Pub Date : 2024-08-21DOI: 10.1177/01847678241260593
Sélima Lejri
The major English medieval pagan folk customs, feasts, and rituals that survived in early modern England share the death-resurrection motif of the Greco-Roman agrarian rites and mystery religions associated mainly with the myths of Dionysus. This comparative study between two generically different plays, A Midsummer Night's Dream and Macbeth, purports to bring out, respectively, the degree of violence in a green comedy, and the effect of greenery in a tragedy of blood. It draws on René Girard's anthropological theory of sacrificial violence and scapegoating to examine the rites of passage in both plays through the archetype of the regenerative cycle of nature.
{"title":"‘Moving grove’: Dionysian rites of passage in Shakespeare's A Midsummer Night's Dream and Macbeth","authors":"Sélima Lejri","doi":"10.1177/01847678241260593","DOIUrl":"https://doi.org/10.1177/01847678241260593","url":null,"abstract":"The major English medieval pagan folk customs, feasts, and rituals that survived in early modern England share the death-resurrection motif of the Greco-Roman agrarian rites and mystery religions associated mainly with the myths of Dionysus. This comparative study between two generically different plays, A Midsummer Night's Dream and Macbeth, purports to bring out, respectively, the degree of violence in a green comedy, and the effect of greenery in a tragedy of blood. It draws on René Girard's anthropological theory of sacrificial violence and scapegoating to examine the rites of passage in both plays through the archetype of the regenerative cycle of nature.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"83 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241261285
Katarzyna Burzyńska
Inspired by Stacy Alaimo's notion of transcorporality, this article reconsiders multivalent aquatic womb imagery, Thaisa's pregnant embodiment and her (non)maternal identity in Pericles. As argued, the play offers an inconsistent portrayal of pregnancy and maternity. Thaisa's pregnant body – a fluid aquatic economy – is prominently displayed onstage, while her labour described by Gower and Pericles remains the play's climax. Yet, the birth at sea and Thaisa's ‘terrible childbed’ communicate anxieties over maternal powers. Neither her maternal identity nor her maternal authority takes shape in the play, signalling early modern culture's unease with pregnant bodies that do not follow normative, patriarchal scripts.
{"title":"‘The finny subject of the sea’: Thaisa's pregnant embodiment and (non)maternal identity in Pericles","authors":"Katarzyna Burzyńska","doi":"10.1177/01847678241261285","DOIUrl":"https://doi.org/10.1177/01847678241261285","url":null,"abstract":"Inspired by Stacy Alaimo's notion of transcorporality, this article reconsiders multivalent aquatic womb imagery, Thaisa's pregnant embodiment and her (non)maternal identity in Pericles. As argued, the play offers an inconsistent portrayal of pregnancy and maternity. Thaisa's pregnant body – a fluid aquatic economy – is prominently displayed onstage, while her labour described by Gower and Pericles remains the play's climax. Yet, the birth at sea and Thaisa's ‘terrible childbed’ communicate anxieties over maternal powers. Neither her maternal identity nor her maternal authority takes shape in the play, signalling early modern culture's unease with pregnant bodies that do not follow normative, patriarchal scripts.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241263046
Anna Louri
In his minor epic The Rape of Lucrece, William Shakespeare reconstructs the early Roman myth about the creation of the consulship and adds his own twist to this story of sexual violation. Lucrece is presented as a woman who mobilises her grief and shame and ends up overturning her disadvantageous position in the State. Her bodily movement in the narrative as well as her extended utterances of lamentation provide her with the courage to go against her rapist and transfigure her body into a utopian state, brimming with hope and steadfastness, which is spread throughout the city through her blood and ensures a better future.
{"title":"Utopian corporeality and movement in William Shakespeare's The Rape of Lucrece","authors":"Anna Louri","doi":"10.1177/01847678241263046","DOIUrl":"https://doi.org/10.1177/01847678241263046","url":null,"abstract":"In his minor epic The Rape of Lucrece, William Shakespeare reconstructs the early Roman myth about the creation of the consulship and adds his own twist to this story of sexual violation. Lucrece is presented as a woman who mobilises her grief and shame and ends up overturning her disadvantageous position in the State. Her bodily movement in the narrative as well as her extended utterances of lamentation provide her with the courage to go against her rapist and transfigure her body into a utopian state, brimming with hope and steadfastness, which is spread throughout the city through her blood and ensures a better future.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241263047
Roberta Zanoni
This article shows how the balcony scene has been represented in Romeo and Juliet's narrative sources and how it has been treated by Shakespeare and on seventeenth- and eighteenth-century stages. It focuses on the absence of any balcony in Shakespeare's play and on the actual presence of a balcony in one of the Italian indirect sources of the play, Luigi Da Porto's novella; it also explores how all the spatial, gender, and power connotations of the balcony have been ‘translated’ from the sources to Shakespeare, where they are conveyed by the use of a ‘window’ and an ‘orchard’. The article shows how, thanks to the SENS: Shakespeare's Narrative Sources: Italian Novellas and their European Dissemination digital archive a comparison of multiple texts at a time, focusing on the words ‘balcony’, ‘window’, ‘garden’, and ‘orchard’, favours the investigation of the way in which these liminal spaces are represented.
{"title":"The ‘pre-Shakespearean’ balcony and outdoor spaces from the European sources to Romeo and Juliet","authors":"Roberta Zanoni","doi":"10.1177/01847678241263047","DOIUrl":"https://doi.org/10.1177/01847678241263047","url":null,"abstract":"This article shows how the balcony scene has been represented in Romeo and Juliet's narrative sources and how it has been treated by Shakespeare and on seventeenth- and eighteenth-century stages. It focuses on the absence of any balcony in Shakespeare's play and on the actual presence of a balcony in one of the Italian indirect sources of the play, Luigi Da Porto's novella; it also explores how all the spatial, gender, and power connotations of the balcony have been ‘translated’ from the sources to Shakespeare, where they are conveyed by the use of a ‘window’ and an ‘orchard’. The article shows how, thanks to the SENS: Shakespeare's Narrative Sources: Italian Novellas and their European Dissemination digital archive a comparison of multiple texts at a time, focusing on the words ‘balcony’, ‘window’, ‘garden’, and ‘orchard’, favours the investigation of the way in which these liminal spaces are represented.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241260586
Andreas Höfele
The article discusses William Shakespeare's Caliban in the context of early modern knowledge culture and its representation of the ‘monstrous’ in wonder cabinets and works of natural history. According to Stephano, Caliban is ‘a present for any emperor’ (2.2.69). This connects him to the real-life case of Pedro Gonsalvus, who became just such a ‘present’ given to the French king in 1547. His face and body overgrown with hair, Gonsalvus and subsequently his equally hirsute children became marvels at several European courts. Their case shows the same intermingling of artifice and animality that went into the creation of Caliban and shaped his afterlife in the theatre.
{"title":"Artifice and animality in The Tempest: Imagining Caliban","authors":"Andreas Höfele","doi":"10.1177/01847678241260586","DOIUrl":"https://doi.org/10.1177/01847678241260586","url":null,"abstract":"The article discusses William Shakespeare's Caliban in the context of early modern knowledge culture and its representation of the ‘monstrous’ in wonder cabinets and works of natural history. According to Stephano, Caliban is ‘a present for any emperor’ (2.2.69). This connects him to the real-life case of Pedro Gonsalvus, who became just such a ‘present’ given to the French king in 1547. His face and body overgrown with hair, Gonsalvus and subsequently his equally hirsute children became marvels at several European courts. Their case shows the same intermingling of artifice and animality that went into the creation of Caliban and shaped his afterlife in the theatre.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241263057
Lisanna Calvi
First staged in 1667, John Dryden and William Davenant's The Tempest was a London hit. As its Shakespearean hypotext, this play possesses a metatheatrical quality and aims at uncovering rather than enhancing the fictionality of stage action. Delight comes from stage machinery but also from the characterisation of Prospero's two daughters and foster son. Their naive approach to life is in fact artificially natural and deliberately exposes the mechanisms of poetic and stage art. The article explores this contrast also showing how it offers both a meditation on poetic creation and a female gendered weapon against Prospero's failing role and rhetoric.
{"title":"Nature's artfulness in Dryden and Davenant’s The Tempest, or The Enchanted Island (1667)","authors":"Lisanna Calvi","doi":"10.1177/01847678241263057","DOIUrl":"https://doi.org/10.1177/01847678241263057","url":null,"abstract":"First staged in 1667, John Dryden and William Davenant's The Tempest was a London hit. As its Shakespearean hypotext, this play possesses a metatheatrical quality and aims at uncovering rather than enhancing the fictionality of stage action. Delight comes from stage machinery but also from the characterisation of Prospero's two daughters and foster son. Their naive approach to life is in fact artificially natural and deliberately exposes the mechanisms of poetic and stage art. The article explores this contrast also showing how it offers both a meditation on poetic creation and a female gendered weapon against Prospero's failing role and rhetoric.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241261643
Sonia Massai
Art seems to be especially fruitful as a starting point for a re-reading of Shakespeare's Richard III as an example of an English history play that is more commonly understood in terms of nature or politics. Richard's reputation for being unnatural, that is physically and morally deformed, certainly makes nature a productive line of enquiry. Politics is also immediately relevant to a play about Richard III, whose demise marked the rise of the Tudor dynasty. However, I have chosen to consider the artfulness of Richard III to show how Tacitism informed Shakespeare's approach to historical playwriting.
{"title":"The artfulness of historical playwriting in Richard III: Shakespeare and English Tacitism","authors":"Sonia Massai","doi":"10.1177/01847678241261643","DOIUrl":"https://doi.org/10.1177/01847678241261643","url":null,"abstract":"Art seems to be especially fruitful as a starting point for a re-reading of Shakespeare's Richard III as an example of an English history play that is more commonly understood in terms of nature or politics. Richard's reputation for being unnatural, that is physically and morally deformed, certainly makes nature a productive line of enquiry. Politics is also immediately relevant to a play about Richard III, whose demise marked the rise of the Tudor dynasty. However, I have chosen to consider the artfulness of Richard III to show how Tacitism informed Shakespeare's approach to historical playwriting.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241261468
{"title":"The Mariangela Tempera award for Shakespeare on screen (European Shakespeare Research Association / Cahiers Élisabéthains)","authors":"","doi":"10.1177/01847678241261468","DOIUrl":"https://doi.org/10.1177/01847678241261468","url":null,"abstract":"","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-21DOI: 10.1177/01847678241260582
Elizabeth Bloch
Although As You Like It is criticised for the doubleness of its utopian vision, this article posits that the Forest of Arden challenges characters, spectators, and readers to evaluate alternative societies in the mode of Thomas More's Utopia (1516). Some characters, including More's Raphael Hythlodaeus and Shakespeare's Jaques, reject this dialectical education and refuse to apply their utopian experience to the governance of a ship of state. An alternative is embodied in Morus, More's narrator-character, and Rosalind, Shakespeare's poet-stage director. Shakespeare and More interrogate the relationship between the ideal and the real through a dialectically utopian mode of literary inquiry.
{"title":"As You Like It or As You Don’t: Shakespeare's Arden, Thomas More's Utopia, and their discontents","authors":"Elizabeth Bloch","doi":"10.1177/01847678241260582","DOIUrl":"https://doi.org/10.1177/01847678241260582","url":null,"abstract":"Although As You Like It is criticised for the doubleness of its utopian vision, this article posits that the Forest of Arden challenges characters, spectators, and readers to evaluate alternative societies in the mode of Thomas More's Utopia (1516). Some characters, including More's Raphael Hythlodaeus and Shakespeare's Jaques, reject this dialectical education and refuse to apply their utopian experience to the governance of a ship of state. An alternative is embodied in Morus, More's narrator-character, and Rosalind, Shakespeare's poet-stage director. Shakespeare and More interrogate the relationship between the ideal and the real through a dialectically utopian mode of literary inquiry.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142175089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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