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‘Speak of me as […]’: Refashioning geographies of monstrosity in Othello “把我说成……”:重塑《奥赛罗》中的怪物地理

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-05-15 DOI: 10.1177/01847678221099977

Michela Compagnoni

The connection between monstrosity, space, and power in Othello is explored through the notion of ‘geographies of monstrosity’. I argue that the play's spatial collocation of monsters and a-normativity echoes the Renaissance transition towards a more introjected perception of monstrosity, which does not occur when Othello is in a ‘central’ place (Venice), but when he moves to a frontier point (Cyprus) and refashions himself as the monstrous protagonist of tales to be circulated in Venice. As suggested, this emergence of an inner geography of monstrosity is strictly linked to the subversion of power politics.

《奥赛罗》中怪物、空间和权力之间的联系是通过“怪物地理”的概念来探索的。我认为，戏剧中怪物和非规范性的空间配置呼应了文艺复兴时期向更内化的怪物感知的过渡，这并不发生在奥赛罗在“中心”地方(威尼斯)的时候，而是当他移动到一个边境点(塞浦路斯)并将自己重塑为在威尼斯流传的故事中的怪物主角的时候。如上所述，这种内部怪异地理的出现与强权政治的颠覆密切相关。

引用次数: 0

Survival strategies: Shakespeare and Renaissance truth-telling 生存策略:莎士比亚与文艺复兴时期的实话实说

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-05-15 DOI: 10.1177/01847678221099976

S. Greenblatt

Shakespeare repeatedly grappled with a question that haunted him but that could not be openly discussed with reference to any of the key figures in contemporary English affairs: why do communities of free men and women, people who have every reason to look out for their own interests, succumb to those who have no regard for the common good? Master of the oblique angle, the playwright prudently projected his imagination away from his immediate circumstances and explored in ancient Rome or pre-Christian Sicily or medieval England the territory he could not safely enter in his own world.

莎士比亚反复努力解决一个困扰他的问题，但这个问题不能与当代英国事务中的任何关键人物公开讨论:为什么自由的男人和女人的社区，人们有充分的理由关注自己的利益，屈服于那些不考虑共同利益的人?这位剧作家精通斜角，他谨慎地将自己的想象力投射到远离眼前环境的地方，在古罗马、基督教之前的西西里或中世纪的英格兰探索他在自己的世界中无法安全进入的领域。

引用次数: 0

‘Why I should welcome such a guest as grief [?]’: Lodging and dislodging in Shakespeare's Richard II “为什么我要欢迎悲伤这样的客人[？]”：莎士比亚笔下理查二世的住宿和搬迁

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-05-15 DOI: 10.1177/01847678221099975

Hiscock Andrew

This article discusses the early modern cultural debate surrounding hospitality and inhospitality in the light of contemporaneous responses to history and the history play. The dominant focus of this discussion is Shakespeare's Richard II and the ways in which it seeks to interrogate and to critique early modern expectations of welcoming by inverting them repeatedly as the dramatic intrigue unfolds. Throughout this article, reference is made to cultural debate on the subject of (in)hospitality in the contemporary, post-World War II period.

本文从同时代对历史和历史剧的反应出发，讨论了现代早期围绕好客和冷漠的文化争论。这场讨论的主要焦点是莎士比亚的《理查二世》，以及它试图通过在戏剧阴谋展开时反复推翻早期现代对欢迎的期望来质疑和批判这些期望的方式。在这篇文章中，我们提到了当代二战后时期关于好客主题的文化辩论。

引用次数: 0

Interview with Stephan Wolfert on Shakespeare, trauma, and mapping affective theatre communities 采访斯蒂芬·沃尔夫特关于莎士比亚、创伤和绘制情感戏剧社区

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-05-11 DOI: 10.1177/01847678221099978

Kirilka Stavreva

This conversation with the founder of the theatre-therapy network DE-CRUIT sheds light on the purposeful work that goes into shaping creative Shakespearean networks of affective affiliation among US veterans who participate in the program. Program participants create rituals, integrate Shakespeare's poetry with personal narratives to voice trauma, and, eventually, to communalise it with their audiences in a healing process. The transformation of audiences into witnesses is also discussed, as is the development of three new Shakespearean adaptations by DE-CRUIT: She Wolf, Make Thick My Blood, The Head of Richard, performing, respectively, gender and immigrant alienation, post-traumatic stress disorder, and attachment disorder.

与戏剧治疗网络DE-CRUIT的创始人的对话，揭示了参与该项目的美国退伍军人在塑造创造性的莎士比亚情感联系网络方面所做的有目的的工作。项目参与者创造仪式，将莎士比亚的诗歌与个人叙述结合起来，以表达创伤，并最终在治疗过程中与观众交流。我们还讨论了观众转变为目击者的过程，以及DE-CRUIT的三部莎士比亚改编作品的发展:《她是狼》、《我的血变浓》、《理查德的头》，分别表现了性别与移民异化、创伤后应激障碍和依恋障碍。

引用次数: 0

Roman walls in English Renaissance writing 文艺复兴时期英国文字中的罗马墙壁

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-05-06 DOI: 10.1177/01847678221099594

L. Hopkins

In 1587, an anonymous author proposed to Queen Elizabeth I that Hadrian's Wall should be reconstructed. Elizabeth did not adopt this proposal, but it testifies to a growing interest in the Wall on the part of writers such as Camden, Spenser, Drayton and William Warner. This essay examines ideas about Roman walls in these and other texts, including plays by Christopher Marlowe and Shakespeare's King John, where the city walls of Angers, originally built to protect the city against Germanic invasion in 275 AD and still partially visible, provide an ironic backdrop for the play's animus against Roman Catholicism.

1587年，一位匿名作家向女王伊丽莎白一世提议重建哈德良长城。伊丽莎白没有采纳这一建议，但这证明了卡姆登、斯宾塞、德雷顿和威廉·沃纳等作家对长城的兴趣日益浓厚。本文考察了这些和其他文本中关于罗马城墙的观点，包括克里斯托弗·马洛(Christopher Marlowe)的戏剧和莎士比亚的《约翰国王》(King John)，其中昂热城的城墙最初是在公元275年为了保护城市免受日耳曼人的入侵而建造的，现在仍然部分可见，为戏剧对罗马天主教的敌意提供了一个讽刺的背景。

引用次数: 0

Becoming Cleopatra 成为克利奥帕特拉

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-04-28 DOI: 10.1177/01847678221094640

David Lucking, David Lucking

This article investigates the ramifications of the word ‘become’ as it is deployed in Antony and Cleopatra, the term being invested with several distinct meanings which Shakespeare pursues the implications of and at the same time plays off against one another. It is argued that the play is deeply concerned with questions of an ontological nature, and that the contraposition between the rival perspectives of Rome and Egypt reflects a tension between the different conceptions of being, becoming, and identity articulated within it.

这篇文章调查了“成为”这个词在《安东尼与克利奥帕特拉》中出现的后果，这个词被赋予了几种不同的含义，莎士比亚追求它们的含义，同时又相互矛盾。有人认为，该剧深深关注本体论性质的问题，罗马和埃及的对立观点之间的对立反映了存在、成为和身份的不同概念之间的紧张关系。

引用次数: 0

The late- and post-Soviet trials of Hamlet in song, ballet, and opera 苏联后期和后苏联时期在歌曲、芭蕾和歌剧中对《哈姆雷特》的尝试

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-04-25 DOI: 10.1177/01847678221092791

M. Assay

With the (re-)tightening of censorship, a proliferation of subtexts and Aesopian messages may be detected in late-Soviet Shakespeare adaptations in general and Hamlet in particular. This article examines representative cases of responses to Hamlet in the late- and post-Soviet eras, taking the genres of song, ballet, and opera/theatre, and broadly mapping them on to the topics of, respectively, Individualism, Convention, and Politics. In setting forth a narrative of Hamlet adaptations in these periods, this article shows that the tension between individual creative activity and politico-cultural climate was and continues to be more complex and multifaceted than might be predicted.

随着审查制度的(重新)收紧，在苏联后期的莎士比亚改编作品中，尤其是《哈姆雷特》，可能会发现大量的潜台词和伊索寓言式的信息。本文考察了苏联后期和后苏联时代对《哈姆雷特》的反应的代表性案例，采用了歌曲、芭蕾和歌剧/戏剧的类型，并将它们分别广泛地映射到个人主义、习俗和政治的主题上。通过对这些时期《哈姆雷特》改编的叙述，本文表明，个人创作活动与政治文化气候之间的紧张关系过去和现在都比人们所预料的更加复杂和多方面。

引用次数: 0

c-Myc-driven glycolysis polarizes functional regulatory B cells that trigger pathogenic inflammatory responses. c-Myc 驱动的糖酵解使功能性调节 B 细胞极化，从而引发致病性炎症反应。

IF 39.3 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-04-18 DOI: 10.1038/s41392-022-00948-6

Xu-Yan Wang, Yuan Wei, Bo Hu, Yuan Liao, Xiaodong Wang, Wen-Hua Wan, Chun-Xiang Huang, Mahepali Mahabati, Zheng-Yu Liu, Jing-Rui Qu, Xiao-Dan Chen, Dong-Ping Chen, Dong-Ming Kuang, Xue-Hao Wang, Yun Chen

B cells secreting IL-10 functionally are recognized as functional regulatory B (B_reg) cells; however, direct evidence concerning the phenotype, regulation, and functional and clinical relevance of IL-10-secreting B_reg cells in humans is still lacking. Here, we demonstrate that, although IL-10 itself is anti-inflammatory, IL-10⁺ functional B_reg cells in patients with systemic lupus erythematosus (SLE) display aggressive inflammatory features; these features shift their functions away from inducing CD8⁺ T cell tolerance and cause them to induce a pathogenic CD4⁺ T cell response. Functional B_reg cells polarized by environmental factors (e.g., CPG-DNA) or directly isolated from patients with SLE mainly exhibit a CD24^intCD27^-CD38^-CD69^+/hi phenotype that is different from that of their precursors. Mechanistically, MAPK/ERK/P38-elicited sequential oncogenic c-Myc upregulation and enhanced glycolysis are necessary for the generation and functional maintenance of functional B_reg cells. Consistently, strategies that abrogate the activity of ERK, P38, c-Myc, and/or cell glycolysis can efficiently eliminate the pathogenic effects triggered by functional B_reg cells.

在功能上分泌 IL-10 的 B 细胞被认为是功能性调节 B（Breg）细胞；然而，关于分泌 IL-10 的 Breg 细胞在人类中的表型、调节、功能和临床相关性的直接证据仍然缺乏。在这里，我们证明了尽管IL-10本身具有抗炎性，但系统性红斑狼疮（SLE）患者体内的IL-10+功能性Breg细胞却表现出侵袭性炎症特征；这些特征使它们的功能从诱导CD8+ T细胞耐受性转移到诱导致病性CD4+ T细胞反应。由环境因素（如 CPG-DNA）极化或直接从系统性红斑狼疮患者体内分离出的功能性 Breg 细胞主要表现出 CD24intCD27-CD38-CD69+/hi 表型，这与其前体不同。从机制上讲，MAPK/ERK/P38诱导的致癌c-Myc连续上调和糖酵解增强是功能性Breg细胞生成和功能维持的必要条件。同样，削弱ERK、P38、c-Myc和/或细胞糖酵解活性的策略可以有效消除功能性Breg细胞引发的致病效应。

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引用次数: 0

Mapping violence onto the body of the ‘other’ in Julie Taymor's Titus (1999) 在朱莉·泰莫的《提图斯》(1999)中，将暴力映射到“他者”的身体上

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-04-12 DOI: 10.1177/01847678221092793

Nora Galland

In Julie Taymor's film Titus (1999), which adapts Shakespeare's Titus Andronicus, the Roman nation is both violated and violent. Taymor exposes the audience to different kinds of violence – intrafamilial, political, sexual, as well as revenge, infanticide, and racism – all of which are mapped onto characters who are othered by race, ethnicity, gender, or posthumous banishment. This article aims at exploring the relationship between othering and violence in the construction of nationhood. The one who others, the author contends, is also othered, because of the cycle of violence at stake in the film.

朱莉·泰莫的电影《提图斯》(Titus, 1999)改编自莎士比亚的《提图斯·安德洛尼克斯》，在这部电影中，罗马民族既受到侵犯，又充满暴力。泰莫向观众展示了不同类型的暴力——家庭内部暴力、政治暴力、性暴力、复仇暴力、杀婴暴力和种族主义暴力——所有这些暴力都被映射到不同种族、民族、性别或死后流放的角色身上。本文旨在探讨国家建构中他者与暴力的关系。作者认为，由于影片中暴力的循环，“他人”也是“他人”。

引用次数: 0

The ‘(De)territorialising’ power of Cleopatra's barge: Plutarch, Shakespeare, and Mankiewicz 克娄巴特拉驳船的“(去)领土化”力量:普鲁塔克、莎士比亚和曼凯维奇

IF 0.5 2区文学 0 LITERATURE, BRITISH ISLES

CAHIERS ELISABETHAINS

Pub Date : 2022-04-07 DOI: 10.1177/01847678221092792

Pascale Drouet

Taking into account the versions by Plutarch, Shakespeare, and Mankiewicz, this article focuses on Cleopatra's force of attraction and capacity to travel by water, thus crossing geopolitical, cultural, and emotional frontiers. It presents her barge as a metonymical ‘territory’ in a transitional space and examines its power of seduction and symbolism at political, spectacular, and mythical levels. It takes up the issue of Antony's de-Romanisation, inviting a parallel between the queen's barge and the ship of fools. It extends the analysis to variants of the royal barge as part of a territorialising/deterritorialising dynamic: the Egyptian flagship and her funeral-boat-like tomb.

考虑到普鲁塔克、莎士比亚和曼凯维奇的版本，本文将重点放在克利奥帕特拉的吸引力和乘船旅行的能力上，从而跨越地缘政治、文化和情感的边界。它将她的驳船呈现为过渡空间中的转喻“领土”，并在政治，壮观和神话层面上审视其诱惑和象征的力量。它讨论了安东尼的去罗马化问题，把女王的驳船和傻瓜船相提并论。它将分析扩展到皇家驳船的变体，作为领土化/非领土化动态的一部分:埃及旗舰和她的葬礼船一样的坟墓。

引用次数: 0

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