Though post-9/11 metapoetry effectively represents the critical reality of 9/11, there has been no concerted scholarly study of this subgenre of poetry so far. In this article, I wish to examine three post-9/11 metapoems to attain a bipartite aim. First, I want to demonstrate that, through a much more sophisticated metapoetic subjectivity than is found in many ‘belated’ post-9/11 poems, these three poems enact the crisis of language and the difficulty of representing 9/11. Second, I would like to formulate a theory of post-9/11 metapoetry based on the analysis of these poems and the consciousness of their twentieth-century counterparts to indicate a new aesthetic stage in the representation of crisis in metapoems. My article conveys the ultimate message that post-9/11 metapoetry overcomes the crisis of representation in a way that transcends the particular event of 9/11 and becomes a general aesthetic mode of speaking the unspeakable in the face of any ineffable traumatic experience.
{"title":"‘To Say What Could Not Be Said’","authors":"Joydeep Chakraborty","doi":"10.3167/cs.2023.350306","DOIUrl":"https://doi.org/10.3167/cs.2023.350306","url":null,"abstract":"\u0000Though post-9/11 metapoetry effectively represents the critical reality of 9/11, there has been no concerted scholarly study of this subgenre of poetry so far. In this article, I wish to examine three post-9/11 metapoems to attain a bipartite aim. First, I want to demonstrate that, through a much more sophisticated metapoetic subjectivity than is found in many ‘belated’ post-9/11 poems, these three poems enact the crisis of language and the difficulty of representing 9/11. Second, I would like to formulate a theory of post-9/11 metapoetry based on the analysis of these poems and the consciousness of their twentieth-century counterparts to indicate a new aesthetic stage in the representation of crisis in metapoems. My article conveys the ultimate message that post-9/11 metapoetry overcomes the crisis of representation in a way that transcends the particular event of 9/11 and becomes a general aesthetic mode of speaking the unspeakable in the face of any ineffable traumatic experience.","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":"48789971","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}
Drawing on the consequences of violence that ensued from the outbreak of conflict in Syria against the background of the 2011 uprising, this article examines the traumatic effects of the Arab Spring among Syrian refugees and war survivors in the two novels An Unsafe Haven (2016) by Nada Jarrar and The Frightened Ones (2020) by Dima Wannous. It dwells upon various types of trauma, focusing on the problem of displacement, individual plights and the war dilemma. Wannous’ and Jarrar's narratives are concerned with the agonies experienced by refugees and war survivors, especially women. Traumatic incidents that refugees and war survivors encounter in their home countries include interpersonal violence, sexual violence, life-threatening accidents, witnessing the murder of loved ones, and torture. A descriptive and analytical method is followed in conducting the study relying on the two texts as primary sources and critical literature produced on them and the main issues discussed as secondary sources.
{"title":"Trauma in Nada Jarrar's An Unsafe Haven (2016) and Dima Wannous’ The Frightened Ones (2020)","authors":"Khawla Al Ziod, Fuad Abdul Muttaleb","doi":"10.3167/cs.2023.350303","DOIUrl":"https://doi.org/10.3167/cs.2023.350303","url":null,"abstract":"\u0000Drawing on the consequences of violence that ensued from the outbreak of conflict in Syria against the background of the 2011 uprising, this article examines the traumatic effects of the Arab Spring among Syrian refugees and war survivors in the two novels An Unsafe Haven (2016) by Nada Jarrar and The Frightened Ones (2020) by Dima Wannous. It dwells upon various types of trauma, focusing on the problem of displacement, individual plights and the war dilemma. Wannous’ and Jarrar's narratives are concerned with the agonies experienced by refugees and war survivors, especially women. Traumatic incidents that refugees and war survivors encounter in their home countries include interpersonal violence, sexual violence, life-threatening accidents, witnessing the murder of loved ones, and torture. A descriptive and analytical method is followed in conducting the study relying on the two texts as primary sources and critical literature produced on them and the main issues discussed as secondary sources.","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":"47444122","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 special issue aims to participate in the ‘turn to religion’ experienced by Shakespearean scholarship in the last few decades by delving into an undeveloped field of research within the area of Shakespeare studies: the author's religious afterlives.1 By focusing on specific case studies, we propose to analyse how the author and his work have been used to illustrate and support theological and educational concepts; translated considering the implications of biblical intertextuality; variously recreated in religious terms and in different religious contexts; and taught from religious and spiritual standpoints.
{"title":"Introduction","authors":"M. Cerezo","doi":"10.3167/cs.2023.350201","DOIUrl":"https://doi.org/10.3167/cs.2023.350201","url":null,"abstract":"This special issue aims to participate in the ‘turn to religion’ experienced by Shakespearean scholarship in the last few decades by delving into an undeveloped field of research within the area of Shakespeare studies: the author's religious afterlives.1 By focusing on specific case studies, we propose to analyse how the author and his work have been used to illustrate and support theological and educational concepts; translated considering the implications of biblical intertextuality; variously recreated in religious terms and in different religious contexts; and taught from religious and spiritual standpoints.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43676928","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 focuses on the omnipresent religiosity that permeates Baz Luhrmann's Romeo + Juliet (1996). The film creates an unconventional combination of a dystopian world – where violence, love, wealth and Catholicism are closely intertwined – and keenly focuses on the Capulets’ and the Montagues’ troubling relationship with religion. Drawing on previous studies by critics such as Christopher Baker, James N. Loehlin and Alan Hager, this article deals, first, with the various ways in which Luhrmann shows transgressions of Catholic faith and practices; second, how his film transgresses the original source text in religious terms; and third, how these transgressions also relate to a spiritual journey towards reconciliation.
{"title":"Transgressive Catholicism","authors":"Olivia Coulomb","doi":"10.3167/cs.2023.350205","DOIUrl":"https://doi.org/10.3167/cs.2023.350205","url":null,"abstract":"\u0000This article focuses on the omnipresent religiosity that permeates Baz Luhrmann's Romeo + Juliet (1996). The film creates an unconventional combination of a dystopian world – where violence, love, wealth and Catholicism are closely intertwined – and keenly focuses on the Capulets’ and the Montagues’ troubling relationship with religion. Drawing on previous studies by critics such as Christopher Baker, James N. Loehlin and Alan Hager, this article deals, first, with the various ways in which Luhrmann shows transgressions of Catholic faith and practices; second, how his film transgresses the original source text in religious terms; and third, how these transgressions also relate to a spiritual journey towards reconciliation.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45706762","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}
Intertextuality is paramount in literary translation. This article studies the biblical composite permeating the second scene of the third act of Shakespeare's Richard II. It focuses on how Shakespeare's use of the scriptural concepts of kingship is transposed into Spanish by the most widely read translators of these plays. Special attention is paid to the way Shakespeare represents kingship in Richard II by quoting from the Bible. The methodology employed in this intertextual comparison involves a comparative analysis of the transposition component in both the source and the receiving intertext (the Spanish version of the text). The conclusions aim to encourage greater attention to be paid to intertextuality in the practice of translation, particularly after comparing the strengths and weaknesses of the five Spanish translations compared in this article.
{"title":"‘Our golden crown’","authors":"Luis Javier Conejero-Magro","doi":"10.3167/cs.2023.350203","DOIUrl":"https://doi.org/10.3167/cs.2023.350203","url":null,"abstract":"\u0000Intertextuality is paramount in literary translation. This article studies the biblical composite permeating the second scene of the third act of Shakespeare's Richard II. It focuses on how Shakespeare's use of the scriptural concepts of kingship is transposed into Spanish by the most widely read translators of these plays. Special attention is paid to the way Shakespeare represents kingship in Richard II by quoting from the Bible. The methodology employed in this intertextual comparison involves a comparative analysis of the transposition component in both the source and the receiving intertext (the Spanish version of the text). The conclusions aim to encourage greater attention to be paid to intertextuality in the practice of translation, particularly after comparing the strengths and weaknesses of the five Spanish translations compared in this article.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47761660","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 examines how S. Ansky's 1918 play The Dybbuk, or Between Two Worlds and its subsequent adaptations on stage and screen appropriate Romeo and Juliet, transforming Shakespeare's tragedy, through Kabbalah and Jewish folklore, into one that ‘repairs’ the story of star-crossed lovers and the material world that they seek to escape. The Dybbuk is a ‘reparative tragedy’, one that intersects multiple levels of restoration, healing and repair. Generically, the play and its later stage and screen adaptations recuperate and refigure Shakespeare's tragedy; materially, it calls for the repair of past and impending trauma, suffering and severed human relationships. These levels, as well as others, culminate in the play's overriding spiritual one: the play follows the ‘reparative’ narrative of Kabbalah itself, with its goal of tikkun olam – to repair the world.
这篇文章探讨了S.Ansky 1918年的戏剧《两个世界之间》（The Dybbuk，或Between Two Worlds）及其随后在舞台和银幕上的改编作品，通过卡巴拉和犹太民间传说，将莎士比亚的悲剧转变为一个“修复”跨星恋人和他们试图逃离的物质世界的故事。Dybbuk是一场“修复性悲剧”，它涉及修复、治愈和修复的多个层面。总体而言，该剧及其后期舞台和银幕改编作品恢复并重塑了莎士比亚的悲剧；在物质上，它要求修复过去和即将到来的创伤、痛苦和断绝的人际关系。这些层面，以及其他层面，最终形成了该剧压倒一切的精神层面：该剧遵循卡巴拉本身的“修复性”叙事，其目标是修复世界。
{"title":"Between Two Worlds","authors":"Lisa S. Starks","doi":"10.3167/cs.2023.350204","DOIUrl":"https://doi.org/10.3167/cs.2023.350204","url":null,"abstract":"\u0000This article examines how S. Ansky's 1918 play The Dybbuk, or Between Two Worlds and its subsequent adaptations on stage and screen appropriate Romeo and Juliet, transforming Shakespeare's tragedy, through Kabbalah and Jewish folklore, into one that ‘repairs’ the story of star-crossed lovers and the material world that they seek to escape. The Dybbuk is a ‘reparative tragedy’, one that intersects multiple levels of restoration, healing and repair. Generically, the play and its later stage and screen adaptations recuperate and refigure Shakespeare's tragedy; materially, it calls for the repair of past and impending trauma, suffering and severed human relationships. These levels, as well as others, culminate in the play's overriding spiritual one: the play follows the ‘reparative’ narrative of Kabbalah itself, with its goal of tikkun olam – to repair the world.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49171044","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}
Justin Kurzel's Macbeth (2015) reflects the religious intertextuality that permeates cultural debates about gender underlying Shakespeare's text. The aim of this article is to determine the extent to which Kurzel's cinematic text challenges or conforms to medieval and early modern gender construals in its attempt to allegedly rewrite and redeem Lady Macbeth by articulating hegemonic Christian and Pagan discourses on womanhood, femininity and (dis)embodiment. In this context, Julian of Norwich's theology, especially her conception of ‘divine motherhood’ and sin, is key to assess the film's concern with atoning Lady Macbeth for her transgressions through its depiction of her haunting motherhood, which is presented as the origin of her grief and guilt as well as her road to penitence and redemption.
{"title":"Redeeming Lady Macbeth","authors":"Marta Bernabeu","doi":"10.3167/cs.2023.350206","DOIUrl":"https://doi.org/10.3167/cs.2023.350206","url":null,"abstract":"\u0000Justin Kurzel's Macbeth (2015) reflects the religious intertextuality that permeates cultural debates about gender underlying Shakespeare's text. The aim of this article is to determine the extent to which Kurzel's cinematic text challenges or conforms to medieval and early modern gender construals in its attempt to allegedly rewrite and redeem Lady Macbeth by articulating hegemonic Christian and Pagan discourses on womanhood, femininity and (dis)embodiment. In this context, Julian of Norwich's theology, especially her conception of ‘divine motherhood’ and sin, is key to assess the film's concern with atoning Lady Macbeth for her transgressions through its depiction of her haunting motherhood, which is presented as the origin of her grief and guilt as well as her road to penitence and redemption.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43319908","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}
What can Buddhism offer contemporary religious understandings of King Lear? Shakespeare's great wisdom play has been viewed, more often than not, as pessimistic, even nihilistic, in its tragic rendering of the human condition. A Buddhist perspective challenges the premises of such a bleak reading by offering profound insight into how suffering gives rise to compassion, empathy and wisdom, rather than despair. Focusing particularly on the enigmatic spirituality and moral function of Edgar, this article illuminates his character through the revered teachings of a classic Indian text of Mahāyāna Buddhism, Shāntideva's Way of the Bodhisattva. Edgar appears in the heroic light of a bodhisattva, an enlightened being who seeks to alleviate the suffering of others. His journey exemplifies the human potential for moral transformation, selflessness and universal love in his responsiveness to the suffering of others who wander in a saṃsāric world of ignorance, attachment and aversion.
{"title":"The Way of the Bodhisattva","authors":"M. Tassi","doi":"10.3167/cs.2023.350207","DOIUrl":"https://doi.org/10.3167/cs.2023.350207","url":null,"abstract":"\u0000What can Buddhism offer contemporary religious understandings of King Lear? Shakespeare's great wisdom play has been viewed, more often than not, as pessimistic, even nihilistic, in its tragic rendering of the human condition. A Buddhist perspective challenges the premises of such a bleak reading by offering profound insight into how suffering gives rise to compassion, empathy and wisdom, rather than despair. Focusing particularly on the enigmatic spirituality and moral function of Edgar, this article illuminates his character through the revered teachings of a classic Indian text of Mahāyāna Buddhism, Shāntideva's Way of the Bodhisattva. Edgar appears in the heroic light of a bodhisattva, an enlightened being who seeks to alleviate the suffering of others. His journey exemplifies the human potential for moral transformation, selflessness and universal love in his responsiveness to the suffering of others who wander in a saṃsāric world of ignorance, attachment and aversion.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47220078","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}
SETTING: We are in a classroom at UM-Flint. The teacher is lecturing about Shakespeare and the discussion turns to the current economic situation and living conditions in Flint, MI.
{"title":"Lear Reassembled","authors":"M. Kietzman","doi":"10.3167/cs.2023.350209","DOIUrl":"https://doi.org/10.3167/cs.2023.350209","url":null,"abstract":"SETTING: We are in a classroom at UM-Flint. The teacher is lecturing about Shakespeare and the discussion turns to the current economic situation and living conditions in Flint, MI.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48513444","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 argues that three Swedish translators of Shakespeare, Olof Bjurbäck (1750–1829), Johan Henrik Thomander (1798–1865) and Carl August Hagberg (1810–1864), understood their tasks in relation to what they saw as fundamental religious, specifically Protestant, precepts. All three were either bishops in the state church or came from a family of clerics (Hagberg). While Bjurbäck's prose translation of Hamlet (1820) owes its religious background to Rousseau and Luther, the later Thomander insisted on faithfulness to the original yet also emphasising the centrality of secular works in Christian instruction, and Hagberg owes a debt to the Protestant notion of going ad fontes. In short, rather than constructing a narrative of secularisation around the three translators, this article concludes that Protestant ideology, while itself changing, remained important to understand their work.
{"title":"Sweden and Shakespeare's Protestant Afterlife","authors":"Per Sivefors","doi":"10.3167/cs.2023.350202","DOIUrl":"https://doi.org/10.3167/cs.2023.350202","url":null,"abstract":"\u0000This article argues that three Swedish translators of Shakespeare, Olof Bjurbäck (1750–1829), Johan Henrik Thomander (1798–1865) and Carl August Hagberg (1810–1864), understood their tasks in relation to what they saw as fundamental religious, specifically Protestant, precepts. All three were either bishops in the state church or came from a family of clerics (Hagberg). While Bjurbäck's prose translation of Hamlet (1820) owes its religious background to Rousseau and Luther, the later Thomander insisted on faithfulness to the original yet also emphasising the centrality of secular works in Christian instruction, and Hagberg owes a debt to the Protestant notion of going ad fontes. In short, rather than constructing a narrative of secularisation around the three translators, this article concludes that Protestant ideology, while itself changing, remained important to understand their work.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44057600","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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