{"title":"The Theatre of Anthony Neilson by Trish Reid (review)","authors":"M. Shaw","doi":"10.1353/cdr.2022.0030","DOIUrl":"https://doi.org/10.1353/cdr.2022.0030","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"435 - 437"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44683787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<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>Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain</em> by Dian Fox <!-- /html_title --></li> <li> Victoria M. Muñoz (bio) </li> </ul> Dian Fox. <em>Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain</em>. Lincoln: University of Nebraska Press, 2019. Pp. 336 + 5 illus. $55.00 Hardback and ebook. <p><em>Hercules and the King of Portugal</em> traces early modern ideations of imperial Iberia and masculinity as represented in contemporary poetry, drama, and royal iconography. Dian Fox studies accounts of the gender performances of the divine hero, Hercules, dubbed “Hercules Hispanicus,” and the lost heir of the Portuguese Aviz dynasty, King Sebastian I (1554–78, ruled 1557–78), who is memorialized as <em>Sebastião</em> “<em>el encubierto</em>.” The book is split into two parts that examine representations of Hercules and Sebastian, respectively, showing how these figures factored into Spanish and Portuguese national identity. Fox’s study also uncovers the tension between the idealized masculinities of Hercules and Sebastian and their famous violations of appropriate male conduct. In Part I (“Hercules”), Chapter 1, Fox traces the Spanish iconography of Hercules, from whom the Habsburg royals claimed direct, legitimizing descent. The Spanish people accessed the heroic figure through local artefacts and legends, as in “the cult(s) of Melkart/Herakles/Hercules” (36), which located some of the classical hero’s famous labors in Iberia. Meanwhile, contemporary editions and translations of Ovid’s <em>Metamorphoses,</em> Seneca’s <em>The Madness of Hercules,</em> and Euripides’s <em>Alcestis</em> revived tales of Hercules’s exploits for contemporary audiences, who availed themselves of an “early modern Spanish national project [that] imagined Hercules as founder and native son” (36).</p> <p>Chapters 3 and 4 treat of two notable emasculating episodes in Hercules' mythology—his donning Medea’s poisoned robe and subsequent death upon a pyre, and his cross-dressed enslavement to Omphale, the Queen of Lydia, which represents a figurative “phallic” death—that are referenced and reflected in four staged <em>comedias</em> by Pedro Calderón de la Barca: <em>Los tres mayores prodigios</em> (The Three Greatest Prodigies) (1636); <em>El pintor de su deshonra</em> (The Painter of His Dishonor) (1650); <em>Las manos blancas no ofenden</em> (White Hands are No Offense) (ca. 1640); and <em>Fieras afemina Amor</em> (Love Feminizes Beasts) (1670 or 1672). For Fox, these works’ effeminate and symbolically castrated male protagonists embody versions of the “<em>hombre esquivo</em>,” here defined as a male who is unattracted to females. Fox casts “immunity to the love of women as a political disorder” (100). She points to the masculine tactic of restoring hon
代替摘要，这里是内容的简短摘录:审查:大力神和葡萄牙国王:男子气概和国家的偶像在Calderón西班牙由戴安娜福克斯维多利亚M. Muñoz(生物)戴安娜福克斯。赫拉克勒斯与葡萄牙国王:Calderón时代西班牙的男子气概与民族象征。林肯:内布拉斯加大学出版社，2019。第336页+ 5页。精装本和电子书55.00美元。《大力神与葡萄牙国王》追溯了伊比利亚帝国的早期现代观念，以及在当代诗歌、戏剧和王室肖像中所体现的男子气概。迪安·福克斯(Dian Fox)研究了神性英雄赫拉克勒斯(Hercules Hispanicus)和葡萄牙阿维兹王朝(Aviz dynasty)失传的继承人塞巴斯蒂安一世(King Sebastian I, 1554-78年，1557-78年在位)的性别表演，他被称为塞巴斯蒂安一世(sebasti)。这本书分为两部分，分别考察了赫拉克勒斯和塞巴斯蒂安的代表，展示了这些人物如何影响西班牙和葡萄牙的民族认同。福克斯的研究还揭示了赫拉克勒斯和塞巴斯蒂安理想化的男子气概与他们著名的违反适当男性行为之间的紧张关系。在第一部分(“赫拉克勒斯”)第一章中，福克斯追溯了赫拉克勒斯的西班牙肖像，哈布斯堡王室声称他是直接的、合法的后裔。西班牙人通过当地的手工艺品和传说了解了这位英雄的形象，比如“梅尔卡特/赫拉克勒斯/赫拉克勒斯的崇拜”(36)，它把这位古典英雄的一些著名劳动安置在伊比利亚。与此同时，奥维德的《变形记》、塞内卡的《赫拉克勒斯的疯狂》和欧里庇得斯的《阿尔塞提斯》的当代版本和译本为当代观众重新讲述了赫拉克勒斯的事迹，他们利用了“早期现代西班牙国家计划，把赫拉克勒斯想象成创始人和当地的儿子”(36)。第三章和第四章讨论了赫拉克利斯神话中两个著名的阉割情节——他穿上美狄亚的毒袍，随后死在火葬堆上，以及他穿着异装癖被奴役给利底亚女王翁法尔，这代表了一种象征性的“生殖器”死亡——这在佩德罗Calderón de la Barca的四部喜剧中被引用和反映:Los tres mayores prodigios(1636年);《耻辱的画家》(El pintor de su deshonra);Las manos blancas no offenen(白手无罪)(约1640年);以及《爱使野兽女性化》(1670年或1672年)。对福克斯来说，这些作品中女性化的、象征性地被阉割的男主角体现了不同版本的“男人味”(hombre esquivo)，这里的定义是不被女性吸引的男性。福克斯把“对女人的爱的免疫力视为一种政治紊乱”(100)。她指出，男性通过杀死不忠或品行败坏的妻子(通常还有她被指控的情人)来恢复荣誉的策略，是纠正文化对男性(非)力量、血统(非)纯洁性以及最终哈布斯堡(非)合法性的潜在焦虑的关键形式。然而，正如福克斯也观察到这种在西班牙国家舞台上普遍存在的暴力修辞一样，“对霸权、生殖男性气概进行反潮流的过程本身暴露了它的可变性”(112)。Calderón的esquivos象征着戏剧中“被扰乱的男子气概显示了权力场所的脆弱性”(112)，特别是帝国。在西班牙宗教裁判所的背景下，那些能够证明纯洁的人获得荣誉地位blood-Calderón在被国王菲利普四世(1621-65年统治)封为爵士之前，个人也必须证明他的血液纯洁——男性逃避婚姻或以其他方式使自己女性化的异常行为在早期现代观众中引发了一种敏感和防御的立场，即男性(非)效力和女性不忠可能导致的血统腐败或者种族/民族通婚。福克斯把这种对性别血统的痴迷称为“血统恐慌”，是杰里米·罗宾斯的“荣誉恐慌”和伊芙·塞奇维克的“同性恋恐慌”的种族主义混合体。例如，在当代的指控中，人们看到了这种观点的回声，摩尔人后裔的基督徒是“坏基督徒，更确切地说，是鸡奸者”(13);这种偏见导致了1609年开始将摩里斯科人正式驱逐出伊比利亚。“荣誉”和“同性恋”的恐慌交织在一起，构成了“血统恐慌”，这种恐慌在第二部分(“塞巴斯蒂安国王”)中尤为突出，从第五章开始，福克斯研究了……
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{"title":"“It’s only a play”: Ibsen’s A Doll’s House (1879), Adamson’s Wife (2019), and the Relevance of Historical Theatre","authors":"C. Quirk","doi":"10.1353/cdr.2022.0011","DOIUrl":"https://doi.org/10.1353/cdr.2022.0011","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"231 - 255"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43722895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stages of Loss: The English Comedians and Their Reception by George Oppitz-Trotman (review)","authors":"June Schlueter","doi":"10.1353/cdr.2022.0021","DOIUrl":"https://doi.org/10.1353/cdr.2022.0021","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"357 - 359"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44755000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s by Siyuan Liu (review)","authors":"Chengzhou He","doi":"10.1353/cdr.2022.0018","DOIUrl":"https://doi.org/10.1353/cdr.2022.0018","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"346 - 349"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
or much of its history, the geography of modern drama has been that of “home.” 1 But the ideas of home and belonging have increasingly stirred political and cultural debate in the age of migration, globalization, and transnationalism. As the concept of home evolves and complexifies, so do dramatic expressions of it. Home is no longer the domestic interior of the bourgeoise, as popularized by the naturalist dramas of Ibsen and Chekhov. This article explores non-domestic dramatic spaces—the Irish pub and the African barbershop—as culturally specific “third places” in two plays: Tom Murphy’s Conversations on a Homecoming (1985) 2 and Inua Ellams’ Barber Shop Chronicles (2017). 3 In the context of diasporic studies, both spaces exemplify what Jana Evans Braziel and Anita Mannur have described as the “nomadic turn in which the very parameters of specific historical movements are embodied and—as diaspora itself suggests—are scattered and regrouped into new points of becoming.” 4 Both plays deal with the experiences of their representative diasporic communities, revealing the complex connections between host-homelands and overseas communities. A comparative study of the two plays challenges conventional categories of nation and identity, and demonstrates how these everyday third spaces can become sites of contestation against the hegemonic and homogenizing forces of neo-colonialism and globalization. “Third Place” is
{"title":"“Home Away from Home”: Diasporic Consciousness and Everyday Third Places in Tom Murphy’s Conversations on a Homecoming (1985) and Inua Ellams’ Barber Shop Chronicles (2017)","authors":"Moonyoung Hong","doi":"10.1353/cdr.2022.0012","DOIUrl":"https://doi.org/10.1353/cdr.2022.0012","url":null,"abstract":"or much of its history, the geography of modern drama has been that of “home.” 1 But the ideas of home and belonging have increasingly stirred political and cultural debate in the age of migration, globalization, and transnationalism. As the concept of home evolves and complexifies, so do dramatic expressions of it. Home is no longer the domestic interior of the bourgeoise, as popularized by the naturalist dramas of Ibsen and Chekhov. This article explores non-domestic dramatic spaces—the Irish pub and the African barbershop—as culturally specific “third places” in two plays: Tom Murphy’s Conversations on a Homecoming (1985) 2 and Inua Ellams’ Barber Shop Chronicles (2017). 3 In the context of diasporic studies, both spaces exemplify what Jana Evans Braziel and Anita Mannur have described as the “nomadic turn in which the very parameters of specific historical movements are embodied and—as diaspora itself suggests—are scattered and regrouped into new points of becoming.” 4 Both plays deal with the experiences of their representative diasporic communities, revealing the complex connections between host-homelands and overseas communities. A comparative study of the two plays challenges conventional categories of nation and identity, and demonstrates how these everyday third spaces can become sites of contestation against the hegemonic and homogenizing forces of neo-colonialism and globalization. “Third Place” is","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"256 - 282"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49206930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Staging the Market Mechanisms of Medieval Mating in Den utro hustru","authors":"Mads Larsen","doi":"10.1353/cdr.2022.0013","DOIUrl":"https://doi.org/10.1353/cdr.2022.0013","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"283 - 312"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47400602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta (review)","authors":"Matthieu Chapman","doi":"10.1353/cdr.2022.0016","DOIUrl":"https://doi.org/10.1353/cdr.2022.0016","url":null,"abstract":"","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"339 - 341"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48460090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Why should theatre historians invest in a book about a financial scandal in the Netherlands? People have been investing in commodities for as long as traders have sailed the seas, but the first stock market was in Antwerp, and the first joint stock was issued by the Dutch East India Company. By early in the 18th century, investing in stocks or commodities was popular across Europe despite the way that bubbles occurred, a bubble being the point when a stock’s price is far higher than its value. When investors ignore this disparity, they lose their money when the market crashes. Specifically in 1720, investors in England, France, and the Netherlands lost fortunes. The South Sea Bubble in London, the Mississippi Bubble in France, and the Wind Trade (or windhandel) in the Netherlands ruined thousands. As one might imagine, such an economic collapse created a “cultural outpouring” of mocking satire, as well as angry demands to repair the system, particularly in the Netherlands. As Goggin and De Bruyn write,
{"title":"Comedy and Crisis: Pieter Langendijk, the Dutch, and the Speculative Bubbles of 1720 by Joyce Goggin and Frans De Bruyn (review)","authors":"Frances N. Teague","doi":"10.1353/cdr.2022.0019","DOIUrl":"https://doi.org/10.1353/cdr.2022.0019","url":null,"abstract":"Why should theatre historians invest in a book about a financial scandal in the Netherlands? People have been investing in commodities for as long as traders have sailed the seas, but the first stock market was in Antwerp, and the first joint stock was issued by the Dutch East India Company. By early in the 18th century, investing in stocks or commodities was popular across Europe despite the way that bubbles occurred, a bubble being the point when a stock’s price is far higher than its value. When investors ignore this disparity, they lose their money when the market crashes. Specifically in 1720, investors in England, France, and the Netherlands lost fortunes. The South Sea Bubble in London, the Mississippi Bubble in France, and the Wind Trade (or windhandel) in the Netherlands ruined thousands. As one might imagine, such an economic collapse created a “cultural outpouring” of mocking satire, as well as angry demands to repair the system, particularly in the Netherlands. As Goggin and De Bruyn write,","PeriodicalId":39600,"journal":{"name":"COMPARATIVE DRAMA","volume":"56 1","pages":"350 - 352"},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49097184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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