Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913243
Yang Gao
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Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913247
Alan Farmer
<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>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em> by Peter Platt <!-- /html_title --></li> <li> Alan Farmer (bio) </li> </ul> Peter Platt. <em>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em>. Edinburgh: Edinburgh University Press, 2020. Pp. x + 198. $110.00 cloth, $24.95 paper, $110.00 eBook. <p>Peter Platt's compelling new book, <em>Shakespeare's Essays: Sampling Montaigne from</em> Hamlet <em>to</em> The Tempest, is the culmination of over two decades of research on Shakespeare's thinking and his later plays. Platt's first book, <em>Reason Diminished: Shakespeare and the Marvelous</em> (University of Nebraska, 1997), focused on Shakespeare's late plays and the concept of wonder, while his next book, <em>Shakespeare and the Culture of Paradox</em> (Routledge, 2009), looked at the way logical opposites could be juxtaposed in order to question such concepts as justice, love, knowledge, and truth, a pervasive intellectual maneuver in the works of both Montaigne and Shakespeare. Most recently, Platt co-edited with Stephen Greenblatt an edition of John Florio's 1603 translation of Montaigne's <em>Essays</em> (New York Review of Books, 2014). One motivation for Platt's writing <em>Shakespeare's Essays</em> can perhaps be found in Greenblatt's introduction to this edition. In it, Greenblatt claims that, apart from some "passages in <em>King Lear</em> and <em>The Tempest</em>, the attempts to establish the direct influence of Montaigne on Shakespeare have never seemed fully and decisively convincing"(xxxi). After all, there is uncertainty about when Shakespeare may have read the <em>Essays</em>, either in French or in Florio's translation, and therefore about when Montaigne's influence can first be detected. But there is also the "more intractable problem" of Shakespeare and Montaigne sharing the same "historical moment," which could have led to "a shared grappling with pressing questions of faith, consciousness, and identity"(xxxii). Why assume Shakespeare was influenced by Montaigne rather than their both being shaped by the same currents of thoughts circulating in Europe and England in the late 16th and early 17th centuries? <em>Shakespeare's Essays</em> can arguably be seen as Platt's extended reply to his co-editor.</p> <p>Platt opens the book with an important question: "Why do critics and audiences feel that there is something 'different' about the plays that Shakespeare wrote after 1603?" (1). According to Platt, stylistic and thematic features that mark Shakespeare's later plays—"the darkness of their comedy" and "the general pessimism of the largely tragic period that followed," their exploration of "doubt, contingency, uncertainty, and mutability" along with "instabilities of self, knowledge, and form" (1)—can be traced back to Shakespeare's rea
这里是内容的一个简短摘录，而不是摘要:书评:莎士比亚的散文:从哈姆雷特到暴风雨的蒙田抽样，作者:彼得·普拉特莎士比亚随笔:从《哈姆雷特》到《暴风雨》，以蒙田为例。爱丁堡:爱丁堡大学出版社，2020。Pp. x + 198。布$110.00，纸$24.95，电子书$110.00彼得·普拉特引人入胜的新书《莎士比亚随笔:从《哈姆雷特》到《暴风雨》的蒙田样本》是他对莎士比亚思想及其后期戏剧研究20多年的成果。普拉特的第一本书，《理性消失:莎士比亚与奇迹》(内布拉斯加州大学，1997年)，专注于莎士比亚的晚期戏剧和奇迹的概念，而他的下一本书，《莎士比亚与悖论文化》(劳特利奇，2009年)，研究了逻辑对立可以被并列的方式，以质疑正义、爱、知识和真理等概念，这是蒙田和莎士比亚作品中普遍存在的智力操作。最近，普拉特与斯蒂芬·格林布拉特(Stephen Greenblatt)合编了约翰·弗洛里奥(John Florio) 1603年翻译的蒙田随笔(纽约书评，2014年)。普拉特写《莎士比亚随笔》的动机之一，或许可以在格林布拉特对这一版本的介绍中找到。在这篇文章中，格林布拉特声称，除了“《李尔王》和《暴风雨》中的一些段落外，试图确立蒙田对莎士比亚的直接影响的尝试似乎从来没有完全和决定性地令人信服”(xxxi)。毕竟，关于莎士比亚何时读过《随笔》，无论是法语版本还是弗洛里奥的译本，都是不确定的，因此也不确定蒙田的影响最早是何时被发现的。但还有一个“更棘手的问题”，即莎士比亚和蒙田处于同一“历史时刻”，这可能会导致“对信仰、意识和身份等紧迫问题的共同努力”(xxxii)。为什么认为莎士比亚受到蒙田的影响，而不是他们都受到16世纪末和17世纪初欧洲和英国流行的同一思潮的影响?《莎士比亚随笔》可以说是普拉特对他的共同编辑的长篇回复。普拉特在书的开头提出了一个重要的问题:“为什么评论家和观众会觉得莎士比亚1603年以后写的戏剧有些‘不同’?”根据普拉特的说法，莎士比亚后期戏剧的风格和主题特征——“喜剧的黑暗”和“随后大部分悲剧时期的普遍悲观主义”，他们对“怀疑、偶然性、不确定性和可变性”以及“自我、知识和形式的不稳定性”的探索(1)——可以追溯到莎士比亚阅读弗洛里奥翻译的《随笔集》。因此，理解1603年以后的莎士比亚戏剧就意味着理解蒙田对莎士比亚的影响。毫无疑问，莎士比亚读过弗洛里奥的译本。正如18世纪后期的莎士比亚编辑爱德华·卡佩尔和埃德蒙·马龙所证明的那样，冈萨洛在《暴风雨》中至少有一段话与弗洛里奥翻译的蒙田散文《论吃人》中的一段话如出一辙。后来的学者们以这一最初的观察为基础，以至于到了1876年，弗里德里希·尼采可以自信地宣称莎士比亚是蒙田“最好的读者”(2)。对普拉特最重要的学者之一是乔治·科芬·泰勒，他在莎士比亚的《欠蒙田的情》(1925年)中列出了莎士比亚戏剧中与蒙田的口头呼应。这种语言学上的证据使普拉特能够追求关于蒙田和莎士比亚之间“更大的主题和结构上的相似之处”的更有野心的问题，关于“贯穿散文和戏剧的联系和共鸣，特别是那些关于认识和存在的问题”(12)。虽然“共鸣”和“主题和结构上的相似”可能不会显示出“直接影响”，但它们也可以被视为莎士比亚与蒙田密切接触的可能结果。口头上的呼应表明，1603年以后，莎士比亚在创作剧本时，多次参考弗洛里奥的译本，因此，如果这位剧作家的思想在某种程度上没有受到蒙田《随笔》中思想的影响，那将是令人惊讶的。普拉特在《莎士比亚随笔》中详细描述了这种有趣的、或许难以言喻的影响。根据普拉特的说法，在阅读了《杂文》之后，莎士比亚开始接受……
{"title":"Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest by Peter Platt (review)","authors":"Alan Farmer","doi":"10.1353/cdr.2023.a913247","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913247","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em> by Peter Platt <!-- /html_title --></li> <li> Alan Farmer (bio) </li> </ul> Peter Platt. <em>Shakespeare's Essays: Sampling Montaigne from Hamlet to The Tempest</em>. Edinburgh: Edinburgh University Press, 2020. Pp. x + 198. $110.00 cloth, $24.95 paper, $110.00 eBook. <p>Peter Platt's compelling new book, <em>Shakespeare's Essays: Sampling Montaigne from</em> Hamlet <em>to</em> The Tempest, is the culmination of over two decades of research on Shakespeare's thinking and his later plays. Platt's first book, <em>Reason Diminished: Shakespeare and the Marvelous</em> (University of Nebraska, 1997), focused on Shakespeare's late plays and the concept of wonder, while his next book, <em>Shakespeare and the Culture of Paradox</em> (Routledge, 2009), looked at the way logical opposites could be juxtaposed in order to question such concepts as justice, love, knowledge, and truth, a pervasive intellectual maneuver in the works of both Montaigne and Shakespeare. Most recently, Platt co-edited with Stephen Greenblatt an edition of John Florio's 1603 translation of Montaigne's <em>Essays</em> (New York Review of Books, 2014). One motivation for Platt's writing <em>Shakespeare's Essays</em> can perhaps be found in Greenblatt's introduction to this edition. In it, Greenblatt claims that, apart from some \"passages in <em>King Lear</em> and <em>The Tempest</em>, the attempts to establish the direct influence of Montaigne on Shakespeare have never seemed fully and decisively convincing\"(xxxi). After all, there is uncertainty about when Shakespeare may have read the <em>Essays</em>, either in French or in Florio's translation, and therefore about when Montaigne's influence can first be detected. But there is also the \"more intractable problem\" of Shakespeare and Montaigne sharing the same \"historical moment,\" which could have led to \"a shared grappling with pressing questions of faith, consciousness, and identity\"(xxxii). Why assume Shakespeare was influenced by Montaigne rather than their both being shaped by the same currents of thoughts circulating in Europe and England in the late 16th and early 17th centuries? <em>Shakespeare's Essays</em> can arguably be seen as Platt's extended reply to his co-editor.</p> <p>Platt opens the book with an important question: \"Why do critics and audiences feel that there is something 'different' about the plays that Shakespeare wrote after 1603?\" (1). According to Platt, stylistic and thematic features that mark Shakespeare's later plays—\"the darkness of their comedy\" and \"the general pessimism of the largely tragic period that followed,\" their exploration of \"doubt, contingency, uncertainty, and mutability\" along with \"instabilities of self, knowledge, and form\" (1)—can be traced back to Shakespeare's rea","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913253
Crystal U. Davis
<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>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em> by Kate Mattingly <!-- /html_title --></li> <li> Crystal U. Davis (bio) </li> </ul> Kate Mattingly. <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>. Gainesville: University Press of Florida, 2023. Pp. ix + 244. $85.00. <p>In <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>, Kate Mattingly offers an archival and autoethnographic analysis of how dance criticism has provided the frameworks within which dance history, careers, and curricula have developed and thus shaped the dance field. It engages a number of ongoing discussions in the field of dance, from the relationship between the moving body of dance and writing about dance; to the evolution of values and orientations in dance curricula; to the emergence of digital dance performance; to the tension between critic and artist, as well as the role of racial bias that culls the potential of dance criticism to reify a more racially inclusive span of dance performance. It also presents historical connections between these varying topics in an innovative way, thus helping to strengthen our understanding of dance history through the influence of dance criticism.</p> <p>Mattingly starts with John Martin's significant role in forging the terms and frameworks of talking about dance. Martin's influence includes the well-worn term "modern dance" itself, aesthetic orientation of how to look at and talk about dance, and what is deemed valid and what is invisibilized in dance criticism's early years. Mattingly continues by articulating the ways in which a theatrical approach and orientation to critiquing dance no longer served many dance artists as postmodernism began to disrupt the existing aesthetic expectations and storylines of early modern dance pioneers. In this context, the artist-critic emerges, where dancers begin to write about their work on their own terms, about the work of dance critics, and even the discourse of dance criticism itself. As dance critics continued to write about dance, the first dance programs in higher education began to emerge. Mattingly eloquently articulates the debate of early dance programs between dance as artistic prowess and technical display prominent in performance environments and dance as physical research process more aligned with the academic world of inquiry known in the humanities. Upon striking this distinction, this book continues by elucidating the emergence of Dance Studies and its relationship to dance as an academic field of study. Mattingly concludes with a rousing glimpse into the democratized future trajectory of dance criticism emerging in the proliferation of digital platforms that offer new frameworks for dance. This historical analysis of the dynamic relationship between dance criticism, the performing body, a
代替摘要，这里是内容的简短摘录:由:塑造舞蹈经典:批评，美学和公平由凯特·马丁利(传记)凯特·马丁利。塑造舞蹈经典:批评、美学与公平。盖恩斯维尔:佛罗里达大学出版社，2023年。第ix + 244页。85.00美元。在《塑造舞蹈经典:批评、美学和公平》一书中，凯特·马丁利对舞蹈批评如何为舞蹈历史、职业和课程的发展提供了框架，从而塑造了舞蹈领域进行了档案和自我民族学分析。它涉及了许多正在进行的舞蹈领域的讨论，从舞蹈的运动身体与舞蹈写作之间的关系;论舞蹈课程价值取向的嬗变对数字舞蹈表演的出现;评论家和艺术家之间的紧张关系，以及种族偏见的作用，这种偏见扼杀了舞蹈批评的潜力，使舞蹈表演的种族包容性更加具体化。它还以一种创新的方式呈现了这些不同主题之间的历史联系，从而有助于通过舞蹈批评的影响加强我们对舞蹈历史的理解。马丁利从约翰·马丁在塑造谈论舞蹈的术语和框架方面的重要作用开始。马丁的影响包括老生常谈的术语“现代舞”本身，如何看待和谈论舞蹈的审美取向，以及早期舞蹈批评中哪些是有效的，哪些是不可见的。马丁利继续阐明，随着后现代主义开始破坏早期现代舞蹈先驱们现有的审美期望和故事情节，戏剧方法和批评舞蹈的取向不再为许多舞蹈艺术家服务。在这种背景下，艺术家-评论家出现了，舞者开始用自己的方式写他们的作品，关于舞蹈评论家的工作，甚至舞蹈批评本身的话语。随着舞蹈评论家继续写关于舞蹈的文章，高等教育中的第一批舞蹈课程开始出现。马丁利雄辩地阐述了早期舞蹈项目的争论，舞蹈是表演环境中突出的艺术实力和技术展示，舞蹈是物理研究过程，更符合人文学科的学术研究。在突出这一区别之后，本书继续阐明舞蹈研究的出现及其与舞蹈作为学术研究领域的关系。马丁利在书的结尾对舞蹈批评的民主化未来轨迹进行了令人振奋的展望，这一趋势出现在数字平台的激增中，这些平台为舞蹈提供了新的框架。这种对舞蹈批评、表演身体、数字表演和档案之间动态关系的历史分析，整合了一种明确的批评，即无形的声音和艺术家现在如何能够访问数字平台，通过这些平台提供体验舞蹈和舞蹈批评的新框架。这本书中最令人印象深刻的是融合了舞蹈批评、舞蹈学术、舞蹈表演和数字舞蹈之间的对话。正是这种整合使得这本书在写作中提到的每个领域都有价值，从舞蹈，舞蹈历史，动作分析，舞蹈课程，以及关于权力如何在舞蹈表演，学术界和批评领域运作的批判理论课程。马丁利还揭示了种族偏见的作用，以及白人舞蹈评论家对黑人舞蹈表演、编舞和评论家的排斥，他们要么写严厉的评论，要么根本不写关于黑人舞蹈表演的文章。例如，这本书说明了马丁如何掩盖了黑人艺术家的作品，如查尔斯·h·威廉姆斯、凯瑟琳·邓纳姆和Asadata Dafora，而提升了伊莎多拉·邓肯、玛莎·格雷厄姆和艾格尼丝·德·米勒等艺术家的作品。在这样做的过程中，《塑造舞蹈经典》细致地传达了马丁在建立框架方面的影响力，比如早期的“黑人舞者作为‘天生’表演者的比喻”(50)。以Yvonne Rainer, Donald Judd, Robert Morris, Dan Graham和Jill Johnston为例，《塑造舞蹈经典》标志着舞者对舞蹈评论家的批评和舞蹈批评实践的潮流转变，贾德森舞蹈剧院成为一个重要的舞蹈表演和实验空间。马丁利坚持她对黑人舞者被忽视的承诺，她断言，即使这种趋势在社会政治气候中发生了变化……
{"title":"Shaping Dance Canons: Criticism, Aesthetics, and Equity by Kate Mattingly (review)","authors":"Crystal U. Davis","doi":"10.1353/cdr.2023.a913253","DOIUrl":"https://doi.org/10.1353/cdr.2023.a913253","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em> by Kate Mattingly <!-- /html_title --></li> <li> Crystal U. Davis (bio) </li> </ul> Kate Mattingly. <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>. Gainesville: University Press of Florida, 2023. Pp. ix + 244. $85.00. <p>In <em>Shaping Dance Canons: Criticism, Aesthetics, and Equity</em>, Kate Mattingly offers an archival and autoethnographic analysis of how dance criticism has provided the frameworks within which dance history, careers, and curricula have developed and thus shaped the dance field. It engages a number of ongoing discussions in the field of dance, from the relationship between the moving body of dance and writing about dance; to the evolution of values and orientations in dance curricula; to the emergence of digital dance performance; to the tension between critic and artist, as well as the role of racial bias that culls the potential of dance criticism to reify a more racially inclusive span of dance performance. It also presents historical connections between these varying topics in an innovative way, thus helping to strengthen our understanding of dance history through the influence of dance criticism.</p> <p>Mattingly starts with John Martin's significant role in forging the terms and frameworks of talking about dance. Martin's influence includes the well-worn term \"modern dance\" itself, aesthetic orientation of how to look at and talk about dance, and what is deemed valid and what is invisibilized in dance criticism's early years. Mattingly continues by articulating the ways in which a theatrical approach and orientation to critiquing dance no longer served many dance artists as postmodernism began to disrupt the existing aesthetic expectations and storylines of early modern dance pioneers. In this context, the artist-critic emerges, where dancers begin to write about their work on their own terms, about the work of dance critics, and even the discourse of dance criticism itself. As dance critics continued to write about dance, the first dance programs in higher education began to emerge. Mattingly eloquently articulates the debate of early dance programs between dance as artistic prowess and technical display prominent in performance environments and dance as physical research process more aligned with the academic world of inquiry known in the humanities. Upon striking this distinction, this book continues by elucidating the emergence of Dance Studies and its relationship to dance as an academic field of study. Mattingly concludes with a rousing glimpse into the democratized future trajectory of dance criticism emerging in the proliferation of digital platforms that offer new frameworks for dance. This historical analysis of the dynamic relationship between dance criticism, the performing body, a","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"90 14","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138442805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-27DOI: 10.1353/cdr.2023.a913245
Corinne Zeman
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> "The world's a theatre of theft":<span>Islamic Imposture in Tomkis' <em>Albumazar</em></span> <!-- /html_title --></li> <li> Corinne Zeman (bio) </li> </ul> <blockquote> <p><em>The Goblins whom I now am coniuring vp . . . [are] thin-headed fellowes that liue upon the scraps of inuention and trauell with such vagrant soules, and so like Ghosts in white sheets of paper, that the Statute of Rogues may worthily be sued vpon them, because their wits haue no abiding place, and yet wander without a passe-port. Alas, poore wenches (the nine Muses!) how much are you wrongd, to haue such a number of Bastards lying vpo[n] your hands? But turne them out a begging; or if you cannot be rid of their Riming company (as I thinke it will be very hard) then lay your heauie and immortall curse vpon them, that whatsoeuer they weaue (in the motley-loome of their rustie pates) may like a beggers cloake, be full of stolne patches, and yet neuer a patch like one another, that it may be such true lamentable stuffe, that any honest Christian may be sory to see it. Banish these Word-pirates, (you sacred mistresses of learning) into the gulfe of Barbarisme.<sup>1</sup></em></p> —Thomas Dekker, The Wonderfull Yeare (1603) </blockquote> <p>Tudor and Stuart writers raced the languages of fraud and thievery, turning Islamicate loanwords, proper names, and ethnonyms into a working vocabulary for everyday subterfuges. In this essay, I demonstrate that in performance and on the printed page, early modern England fixated on Islamic "imposture"—the notion that Islam was an extravagantly enacted con job. The discourses of Islamic imposture surface in rogue pamphlets and city comedies, where they frame the clandestine workings of swindlers and thieves, a discursive strategy used to combat the daily convolutions of truth, legality, and credit in seventeenth-century London. Tracing the cooption and criminal redeployment of Islamicate cultures reveals the mutual imbrications of racialization and class formation and the role of translation in epistemic injustice. <strong>[End Page 222]</strong></p> <p>With the discourses of Islamic imposture as my lens, I turn to the little studied discipline of astrology. Over the course of the seventeenth century, European astrology—its principles borrowed wholesale from the Arabic and Persian traditions—was dismissed as an Islamicate grift and delegitimated as a scientific discipline. Satirists invoked the names of Muslim stargazers to condemn the guile of charlatans and the credulity of gulls. Interestingly, these sendups center on matters of linguistic propriety. Pretenders to celestial knowledge were said to counterfeit expertise by varnishing their prognostications with abstruse jargon taken from Arabo-Persian astrological texts. Thomas Tomkis' <em>Albumazar</em>, a 1615 university drama adapted from Giambattista Della Porta's <
这里是内容的一个简短摘录，而不是摘要:“世界是一个盗窃的剧院”:汤姆基斯的《阿尔布玛扎》中的伊斯兰骗局科琳娜·泽曼(传记)我现在正在描绘的妖精……他们都是些头脑迟钝的家伙，生活在发明的碎片上，和那些漂泊不定的灵魂一起生活，就像白纸上的鬼魂一样，他们理应受到《流氓法》的起诉，因为他们的智慧无处容身，却又没有通行证四处游荡。唉，可怜的姑娘们(九位缪斯!)，你们错了多少，让这么多私生子在你们手里撒野?但把它们变成乞求;或者，如果你不能摆脱他们的同伴(我想这是很难的)，那就把你沉重的、永恒的诅咒加在他们身上吧，叫他们无论穿什么(在他们那斑驳的、生锈的脑袋里)，都像乞丐的斗篷一样，布满了偷来的补丁，但又没有一块是一样的，那可能是真正可悲的东西，任何一个诚实的基督徒都会遗憾地看到它。把这些盗版者(你们这些神圣的学识的主人)驱逐到野蛮的深渊里去吧!——托马斯·德克尔，《美好的一年》(1603)都铎王朝和斯图亚特王朝的作家们与欺诈和偷窃的语言进行了竞争，把伊斯兰教的外来词、专有名词和民族名称变成了日常用语的借口。在这篇文章中，我证明了在表演和印刷的页面上，早期现代英国人专注于伊斯兰教的“欺骗”——伊斯兰教是一个铺张铺张的骗局。伊斯兰欺诈性的话语出现在流氓小册子和城市喜剧中，它们描绘了骗子和小偷的秘密活动，这是一种话语策略，用于对抗17世纪伦敦日常的真相、合法性和信用的错综复杂。追溯伊斯兰文化的合作和刑事重新部署，揭示了种族化和阶级形成的相互交织，以及翻译在认识不公正中的作用。以伊斯兰教的说教作为我的视角，我转向了很少有人研究的占星术。在17世纪的整个过程中，欧洲占星术——其原理大量借用阿拉伯和波斯传统——被视为伊斯兰教的骗局而被摒弃，并被剥夺了作为一门科学学科的合法性。讽刺作家援引穆斯林占星者的名字来谴责骗子的狡诈和海鸥的轻信。有趣的是，这些发送集中在语言得体的问题上。据说，对天体知识的伪装者通过从阿拉伯-波斯占星术文本中提取深奥的行话来粉饰他们的预言，从而伪造了专业知识。托马斯·汤姆基斯(Thomas Tomkis)的《阿尔布马扎》(Albumazar)是1615年的一部大学戏剧，改编自詹巴蒂斯塔·德拉·波尔塔(Giambattista Della Porta)的《罗·阿斯特洛》(Lo Astrologo)，探索了观星、邪恶和白痴之间的相互联系，将现实世界中的波斯占星家重塑为伦敦骗子。剧本使用戏剧间的引用来使犯罪行为变得清晰可辨角色们偷取商品，而演员们则从彼此之间、从伦敦的剧院、从观众自己那里攫取台词。这部戏剧要求观众思考谁是语言的合法所有者，谁是创造性的借方，谁是非法的滥用者。简而言之，什么时候引用行为变成了海盗行为?汤姆基斯笔下的占星者和托马斯·德克尔笔下的“盗版者”没什么不同——他们没有“通行证”，在语言景观中游荡，像文学海盗一样掠夺词汇库。到戏剧结束时，他们已经在英格兰和北非“野蛮人的海湾”之间的边界上制造麻烦，拼凑出一种混杂着不义之财的语义战利品的文化。早期现代欧洲人写了大量关于“冒名顶替”的文章，这种观点认为伊斯兰教只是对基督教的模拟或拙劣模仿。如果基督教是一个单一的真理，那么伊斯兰教就是一个“黑暗的双重”——“一个混杂的宗教，由……组成”。影子。因此，正如马修·迪莫克(Matthew Dimmock)所写的那样，伊斯兰教在英国思想中起到了“镜像”的作用，“使人们能够持续反思基督教的错误和堕落。”迪莫克指出，对冒名顶替感兴趣的作家们都把注意力集中在先知穆罕默德身上。在关于宗教和道德堕落的讨论中，舞台和讲坛都引用了他，他被不赞成地贴上了“世界上狡猾的骗子和诱惑者”的标签——一个欺骗易受影响的公众灵魂的冒牌先知当威廉·贝德威尔坐下来给他的1615年
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Pub Date : 2023-06-01DOI: 10.1353/cdr.2023.a904532
H. Hamlin
{"title":"Paul Griffiths's let me tell you, Hamlet, and the Intertextual Mode of Literary Adaptation","authors":"H. Hamlin","doi":"10.1353/cdr.2023.a904532","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904532","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"57 - 85"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43682591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/cdr.2023.a904535
M. Caldwell
{"title":"\"The Isle Is Full of Noises\": the Many Tempests of Margaret Atwood's Hag-Seed","authors":"M. Caldwell","doi":"10.1353/cdr.2023.a904535","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904535","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"119 - 137"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/cdr.2023.a904530
Amy Muse
{"title":"Longing to Stay Tied: Maggie O'Farrell's Hamnet as a Work of Creative Criticism","authors":"Amy Muse","doi":"10.1353/cdr.2023.a904530","DOIUrl":"https://doi.org/10.1353/cdr.2023.a904530","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"57 1","pages":"27 - 9"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49057500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-01DOI: 10.1353/cdr.2023.a904533
Rebekah Bale
T adaptation of Shakespeare’s plays into fiction has a long history. Early on it was considered a useful way to introduce the stories of the plays to children, as in Charles and Mary Lamb’s Tales from Shakespeare, and more recently, Leon Garfield’s Shakespeare Stories. However, contemporary authors have seen an opportunity to adapt and expand the stories of and within the plays in more sophisticated and mature ways. The most high-profile examples of this trend come from the Hogarth Press’s series of “retellings” begun in 2016, which features adaptations by such giants of contemporary fiction as Margaret Atwood, Ann Tyler, Jo Nesbø, and Jeanette Winterson. There is a clear advantage to having a familiar story to work with, and Hogarth authors were given the freedom to choose the play on which to base their work. The authors involved, it is fair to say, represent a range of talent and genre as well as literary heft. The plays chosen also largely represent Shakespeare’s major works. However, the novel on which I focus in this essay, Mark Haddon’s The Porpoise (2019), takes a slightly different tack by adapting one of Shakespeare’s lesser known, collaboratively (and thus unevenly) written late romances, Pericles.
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