This article discusses the clowning element of a German version of Hamlet believed to date back to the time of Shakespeare. Der bestrafte Brudermord is noted as an adaptation of Shakespeare's tragedy which incorporates a lot more low comedy than any extant version of Hamlet and provides opportunity for contemplating the reason why Hamlet has no explicit clown character. The article focuses especially on a character appearing very briefly in the German play, a rustic buffoon called Jens, and his affinity with the rustics and comic servants of other Shakespeare plays and other Elizabethan plays. It is particularly asserted that this role shows signs of the involvement of the clown Will Kemp at some stage of the writing of Hamlet, or of touring continental Europe with an adaptation of it that puts the clowning element at the forefront.
{"title":"A Danish Fool at Elsinore?","authors":"Peter K. Andersson","doi":"10.3167/cs.2023.350402","DOIUrl":"https://doi.org/10.3167/cs.2023.350402","url":null,"abstract":"\u0000This article discusses the clowning element of a German version of Hamlet believed to date back to the time of Shakespeare. Der bestrafte Brudermord is noted as an adaptation of Shakespeare's tragedy which incorporates a lot more low comedy than any extant version of Hamlet and provides opportunity for contemplating the reason why Hamlet has no explicit clown character. The article focuses especially on a character appearing very briefly in the German play, a rustic buffoon called Jens, and his affinity with the rustics and comic servants of other Shakespeare plays and other Elizabethan plays. It is particularly asserted that this role shows signs of the involvement of the clown Will Kemp at some stage of the writing of Hamlet, or of touring continental Europe with an adaptation of it that puts the clowning element at the forefront.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article gives a brief account of the two-hundred-year-old performance history of Hamlet at Elsinore Castle; this is followed by a discussion of Gertrude as portrayed in nine English or English-speaking Hamlets at Elsinore, beginning with Olivier and the Old Vic in 1937 and concluding with Cape Town Theatre Company eighty-five years later, in 2022. The article discusses different aspects of how Gertrude (as seen through the prism of these particular Hamlet productions) has been portrayed on stage, drawing attention to the fact that, particularly in productions with a star actor in the title role, Gertrude has often been neglected, ignored or marginalised by the director, or else objectified and sexualised for the benefit of the audience: aged down, dumbed down or otherwise commodified.
{"title":"(There Is) Nothing Like a Dane","authors":"Kiki Lindell Tersmeden","doi":"10.3167/cs.2023.350406","DOIUrl":"https://doi.org/10.3167/cs.2023.350406","url":null,"abstract":"\u0000This article gives a brief account of the two-hundred-year-old performance history of Hamlet at Elsinore Castle; this is followed by a discussion of Gertrude as portrayed in nine English or English-speaking Hamlets at Elsinore, beginning with Olivier and the Old Vic in 1937 and concluding with Cape Town Theatre Company eighty-five years later, in 2022. The article discusses different aspects of how Gertrude (as seen through the prism of these particular Hamlet productions) has been portrayed on stage, drawing attention to the fact that, particularly in productions with a star actor in the title role, Gertrude has often been neglected, ignored or marginalised by the director, or else objectified and sexualised for the benefit of the audience: aged down, dumbed down or otherwise commodified.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138612379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses the first female Hamlet in the Nordic countries, Elli Tompuri (1880–1962). Early in her career Tompuri made a name for herself at the Finnish National Theatre, but later, in part due to her radical politics, was unable to find permanent employment at any established theatre so she began touring with her own company, putting on Hamlet in 1913. The article traces Tompuri's inspirations and thoughts about the play, before analysing the major themes raised in the reviews. On one hand, reviewers noted with some pride the national significance of the first female Hamlet. On the other hand, Tompuri's status as a New Woman, an actor-director-manager making her own way, generated a wide range of opinions, from outrage that a woman would attempt the part to admiration of Tompuri's genius and intelligence, often within a single review.
{"title":"Elli Tompuri's Female Hamlet, 1913","authors":"Nely Keinänen","doi":"10.3167/cs.2023.350405","DOIUrl":"https://doi.org/10.3167/cs.2023.350405","url":null,"abstract":"\u0000This article analyses the first female Hamlet in the Nordic countries, Elli Tompuri (1880–1962). Early in her career Tompuri made a name for herself at the Finnish National Theatre, but later, in part due to her radical politics, was unable to find permanent employment at any established theatre so she began touring with her own company, putting on Hamlet in 1913. The article traces Tompuri's inspirations and thoughts about the play, before analysing the major themes raised in the reviews. On one hand, reviewers noted with some pride the national significance of the first female Hamlet. On the other hand, Tompuri's status as a New Woman, an actor-director-manager making her own way, generated a wide range of opinions, from outrage that a woman would attempt the part to admiration of Tompuri's genius and intelligence, often within a single review.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138617152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The protagonist of Jenny Andreasson's autobiographical novel Teatern (2022) is a young female director whose feminist production of Hamlet at the Swedish national stage fails to have its planned premiere. While the novel makes a point of describing the misogynist structures behind this failure, the present article suggests that class structures and precarity are the main reasons behind it. The financial difficulties of the theatre generate a clear discrepancy between cultural capital – embodied by Shakespeare's canonical play – and economic. The resulting precarious work situation is reflected in the protagonist's yearning for stability, in her recurring assertions of class privileges vis-à-vis her co-workers and in her increasing sense of alienation from both them and her own work. While not strictly paraphrasing Shakespeare's play, the protagonist invokes parallels to both Hamlet and Ophelia, and Teatern, instead of locating these parallels in an ‘existential’ reading of Shakespeare's play, anchors the theme of alienation in the economic and social strictures of the theatre institution.
{"title":"Alienating Hamlet","authors":"Per Sivefors","doi":"10.3167/cs.2023.350404","DOIUrl":"https://doi.org/10.3167/cs.2023.350404","url":null,"abstract":"\u0000The protagonist of Jenny Andreasson's autobiographical novel Teatern (2022) is a young female director whose feminist production of Hamlet at the Swedish national stage fails to have its planned premiere. While the novel makes a point of describing the misogynist structures behind this failure, the present article suggests that class structures and precarity are the main reasons behind it. The financial difficulties of the theatre generate a clear discrepancy between cultural capital – embodied by Shakespeare's canonical play – and economic. The resulting precarious work situation is reflected in the protagonist's yearning for stability, in her recurring assertions of class privileges vis-à-vis her co-workers and in her increasing sense of alienation from both them and her own work. While not strictly paraphrasing Shakespeare's play, the protagonist invokes parallels to both Hamlet and Ophelia, and Teatern, instead of locating these parallels in an ‘existential’ reading of Shakespeare's play, anchors the theme of alienation in the economic and social strictures of the theatre institution.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138615306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.
哈姆雷特以一个问题开场——“谁在那儿?”——埃尔西诺城堡的一个哨兵问。在瑞典地区剧院公司Västanå Teater 1996年对该剧的改编中，这个问题不断出现，并成为该作品关注政治权力不确定且看似神秘的运动的象征。本文探讨了情节和文本的变化如何与各种形式的风格化一起呈现一个社会，在这个社会中，阶级、年龄和性别的严格等级制度与马基雅维利式的腐败和戏剧般的表象相互作用。从几个传统和文化(挪威/北欧、冰岛、东亚、意大利/欧洲)中借鉴了本土化的美学表达，改编了《哈姆雷特》，以表达当地的关切，同时突出了剧中的主题和问题。
{"title":"Västanå Teater's 1996 Hamlet","authors":"Anna Swärdh","doi":"10.3167/cs.2023.350403","DOIUrl":"https://doi.org/10.3167/cs.2023.350403","url":null,"abstract":"\u0000Hamlet opens on a question – ‘Who's there?’ – asked by a sentinel of Elsinore Castle. In the Swedish regional theatre company Västanå Teater's 1996 adaptation of the play, the question kept returning, and it became symbolic of the production's focus on the uncertain and seemingly mysterious movements of political power. This article explores how changes to plot and text worked together with various forms of stylisation to present a society in which strict hierarchies of class, age and gender operated in tenson with Machiavellian corruption and theatrical seeming. Borrowing localised aesthetic expressions from several traditions and cultures (Norwegian/Nordic, Icelandic, East-Asian, Italian/European), the production adapted Hamlet to speak to local concerns, while simultaneously highlighting themes and issues present in the play.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138615640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shakespeare's Hamlet has been retold in children's versions several times in Sweden in recent years. It was the subject of the first episode of the children's television programme På teatern [At the Theatre], written and directed by Christina Nilsson for SVT in 2001–2002, where Shakespearean actors meet their child or grandchild backstage after a performance to tell and partly enact the story of the play. In 2005–2006, Lotta Grut wrote the plays Lille Hamlett och spöket [Little Hamlett and the Ghost] and Offelia kom igen! [Offelia Come Again!] for the theatre company Unga Roma. In these fairy-tale versions, the children Hamlet and Ophelia are confronted with death, grief, anger, oppression and erasure. This article argues that the På teatern episode is an adaptation of Hamlet while Grut's two plays are appropriations.
{"title":"‘|Y]oung Hamlet’","authors":"Mette Hildeman Sjölin","doi":"10.3167/cs.2023.350407","DOIUrl":"https://doi.org/10.3167/cs.2023.350407","url":null,"abstract":"\u0000Shakespeare's Hamlet has been retold in children's versions several times in Sweden in recent years. It was the subject of the first episode of the children's television programme På teatern [At the Theatre], written and directed by Christina Nilsson for SVT in 2001–2002, where Shakespearean actors meet their child or grandchild backstage after a performance to tell and partly enact the story of the play. In 2005–2006, Lotta Grut wrote the plays Lille Hamlett och spöket [Little Hamlett and the Ghost] and Offelia kom igen! [Offelia Come Again!] for the theatre company Unga Roma. In these fairy-tale versions, the children Hamlet and Ophelia are confronted with death, grief, anger, oppression and erasure. This article argues that the På teatern episode is an adaptation of Hamlet while Grut's two plays are appropriations.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138617438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society.
{"title":"Carol Ann Duffy's ‘Standing Female Nude’","authors":"Adel Sliti","doi":"10.3167/cs.2023.350301","DOIUrl":"https://doi.org/10.3167/cs.2023.350301","url":null,"abstract":"\u0000The present article addresses the evocative potential of posing nude in Carol Ann Duffy's poem ‘Standing Female Nude’. My assumption is that the posing model/prostitute displays two bodies: the physical body and the signifying body. The interplay between both bodies triggers a process of signification whereby art is not simply a studio production but a meta-frame encapsulating a reflection on society, culture, self-representation and politics of identity. The poem substantiates the poet's experimental method of writing which draws on nude art genre, the dramatic monologue, theatre and metafiction. What the posing female nude recounts is not just experience of posing nude in a studio, but reflections on her body as a posing model and as a writing model or a narrative imbricating in its texture cynical comments and attitudes on artistic and socio-cultural values as the female model pokes fun at the reception of artistic work in the bourgeois society.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49509294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents a study of ‘The Rime of the Ancient Mariner’ by Coleridge and ‘Resolution and Independence’ by Wordsworth. The readings are mainly addressed by the philosophy of Emmanuel Levinas and try to present a conception of sublimity which mainly revolves around ethical awareness and sensibility so as to gauge the extent to which they can possibly hint at ethical issues at stake. We propose that these poetic works deal with the other and the sublimity of the encounter between the self and the other. Each of these works offers similar images of the self before the encounter – that of dwelling, self-preoccupation and enjoyment – but the speakers come out of the encounter differently: in ‘The Rime’, the Mariner roams throughout the country and recounts his experience for other ‘others’ in the hope of spreading what he now can probably identify as ‘the Good’; in ‘Resolution and Independence’, the speaker simply comes out of the unsettling and sublime encounter with the leech-gatherer enlightened and mindful of the other. The conclusion is that one significant part of the idea of the sublime in Romanticism deals with irreducible alterities – cosmic/ontic as well as (more importantly) human – and while they ineluctably reduce them to the language of poetry, each treatment can be evaluated by analysing how well they express the ruptures and interstices of alterity within a language which can go beyond language.
{"title":"Ethics, Sublimity and Hospitality","authors":"M. Bidgoli, Pyeaam Abbasi","doi":"10.3167/cs.2023.350304","DOIUrl":"https://doi.org/10.3167/cs.2023.350304","url":null,"abstract":"\u0000This article presents a study of ‘The Rime of the Ancient Mariner’ by Coleridge and ‘Resolution and Independence’ by Wordsworth. The readings are mainly addressed by the philosophy of Emmanuel Levinas and try to present a conception of sublimity which mainly revolves around ethical awareness and sensibility so as to gauge the extent to which they can possibly hint at ethical issues at stake. We propose that these poetic works deal with the other and the sublimity of the encounter between the self and the other. Each of these works offers similar images of the self before the encounter – that of dwelling, self-preoccupation and enjoyment – but the speakers come out of the encounter differently: in ‘The Rime’, the Mariner roams throughout the country and recounts his experience for other ‘others’ in the hope of spreading what he now can probably identify as ‘the Good’; in ‘Resolution and Independence’, the speaker simply comes out of the unsettling and sublime encounter with the leech-gatherer enlightened and mindful of the other. The conclusion is that one significant part of the idea of the sublime in Romanticism deals with irreducible alterities – cosmic/ontic as well as (more importantly) human – and while they ineluctably reduce them to the language of poetry, each treatment can be evaluated by analysing how well they express the ruptures and interstices of alterity within a language which can go beyond language.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47718668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Francis Meres’ 1598 Palladis Tamia, subtitled in English ‘Wit's Treasury’, is a quintessential document in Shakespeare studies. With ten Shakespeare plays already in print anonymously, Meres’ commonplace book for the first time identifies ‘Shakespeare’ as a playwright, and within weeks of Meres’ book, the name ‘Shakespeare’ appears on the second quarto title pages of Richard II and Richard III, transforming ‘anonymous’ into ‘Shakespeare’ in a blink. This article analyses the methods of commonplace book arrangement used by Francis Meres, Master of Arts at both Cambridge and Oxford, to have his private say about Shakespeare. In his 1597 God's Arithmetic, Meres approves the opinion of Pythagoras who wrote over the door of the entrance to his school: ‘Let none enter here that is ignorant in Arithmetic’. The ideas of God's Arithemetic, applied to Palladis Tamia, disclose Meres’ meticulous mastery of erudite humanist design that is the hallmark of his pedagogic method and his ‘post-Stratfordian’ conclusions.
{"title":"Francis Meres Revisited","authors":"R. Stritmatter","doi":"10.3167/cs.2023.350302","DOIUrl":"https://doi.org/10.3167/cs.2023.350302","url":null,"abstract":"\u0000Francis Meres’ 1598 Palladis Tamia, subtitled in English ‘Wit's Treasury’, is a quintessential document in Shakespeare studies. With ten Shakespeare plays already in print anonymously, Meres’ commonplace book for the first time identifies ‘Shakespeare’ as a playwright, and within weeks of Meres’ book, the name ‘Shakespeare’ appears on the second quarto title pages of Richard II and Richard III, transforming ‘anonymous’ into ‘Shakespeare’ in a blink. This article analyses the methods of commonplace book arrangement used by Francis Meres, Master of Arts at both Cambridge and Oxford, to have his private say about Shakespeare. In his 1597 God's Arithmetic, Meres approves the opinion of Pythagoras who wrote over the door of the entrance to his school: ‘Let none enter here that is ignorant in Arithmetic’. The ideas of God's Arithemetic, applied to Palladis Tamia, disclose Meres’ meticulous mastery of erudite humanist design that is the hallmark of his pedagogic method and his ‘post-Stratfordian’ conclusions.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42038067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
William Campbell, the major character of Hemingway's ‘A Pursuit Race’, fails to hold the lead, gets off his symbolic bike and barricades himself under a sheet in a hotel room, from beneath which he oozes his paranoid discourse of madness. This unexpected stoppage of an advance man for a burlesque show entails a profound distortion of the harmonious pattern of motion and immobility. Immersed in the paranoid, manoeuvring between the reasonable and the schizophrenic, Campbell resembles the Nietzschean rope-dancer, who improvises the present in his dramatic performance that starts anew with every fall. The major aim of this article is to analyse the paranoid condition of Hemingway's subject-in-madness through the prism of Deleuze and Guattari's concept of a desiring-machine as well as the Foucauldian perspective on insanity. The analysis will be carried out with reference to Hemingway's notion of ‘balance under pressure’, and the improvisational aspect of paranoid and non-reasonable.
{"title":"On the Verge of the Here and Now","authors":"Klaudia Borkiewicz","doi":"10.3167/cs.2023.350305","DOIUrl":"https://doi.org/10.3167/cs.2023.350305","url":null,"abstract":"\u0000William Campbell, the major character of Hemingway's ‘A Pursuit Race’, fails to hold the lead, gets off his symbolic bike and barricades himself under a sheet in a hotel room, from beneath which he oozes his paranoid discourse of madness. This unexpected stoppage of an advance man for a burlesque show entails a profound distortion of the harmonious pattern of motion and immobility. Immersed in the paranoid, manoeuvring between the reasonable and the schizophrenic, Campbell resembles the Nietzschean rope-dancer, who improvises the present in his dramatic performance that starts anew with every fall. The major aim of this article is to analyse the paranoid condition of Hemingway's subject-in-madness through the prism of Deleuze and Guattari's concept of a desiring-machine as well as the Foucauldian perspective on insanity. The analysis will be carried out with reference to Hemingway's notion of ‘balance under pressure’, and the improvisational aspect of paranoid and non-reasonable.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41638320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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