been "used to diminish or dismiss the [wives]," she asserts, are actually "rooted in and connected to the cultural norms and expectations for women of the time" (175). To assume that O'Neill endorsed the totalizing jackasseries <em>du jour</em> is to ignore the nature of an oeuvre preoccupied with society's desecration of the individual. We needn't like Ruth Mayo in <em>Beyond the Horizon</em> any more than we like Hickey in <em>The Iceman Cometh</em>. O'Neill asks us to understand his characters' deformities. Wynstra complies.</p> <p>As her chapter subtitles indicate, Wynstra organizes her book around stages of courtship and marriage, with nods to theme: "Promises of Marriage," "Early- and Middle-Stage Marriages," "Infidelity and Balance of Power," and "Nostalgia and Narrative-Making in Late Stages of Marria
代替摘要，这里是内容的简短摘录:回顾:誓言，面纱和面具:尤金·奥尼尔戏剧中的婚姻表演贝丝·温斯特拉亚历山大·佩蒂特(传记)贝丝·温斯特拉。誓言、面纱和面具:尤金·奥尼尔戏剧中的婚姻表演。戏剧历史与文化研究。爱荷华城:爱荷华大学出版社，2023。Pp x + 214。92.50美元。贝丝·温斯特拉(Beth Wynstra)对尤金·奥尼尔(Eugene O'Neill)笔下的妻子们进行了自信而迟来的分析，她提醒我们，将卑劣的行为戏剧化可以是一种探究，而不是对自己堕落的揭露。然而，将这一真理应用到奥尼尔的妻子身上却显得有些棘手:她们看起来确实是一群刻薄而纵容他人的人，而奥尼尔本人则是一个糟糕的丈夫。因此，正如温斯特拉所观察到的，传统上把这些角色贬为“不可靠”、“危险”、“掠夺性”、“婊子”，在令人沮丧的中世纪双重建议中，“不仅好色而且不诚实”(13)。这些是20世纪80年代的女权主义者的判断，他们被奥尼尔的舞台妻子的行为所困扰，而早期的评论家们也发现了“大师”(奥尼尔的第三任妻子对他的称呼)的态度，他们认为这些态度本身是无可非议的。似乎没有人考虑到奥尼尔的舞台妻子们可能会表现出现代戏剧中对因果关系的广泛评价，其中最尖锐的是自然主义。Wynstra纠正了这个错误。在她看来，反应性的驳回“停止了对女性所承担的沉重负担和责任的好奇，更重要的是，停止了对女性所承担的沉重负担和责任的同情，无论是在奥尼尔的时代还是在我们自己的时代”(175)。她的主要论点虽然不总是一致，但也是相互补充的。首先，她将妻子置于后进步时代“女性杂志”中关于伴侣婚姻和女性身份的不断演变的话语中。其次，她假设奥尼尔习惯性地“描绘聪明、复杂的女性”(114)。她断言，奥尼尔戏剧中“被用来贬低或贬低(妻子)”的厌女方面，实际上“根植于并与当时对女性的文化规范和期望有关”(175)。如果认为奥尼尔认可了今日的总混混系列，那就是忽视了这部专注于社会对个人的亵渎的作品的本质。我们不需要像《地平线之外》中的露丝·梅奥，就像我们不需要像《冰人来了》中的希基一样。奥尼尔要求我们理解他笔下人物的畸形。Wynstra加以遵循。正如章节字幕所示，温斯特拉围绕求爱和婚姻的各个阶段来组织她的书，并向主题致敬:“婚姻的承诺”、“早期和中期婚姻”、“不忠和权力平衡”以及“婚姻后期的怀旧和叙事”。这种模式使她能够呈现一个在整个职业生涯中思考忠诚、相互关系和责任问题的奥尼尔。奥尼尔思想的递归性证实了温斯特拉对时间顺序的回避，并使叙事有时令人愉快地感觉像是一部由一连串人物协商婚姻的驿站组成的成长剧。在每一章中，不同的妻子在剧作家几十年的职业生涯和他的作品类型中排列。温斯特拉对整个语料库的掌控贯穿始终。温斯特拉在书的第一章中列举了一系列“参与剧”，恰如其分地显示出他对定性判断缺乏兴趣(55页):《现在我问你》和《面包和黄油》与更出名的《上帝的小鸡长了翅膀》和《伟大的布朗上帝》以及《地平线之外的栗子》和《安娜·克里斯蒂》并列。这些戏剧中提出和接受的“冲动和激情”的建议，支持了关于浪漫是和谐基础的流行神话(16)。温斯特拉指出，奥尼尔喜欢用简短的说明性段落来对比一对夫妇流露出的爱意和他们对彼此的无知。她举了露丝·阿特金斯(Ruth Atkins)未能理解罗伯特·梅奥(Robert Mayo)突然提出的华丽提议的例子:“没有任何迹象表明她听到或处理了他所说的内容;相反，她被他富有诗意的说话方式所吸引，尽管没有证据表明他确实拥有艺术天赋”(39)。但如果露丝是个傻瓜，她就是社会的……
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913252
Baltasar Fra-Molinero
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Scripts of Blackness: Early Modern Performance Culture and the Making of Race</em> by Noémie Ndiaye <!-- /html_title --></li> <li> Baltasar Fra-Molinero (bio) </li> </ul> Noémie Ndiaye. <em>Scripts of Blackness: Early Modern Performance Culture and the Making of Race</em>. Philadelphia, University of Pennsylvania Press, 2022. 358 pp. + 12 color plates. Hardcover and e-book $64.95, paperback $24.95. <p><em>Scripts of Blackness</em> puts English, French, and Spanish early modern literatures in conversation with each other. Its comparatist method showcases the history of the African diaspora in each country's colonial development. Noémie Ndiaye explores what she calls "the invention of performative blackness" (6) in early modern Europe by paying attention to archival material of words and images that reveals a common narrative: blackness becomes transnational and intercolonial, as she calls it. Early modern slavery itself was the first transnational institution in the Atlantic world, and blackness was its embodiment.</p> <p>The introductory chapter analyzes the lexicogical commonalities of the word <em>race</em> in English, Spanish and French. Early modern dictionaries and vocabularies show how the word moved from meaning social degree and religious adscription to add distinction of people by phenotype. Blackness became a race, a visible marker of pre-established difference that justifies domination. The chapter then establishes the genesis of performative blackness in the Iberian Peninsula, where the main cities of Spain and Portugal contained the largest communities of black Africans. Literary texts as early as the fifteenth century give evidence of the creation of a canon to represent blackness that includes speech, music, and dance. The introduction also explores research methodologies that justify the study of black representations in countries where there was no significant black population (France, England) but where there was a growing interest in representing blackness, especially in the form of dancing among aristocrats in what the author sees as early examples of colonial fantasies. Representing blackness in court balls expressed a desire for trans-Atlantic empire. The representation of blackness by whites was staged as spectacle and as a mainstay of white supremacy. The author addresses the need to study these processes, as today white supremacy and anti-Black racism are a global pandemic and a threat to humanity. <em>Scripts of Blackness</em> establishes historical distinctions in the various processes by which representations of blackness came into being. With the onset of the Atlantic slave trade, blackness became a performance in early modern European courts. Racial impersonation took the form of black-up (created after make-up, cosmetic blackness), blackspeak (acoustic blackness) an
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913248
Elisabeth Dutton
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Cultures of Witnessing: Law and the York Plays</em> by Emma Lipton <!-- /html_title --></li> <li> Elisabeth Dutton (bio) </li> </ul> Emma Lipton. <em>Cultures of Witnessing: Law and the York Plays</em>. Philadelphia: University of Pennsylvania Press, 2022. Pp. 248. $65. <p>Records of the York plays are preserved in the <em>York Memorandum Books</em>, manuscripts that also contain administrative records and charters defining and demonstrating York's politically powerful civic culture. These books offer some rationale for the approach that Emma Lipton follows in <em>Cultures of Witnessing</em>: the now firmly established interdisciplinary method that places the study of law alongside topics more generally explored in departments of language and literature. The York Plays are perhaps the most researched examples of medieval drama, but Lipton's approach does enable her to offer some new insights into their familiar material, particularly the Trial, Crucifixion and Last Judgment plays on which her discussion focuses.</p> <p>The book first describes the particular legal privileges granted to the city of York by successive English kings: the negotiation of these privileges provides "crucial context for the depiction of legal witnessing in the York plays" (6). Also outlined in the Introduction is the rise in the legal significance of witnesses as a result of the ban, imposed by the Fourth Lateran Council, on trial by ordeal: witnessing and jury trials, however, relied "as much on rumor or shared knowledge as they did on direct perception" (9), and many individuals were disqualified as witnesses on the basis of condition, gender, age, reputation, and fortune. Nonetheless, witnessing was an important civic duty, contributing to local, legal identity within the city. Witness records are also here described as similar to records of performance, with their accounts of places, times and persons resembling "the unities of action, place and time long associated with the drama" (17). Of course, these unities were no concern of medieval drama itself, but they may suggest associations in the mind of the modern scholar of drama.</p> <p>Subsequent chapters use medieval witnessing to theorize dramatic space, speech acts, affect, and temporality. Dramatic space is discussed in chapter 1 in relation to the York play of Christ's Entry into Jerusalem: unsurprisingly, comparison is drawn with the royal entry of King Henry IV into the city, but new light is cast on the comparison by Lipton's discussion of those present at the entry as if they were legal witnesses, "neighbors close enough to have seen and heard relevant events, or to have local knowledge of reputation accorded by spatial proximity" (24-5). The idea of the witness as neighbor then contributes to observations about the different stations around York at which e
{"title":"Cultures of Witnessing: Law and the York Plays by Emma Lipton (review)","authors":"Elisabeth Dutton","doi":"10.1353/cdr.2023.a913248","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913248","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>Cultures of Witnessing: Law and the York Plays</em> by Emma Lipton <!-- /html_title --></li> <li> Elisabeth Dutton (bio) </li> </ul> Emma Lipton. <em>Cultures of Witnessing: Law and the York Plays</em>. Philadelphia: University of Pennsylvania Press, 2022. Pp. 248. $65. <p>Records of the York plays are preserved in the <em>York Memorandum Books</em>, manuscripts that also contain administrative records and charters defining and demonstrating York's politically powerful civic culture. These books offer some rationale for the approach that Emma Lipton follows in <em>Cultures of Witnessing</em>: the now firmly established interdisciplinary method that places the study of law alongside topics more generally explored in departments of language and literature. The York Plays are perhaps the most researched examples of medieval drama, but Lipton's approach does enable her to offer some new insights into their familiar material, particularly the Trial, Crucifixion and Last Judgment plays on which her discussion focuses.</p> <p>The book first describes the particular legal privileges granted to the city of York by successive English kings: the negotiation of these privileges provides \"crucial context for the depiction of legal witnessing in the York plays\" (6). Also outlined in the Introduction is the rise in the legal significance of witnesses as a result of the ban, imposed by the Fourth Lateran Council, on trial by ordeal: witnessing and jury trials, however, relied \"as much on rumor or shared knowledge as they did on direct perception\" (9), and many individuals were disqualified as witnesses on the basis of condition, gender, age, reputation, and fortune. Nonetheless, witnessing was an important civic duty, contributing to local, legal identity within the city. Witness records are also here described as similar to records of performance, with their accounts of places, times and persons resembling \"the unities of action, place and time long associated with the drama\" (17). Of course, these unities were no concern of medieval drama itself, but they may suggest associations in the mind of the modern scholar of drama.</p> <p>Subsequent chapters use medieval witnessing to theorize dramatic space, speech acts, affect, and temporality. Dramatic space is discussed in chapter 1 in relation to the York play of Christ's Entry into Jerusalem: unsurprisingly, comparison is drawn with the royal entry of King Henry IV into the city, but new light is cast on the comparison by Lipton's discussion of those present at the entry as if they were legal witnesses, \"neighbors close enough to have seen and heard relevant events, or to have local knowledge of reputation accorded by spatial proximity\" (24-5). The idea of the witness as neighbor then contributes to observations about the different stations around York at which e","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442808","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}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913244
Michael Jaros
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> "Old Words into Something New":<span>David Bowie and Enda Walsh's <em>Lazarus</em></span> <!-- /html_title --></li> <li> Michael Jaros (bio) </li> </ul> <h2>Introduction: Avant-garde jukebox musical?</h2> <p>When it was announced that David Bowie was to be involved in the creation of a new musical called <em>Lazarus</em>, which would premiere at the New York Theatre Workshop in 2015, it became the most sold-out ticket in that company's history.<sup>1</sup> Its popularity was buoyed by the fact that Ivo van Hove, one of the most successful directors in the contemporary theatre, would direct, and Enda Walsh, the well-known Irish playwright who had recently achieved success adapting the film <em>Once</em> for the stage, would co-author the script. Billed as a sequel to Walter Tevis' 1963 novel <em>The Man Who Fell to Earth, Lazarus</em> continues the saga of the alien Thomas Newton, who is stranded on earth living on a diet of cereal and gin and watching a continuous stream of television.</p> <p>When <em>Lazarus</em> opened, reaction to the production was tepid. Critics appeared thoroughly confused by the piece, which was decidedly distant from any sort of jukebox musical where, as Millie Taylor notes, "the familiarity of the music is used to draw the audience into an interaction with the performance."<sup>2</sup> For Hilton Als, who titled his <em>New Yorker</em> review "static," <em>Lazarus</em> amounted to only so much cold noise. After praising Bowie's genius, recounting his own personal memories of the singer's music, and recalling Bowie's masterfully surreal performance in the 1976 film adaptation of Tevis' novel, Als maintained that he found the play to be confusingly fragmented and cold.<sup>3</sup> Bowie's memorable music was certainly present, along with some new songs: people at the New York Theatre Workshop watching the premiere would themselves hear the title <strong>[End Page 194]</strong> song "Lazarus" several weeks before Bowie himself released the single. A cadre of characters sung his songs, but the narrative surrounding them was fragmentary and hallucinatory. Various characters, who may or may not be figments of his imagination, arrive and depart, and ultimately Newton himself "finds rest" in an escape to the stars.</p> <p>Despite such critical reservations, <em>Lazarus</em> eventually transferred to London. In the interim, however, Bowie died, succumbing to cancer. I will argue that, alongside his last studio album <em>Blackstar</em>, which was timed for release with Bowie's birthday and subsequent death, the musical <em>Lazarus</em> was itself also a deep reflection on mortality and Bowie's own performative legacy. In co-writer Enda Walsh's dramaturgy, Bowie recognized the return of such themes again and again, and he chose Walsh specifically to help craft such a story for the musical. Given its subject mat
代替摘要，这里有一个简短的内容摘录:“旧的词变成新的”:大卫·鲍伊和恩达·沃尔什的拉撒路迈克尔·哈罗斯(简介)简介:前卫的点唱机音乐剧?当大卫·鲍伊(David Bowie)宣布将参与创作一部名为《拉撒路》(Lazarus)的新音乐剧时，这部音乐剧将于2015年在纽约戏剧工作室(new York Theatre Workshop)首演，它成为该公司历史上售罄最多的门票它的受欢迎程度得益于当代戏剧界最成功的导演之一伊沃·凡·霍夫(Ivo van Hove)将担任导演，而著名的爱尔兰剧作家恩达·沃尔什(Enda Walsh)最近成功地将电影《Once》搬上了舞台。作为沃尔特·特维斯1963年的小说《坠落地球的人》的续集，《拉撒路》继续讲述了外星人托马斯·牛顿的传奇故事，他被困在地球上，只吃谷物和杜松子酒，看不间断的电视。当《拉撒路》上映时，人们对这部电影的反应并不热烈。评论家们似乎完全被这首曲子弄糊涂了，它显然与任何一种点唱机音乐剧都不一样，正如米莉·泰勒(Millie Taylor)所指出的那样，“对音乐的熟悉是用来吸引观众与表演互动的。”希尔顿·艾尔斯把他在《纽约客》上的评论标题定为“静态”，对他来说，拉撒路不过是冰冷的噪音而已。在赞扬了鲍伊的天才，讲述了他个人对鲍伊音乐的回忆，并回忆起鲍伊在1976年改编自特维斯小说的电影中精湛的超现实表演之后，艾尔斯坚持认为，他觉得这部戏支离破碎，令人困惑，而且冷酷无情鲍伊令人难忘的音乐当然也出现了，还有一些新歌:在纽约剧院工作室观看首映式的人们会在鲍伊自己发布单曲的几周前自己听到标题歌曲“拉撒路”。一群人物唱着他的歌，但围绕这些歌的叙述是支离破碎和虚幻的。各种各样的人物，可能是也可能不是他想象出来的，来了又走，最终牛顿自己在逃向星星的过程中“找到了休息”。尽管有这些关键的保留意见，拉撒路最终还是被转移到了伦敦。然而，在此期间，鲍伊死于癌症。我认为，他的最后一张录音室专辑《黑星》(Blackstar)是在鲍伊生日和随后去世的时候发行的，音乐剧《拉撒路》(Lazarus)本身也是对死亡和鲍伊自己的表演遗产的深刻反思。在合作编剧恩达·沃尔什(Enda Walsh)的戏剧创作中，鲍伊一次又一次地意识到这些主题的回归，他特意选择沃尔什来帮助为这部音乐剧创作这样一个故事。考虑到它的主题，作为一部点唱机音乐剧，《拉撒路》无疑是一个异类;这部作品辜负了观众和评论家的期望。《拉撒路》确实包含了自动点唱机音乐剧的许多特点:它是由鲍伊先前的歌曲目录中的作品组成的(还有一些新作品)，这些歌曲是由虚构的人物在围绕这些歌曲构建的情节中演唱的然而，这部作品显然比大多数自动点唱机音乐剧提供的怀旧曲目更前卫。阿尔斯的评论充满了对鲍伊的怀旧回忆，揭示了这样一种令人困惑的期望。相反，《拉撒路》展示了西奥多·阿多诺和爱德华·萨义德所描述的“晚期风格”，一种艺术家生命中最后的创作时期，正如阿多诺所写的，“主体性的力量……”是[艺术家的“主体”]离开作品本身的暴躁姿态……对于作品本身，它只留下了碎片。鲍伊远没有开始对他在音乐剧中的作品进行怀旧的回顾;正如菲利普·奥斯兰德给他起的绰号，这位歌手是“真正的不真实的”，在他的整个职业生涯中，他总是戴着各种各样的面具说话对他来说，后期风格的碎片化特征与他在银幕上扮演的虚构人物托马斯·牛顿(Thomas Newton)有关，这是很合适的。事实上，在后期制作中，鲍伊立即声称他认为自己是牛顿，那个被放逐的外星人，并在20世纪70年代他最著名的角色之一中扮演了牛顿的样子，“瘦弱的白人……
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