Pub Date : 2022-11-01DOI: 10.1177/01847678221137543j
Camille Vion
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Pub Date : 2022-11-01DOI: 10.1177/01847678221139398
Peter J. Smith, J. Valls-Russell, D. Yabut
{"title":"Shakespeare emerging from global lockdown: ‘What Country (Friends) is this?’","authors":"Peter J. Smith, J. Valls-Russell, D. Yabut","doi":"10.1177/01847678221139398","DOIUrl":"https://doi.org/10.1177/01847678221139398","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"158 - 161"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65230504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-26DOI: 10.1177/01847678221122808
Michael Dobson
‘Molière à Shakspeare’ was recited on 2 June 1879 by the leading actor François Got as the prologue to a forty-performance season given by the Comédie-Française at the Gaiety Theatre in London. An understanding of what prompted Jean Aicard's poem and what makes it significant depends on the knowledge of its context. This short introduction to a transcription of the prologue outlines that context and briefly compares the poem with its companion piece, a one-act play on another Shakespearean theme, produced by the same author for the last night of the season which this prologue introduced.
{"title":"Jean Aicard, ‘Molière à Shakespeare’, 1879: Introduction","authors":"Michael Dobson","doi":"10.1177/01847678221122808","DOIUrl":"https://doi.org/10.1177/01847678221122808","url":null,"abstract":"‘Molière à Shakspeare’ was recited on 2 June 1879 by the leading actor François Got as the prologue to a forty-performance season given by the Comédie-Française at the Gaiety Theatre in London. An understanding of what prompted Jean Aicard's poem and what makes it significant depends on the knowledge of its context. This short introduction to a transcription of the prologue outlines that context and briefly compares the poem with its companion piece, a one-act play on another Shakespearean theme, produced by the same author for the last night of the season which this prologue introduced.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"3 - 31"},"PeriodicalIF":0.5,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65230022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-26DOI: 10.1177/01847678221130996
Honor Jackson
William Davenant's The Siege of Rhodes plays, published and performed in two parts that straddle the Interregnum/Restoration boundary, constituted novel theatrical spectacles in a number of ways, and many of these innovations will have seemed foreign, in the sense of strange or unfamiliar to contemporary audiences. The plays celebrate their own strange ingenuity as an attractive facet, and this theme is mirrored in the foreignness of subject which centres on the Ottoman Empire's siege of Rhodes in 1522. This article shows that this results in a representation of foreignness, which is tied up most explicitly in the representation of gender and homosexuality, and which is surprisingly celebratory.
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Pub Date : 2022-10-13DOI: 10.1177/01847678221121760
S. Wells
This essay considers some of the uses to which Shakespeare put the literary form of the sonnet along with its component parts – the iambic pentameter line, the quatrain, the sestet, and the rhyming couplet – both in his plays and in independent poems. It offers a fresh appraisal of the sonnets by Shakespeare published by Thomas Thorpe in 1609, with emphasis on those printed in the earlier part of the volume, often referred to as ‘the young man sonnets’. The article also discusses Richard Barnfield's homoerotic verse and position in relation to the sonnet tradition and to Shakespeare's place in it.
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Pub Date : 2022-07-01DOI: 10.1177/01847678221109806
Maria Del Sapio Garbero
The 2019 Conference of the European Shakespeare Research Association (ESRA) was held in Rome at Roma Tre University. Marked by the compelling, renewed topicality of its theme – ‘Shakespeare’s European Geographies: Centralities and Elsewheres’ – and the extraordinary number of more than 300 scholars in attendance, the Conference testified to the productivity of such a theme with an amazing richness of perspectives and intersecting articulations. In times of Brexit, resurgent forms of nationalism, new walls, as well as routes and borders daily redesigned by the movement of massive flows of migrant human beings, it may be proper for a convenor of a Conference held in Rome, to take advantage of this specific position to underscore the timely coincidence between theme and location. For ancient Rome, in Shakespeare’s imagination, controversially stands for ‘room’, namely for space as such, an englobing if centralising space problematised – as by Cassius in Julius Caesar, and other voices in Titus Andronicus, Coriolanus, Antony and Cleopatra, and Cymbeline – by the agency of its constitutive, internal critique. Rome is also the place where the first ‘economic’ treaty for the foundation of the European Community (EEC) was signed on 25 March 1957, a sign of reunion on the part of six European countries, when the scenario of destruction and ruin left by the Second World War was still visible all over Europe, and, indeed, worldwide. But this is yet another story that, however, unites past and present in the name of a desired, if uneven, project of reunion. One which, seen against the backdrop of the revived early modern debate on ‘jointed’ and ‘disjointed worlds’, makes all the more symbolically timely the discussion of the geographical theme in this city. The ancient city – a conundrum of infiniteness and boundaries, thresholds and trespassing, inclusiveness and exclusion, continuity and discontinuity, eternity and ruins – cogently interrogates the reshuffled political and religious geographies of Shakespeare’s time as well as those of our new millennium, with a notion of history – and modernity – which is grounded in a permanent state of crisis and change. As best catalysed by the French poet Joachim Du Bellay (translated into English by Spenser), Rome appeared as ‘greatness’, as well as the lost referent per antonomasia, to the Renaissance traveller: ‘Thou stranger, which Rome in Rome here seekest, / and nought of Rome in Rome perceiv’st at all’. And the greatness of its ruins stood for durability and evanescence – or else abiding mutability: ‘O World’s Inconstancy! / That which is Prologue
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Pub Date : 2022-07-01DOI: 10.1177/01847678221108348
J. Maguin
Jean-Marie Maguin passed away on the morning of Saturday 14 May 2022. Born on 31 January 1943, he was Professor Emeritus of Elizabethan Studies at Université Paul-Valéry Montpellier 3 as well as a long-time co-general editor of Cahiers Élisabéthains, founded in 1972 by Antoine Demadre. Jean-Marie co-edited the journal first with Jean Fuzier from 1989 to 1994, then with Charles Whitworth from 1994 to 2001. Cahiers owes him a debt of immense gratitude for his indefatigable will to improve the journal and steadfast efforts to expand its international dimension, and for his leadership and thoroughness as a general editor. Many will remember him for his collegial, amiable, and humble manner in which he worked alongside his co-editors and the entire team. His activities naturally expanded beyond the journal itself (although he had a real knack for finding new and exciting authors for Cahiers everywhere he went). He was a resolute supporter of the Société Française Shakespeare, founded in 1975, for which he served as treasurer for 10 years before becoming its president from 1997 to 2003. Recruited in 1967 at Université de Montpellier, Jean-Marie co-founded the Centre d’études et de recherches élisabéthaines (CÉRÉ) with Antoine Demadre and Jean Fuzier in 1970, when the university split into three faculties including Université Paul-Valéry Montpellier 3, and at a time when research centres were flourishing in French universities. In 1977, he defended his seminal Doctorat d’État, or professorial thesis, on ‘La Nuit dans le théâtre de Shakespeare et de ses prédécesseurs’ [Night in the theatre of Shakespeare and his predecessors], published in 1980 and which articulated the Shakespearean night scenes with their classical precedents and their medieval interactions, thus anticipating current discussions that challenge the divide between the medieval and Renaissance periods. Vigorous and determined, he and Fuzier worked tirelessly to have CÉRÉ officially associated with the Centre national de la recherche scientifique In Memoriam
Jean-Marie Maguin于2022年5月14日星期六上午去世。他出生于1943年1月31日，是保罗·瓦莱里·蒙彼利埃大学伊丽莎白研究名誉教授，也是1972年由安托万·德马德雷创立的《CahiersÉlisabéthains》的长期联合总编辑。Jean-Marie于1989年至1994年与Jean-Fuzier共同编辑了该杂志，随后于1994年至2001年与Charles Whitworth共同编辑。Cahiers非常感谢他坚持不懈地改进杂志，坚定地努力扩大杂志的国际影响力，以及他作为总编辑的领导力和彻底性。许多人会记得他与联合编辑和整个团队一起工作时的学院式、和蔼可亲和谦逊的态度。他的活动自然地扩展到了期刊本身之外（尽管他真的很有技巧，无论走到哪里，都能为Cahiers找到新的、令人兴奋的作者）。他是法国莎士比亚剧团（SociétéFrançaise Shakespeare）的坚定支持者，该剧团成立于1975年，在1997年至2003年担任主席之前，他曾担任该剧团的财务主管10年。Jean-Marie于1967年被蒙彼利埃大学录取，1970年与Antoine Demadre和Jean-Fuzier共同创立了研究与研究中心（CÉRÉ），当时该大学分为三个学院，包括Paul Valéry Montpellier 3大学，当时法国大学的研究中心正蓬勃发展。1977年，他为自己开创性的博士论文（即教授论文）辩护，该论文发表于1980年，题为“莎士比亚和他的前任们的剧院之夜”，阐述了莎士比亚的夜景及其古典先例和中世纪互动，从而预测了当前挑战中世纪和文艺复兴时期之间分歧的讨论。他和福齐尔精力充沛，决心坚定，不知疲倦地工作，使CÉRÉ与国家纪念科学研究中心正式联系在一起
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Pub Date : 2022-05-18DOI: 10.1177/01847678221100576
David Del Bello
As forms of vivid description, or enargia, the figures of topographia, topothesia, and chorographia feature prominently in Elizabethan rhetoric manuals. This article considers Cymbeline's wavering geography as a confluence of these tropes. It reads the multiple rhetorical constructs of Shakespearean topographia in Cymbeline as instances of dislocation between the strictures imposed by a national identity project and the ever-present longing for a traditional religious past. In this respect, Cymbeline, whose Christian intimations are still the subject of contention, may also be said to dramatise and interrogate the precarious settlements (cultural, religious, and geographical) brought about by the Henrician reformation.
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