Adaptations of Shakespeare’s Roman plays have frequently addressed political topics at the time of their production. As a result, Shakespeare’s Rome, already a site of political conflict and power struggle, has found different and at times opposing significations in its new contexts. The present study is set to explore how two recent adaptations of the Roman plays in Iran, There Will Be Blood (2019, based on Titus Andronicus) and Coriolanus (2019 and 2020), have situated Shakespeare’s texts in Iran’s contemporary political context. The study argues that Shakespeare’s Roman plays have created a platform for Iranian theatre directors to address the political issues and debates in Iran, a country in which it is extremely difficult to produce a political play. Jürgen Habermas’s idea of legitimation crisis and Ernesto Laclau’s concept of the empty signifier underpin the analysis of the adaptations.
{"title":"Titus and Coriolanus in Tehran","authors":"M. Javanian","doi":"10.3167/cs.2022.340408","DOIUrl":"https://doi.org/10.3167/cs.2022.340408","url":null,"abstract":"Adaptations of Shakespeare’s Roman plays have frequently addressed political topics at the time of their production. As a result, Shakespeare’s Rome, already a site of political conflict and power struggle, has found different and at times opposing significations in its new contexts. The present study is set to explore how two recent adaptations of the Roman plays in Iran, There Will Be Blood (2019, based on Titus Andronicus) and Coriolanus (2019 and 2020), have situated Shakespeare’s texts in Iran’s contemporary political context. The study argues that Shakespeare’s Roman plays have created a platform for Iranian theatre directors to address the political issues and debates in Iran, a country in which it is extremely difficult to produce a political play. Jürgen Habermas’s idea of legitimation crisis and Ernesto Laclau’s concept of the empty signifier underpin the analysis of the adaptations.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48568406","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 explores the chaotic violence in Nathaniel Lee’s tragedies, which, while clearly originating in the sovereign, by its sheer excess and blindness, is hypostasised as a motor of history. In Lee, violence is a reflection of the political anxieties surrounding the Exclusion Crisis but it is also intrinsic to the way he understands the nature of political life; in reality, it is constitutive of the very exercise of power. Drawing on Giorgio Agamben’s Homo Sacer I argue that sovereign violence is inscribed in a most savage form as the very foundation of the civil community, and, therefore, its autonomisation, as in Lee’s early plays, is only apparent. In Lucius Junius Brutus: Father of His Country (1680) the extreme sovereign assault on human life fully discloses its politically defined character because it is emblematically performed in the name of the institution of a new body politic, the Republic.
{"title":"Nathaniel Lee’s Politics of Sovereignty","authors":"Aspasia Velissariou","doi":"10.3167/cs.2022.340409","DOIUrl":"https://doi.org/10.3167/cs.2022.340409","url":null,"abstract":"This article explores the chaotic violence in Nathaniel Lee’s tragedies, which, while clearly originating in the sovereign, by its sheer excess and blindness, is hypostasised as a motor of history. In Lee, violence is a reflection of the political anxieties surrounding the Exclusion Crisis but it is also intrinsic to the way he understands the nature of political life; in reality, it is constitutive of the very exercise of power. Drawing on Giorgio Agamben’s Homo Sacer I argue that sovereign violence is inscribed in a most savage form as the very foundation of the civil community, and, therefore, its autonomisation, as in Lee’s early plays, is only apparent. In Lucius Junius Brutus: Father of His Country (1680) the extreme sovereign assault on human life fully discloses its politically defined character because it is emblematically performed in the name of the institution of a new body politic, the Republic.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46072706","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 interest in ancient Rome spans the whole of his dramatic career, from Titus Andronicus to Cymbeline, while Roman history and Latin culture permeate the whole of his work, well beyond the explicitly ‘Roman’ plays and poems. Critical interest has to some extent shifted from the historicist Roman plays based on Plutarch, Julius Caesar and Antony and Cleopatra, and the pseudo-historical Coriolanus, to the outlying Roman plays that evidence greater generic diversity and stylistic innovation, the early Senecan tragedy Titus Andronicus and the late ‘British’ romance Cymbeline. In these latter plays, the complex interactions between past and present, that are the main subject of the formal histories, are presented with even more aesthetic flexibility and creative improvisation than the ‘Roman plays’ proper.
{"title":"Editorial","authors":"G. Holderness","doi":"10.3167/cs.2022.340401","DOIUrl":"https://doi.org/10.3167/cs.2022.340401","url":null,"abstract":"Shakespeare’s interest in ancient Rome spans the whole of his dramatic career, from Titus Andronicus to Cymbeline, while Roman history and Latin culture permeate the whole of his work, well beyond the explicitly ‘Roman’ plays and poems. Critical interest has to some extent shifted from the historicist Roman plays based on Plutarch, Julius Caesar and Antony and Cleopatra, and the pseudo-historical Coriolanus, to the outlying Roman plays that evidence greater generic diversity and stylistic innovation, the early Senecan tragedy Titus Andronicus and the late ‘British’ romance Cymbeline. In these latter plays, the complex interactions between past and present, that are the main subject of the formal histories, are presented with even more aesthetic flexibility and creative improvisation than the ‘Roman plays’ proper.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47189721","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}
In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the same time real events can take on the complexion of a mere fantasy repetition, in Hamlet’s words ‘a fiction, a dream of passion’ (3.2.179). Pieced together, this continual evocation of literary, dramatic and poetic precedent constitutes a vision of Rome which is explicitly identified as an aesthetically crafted fantasy for oral narration and dramatisation on the early modern stage.
{"title":"‘Our Troy, our Rome’","authors":"G. Holderness","doi":"10.3167/cs.2022.340406","DOIUrl":"https://doi.org/10.3167/cs.2022.340406","url":null,"abstract":"In Titus Andronicus, the many classical literary sources of the play function as templates for its events, as if the tragedy had already been anachronistically pre-written by poets of the Augustan era. The literature of the past, like history, serves, in Titus’s own words, as ‘a pattern, precedent and lively warrant’ (5.3.57) for present action and behaviour. When literature and drama appear to become the basis and precedent for human experience, then there is a two-way process of consolidation and de-realisation. Dramatic and poetic literature can start to look more like history; but at the same time real events can take on the complexion of a mere fantasy repetition, in Hamlet’s words ‘a fiction, a dream of passion’ (3.2.179). Pieced together, this continual evocation of literary, dramatic and poetic precedent constitutes a vision of Rome which is explicitly identified as an aesthetically crafted fantasy for oral narration and dramatisation on the early modern stage.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45303103","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 study applies Tarasti’s existential semiotics, arguing that the protagonist of Shakespeare’s Coriolanus (c. 1608) develops into a becoming subject through transcendental acts of negation and affirmation. First, Coriolanus discovers himself amidst Dasein’s objective signs. Coriolanus is then thrown into negation as experiencing humiliation, when his already-established ascendency to consulship is destroyed by conspiracy. His movement, however, persists and follows affirmation, whereby he finds a supra-individual signification. Furthermore, the study portrays, through Z-model, subjectivity phases leading Coriolanus from M1 to S1. It reasons that Coriolanus’s mother, Volumnia, as a transcendental idea or pre-sign, intrudes into the Dasein of the whole of Rome, becoming ‘actualised’ as an act-sign, precluding Coriolanus’s war against Rome through her speech and prostration. Besides, Volumnia’s impact as a post-sign pertains to Coriolanus’s noble embrace of his death. The article concludes that Coriolanus, through acknowledgement of M(Other)’s opinions, validating his genuine self, eventually emerges as a geno-sign.
{"title":"Reflecting upon Coriolanus as Being-in-and-for-Mother through the Gaze of Existential Semiotics","authors":"Maryamossadat Mousavi, Pyeaam Abbasi","doi":"10.3167/cs.2022.340403","DOIUrl":"https://doi.org/10.3167/cs.2022.340403","url":null,"abstract":"This study applies Tarasti’s existential semiotics, arguing that the protagonist of Shakespeare’s Coriolanus (c. 1608) develops into a becoming subject through transcendental acts of negation and affirmation. First, Coriolanus discovers himself amidst Dasein’s objective signs. Coriolanus is then thrown into negation as experiencing humiliation, when his already-established ascendency to consulship is destroyed by conspiracy. His movement, however, persists and follows affirmation, whereby he finds a supra-individual signification. Furthermore, the study portrays, through Z-model, subjectivity phases leading Coriolanus from M1 to S1. It reasons that Coriolanus’s mother, Volumnia, as a transcendental idea or pre-sign, intrudes into the Dasein of the whole of Rome, becoming ‘actualised’ as an act-sign, precluding Coriolanus’s war against Rome through her speech and prostration. Besides, Volumnia’s impact as a post-sign pertains to Coriolanus’s noble embrace of his death. The article concludes that Coriolanus, through acknowledgement of M(Other)’s opinions, validating his genuine self, eventually emerges as a geno-sign.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46794205","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}
‘Is Antony or we in fault for this?’ Cleopatra asks Enobarbus, who is responsible for the loss at the Battle of Actium. Critics who find Cleopatra guilty take her supposed involvement in decision-making about the battlefield and escape from Actium as evidence of her culpability. Taking into consideration Antony’s strong belief in Fate, this article proposes that Antony tacitly exculpates Cleopatra for his vanquishment in Actium and that Cleopatra’s ‘flight’ is actually a tactical retreat rather than an action performed out of fear. This article also focuses on Cleopatra’s relationship with her servants, which has received almost no critical attention. Drawing on the politeness and the speech act theories, I demonstrate how democratic, humble and grateful Cleopatra is in her treatment of her attendants.
{"title":"The Question of Culpability in Shakespeare’s Antony and Cleopatra","authors":"S. Said","doi":"10.3167/cs.2022.340402","DOIUrl":"https://doi.org/10.3167/cs.2022.340402","url":null,"abstract":"‘Is Antony or we in fault for this?’ Cleopatra asks Enobarbus, who is responsible for the loss at the Battle of Actium. Critics who find Cleopatra guilty take her supposed involvement in decision-making about the battlefield and escape from Actium as evidence of her culpability. Taking into consideration Antony’s strong belief in Fate, this article proposes that Antony tacitly exculpates Cleopatra for his vanquishment in Actium and that Cleopatra’s ‘flight’ is actually a tactical retreat rather than an action performed out of fear. This article also focuses on Cleopatra’s relationship with her servants, which has received almost no critical attention. Drawing on the politeness and the speech act theories, I demonstrate how democratic, humble and grateful Cleopatra is in her treatment of her attendants.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45749919","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 Japanese director Ninagawa Yukio, who directed all four of the Roman plays between 2004 and 2014, noted the challenge he faced in making Shakespeare’s Roman settings accessible for native audiences, his typical strategy being Japanisation. Ninagawa’s Brechtian strategy works two ways in offering audiences a helpful perspective on cultural difference while harnessing Shakespeare’s humanism to the anti-rational energies of his theatre that modernity had earlier suppressed. This article explores the mythopoeic aspect of Ninagawa’s project first in the context of comparative religion and then with an analysis of his Antony and Cleopatra (2011), which was innovative in casting a Japanese-Korean actress from the western Kansai region as Cleopatra against an established Tokyo actor. The polytheism that native Shinto has in common with ancient Roman religion is a significant subtext.
日本导演Ninagawa Yukio在2004年至2014年间执导了这四部罗马戏剧，他指出，在让本土观众能够欣赏莎士比亚的罗马场景方面，他面临着挑战，他的典型策略是日本化。Ninagawa的布莱希特策略有两种方式，一方面为观众提供了一个关于文化差异的有益视角，另一方面利用莎士比亚的人文主义来发挥其戏剧中现代性早期压制的反理性能量。本文首先在比较宗教的背景下探讨了Ninagawa项目的神话方面，然后分析了他的《安东尼与克利奥帕特拉》（Antony and Cleopatra，2011），该作品在选择一位来自关西西部地区的日裔韩国女演员扮演克利奥帕特拉来对抗一位东京知名演员方面具有创新性。本土神道教与古罗马宗教的多神教是一个重要的潜台词。
{"title":"Ninagawa’s Ancient Journeys","authors":"Daniel Gallimore","doi":"10.3167/cs.2022.340407","DOIUrl":"https://doi.org/10.3167/cs.2022.340407","url":null,"abstract":"The Japanese director Ninagawa Yukio, who directed all four of the Roman plays between 2004 and 2014, noted the challenge he faced in making Shakespeare’s Roman settings accessible for native audiences, his typical strategy being Japanisation. Ninagawa’s Brechtian strategy works two ways in offering audiences a helpful perspective on cultural difference while harnessing Shakespeare’s humanism to the anti-rational energies of his theatre that modernity had earlier suppressed. This article explores the mythopoeic aspect of Ninagawa’s project first in the context of comparative religion and then with an analysis of his Antony and Cleopatra (2011), which was innovative in casting a Japanese-Korean actress from the western Kansai region as Cleopatra against an established Tokyo actor. The polytheism that native Shinto has in common with ancient Roman religion is a significant subtext.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43964284","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 offers a reading of the famously problematic scene 5.2 of Antony and Cleopatra, in which Cleopatra prepares to meet her death by the bite of the ‘worm’ (5.2.233–290). In this scene, and this scene alone, the Egyptian asp is called by the Anglo-Saxon term ‘worm’ nine times. Repetition, suggests Frankie Rubinstein, may in Shakespeare be a sign of a pun. Samuel Johnson characterised the homophonic resonance of punning as ‘Shakespeare’s Fatal Cleopatra’, but Rubinstein insists that for Shakespeare ‘“reason, propriety, and truth” were not sacrificed by the Shakespearean “quibble” but emerge from it’. In Antony and Cleopatra, punning is one key linguistic expression of the play’s entwinement with the principles of alchemical transmutation and preference for ‘becoming’ in the ancient dichotomy between being and becoming. As Richard Whalen first proposed in 1991, the ninefold iteration of ‘worm’ in the scene may be a pun on an Aristocratic French name, since the word ‘worm’ in French is Ver.
{"title":"A Kingdom for a Mirth","authors":"R. Stritmatter, Shelly Maycock","doi":"10.3167/cs.2022.340404","DOIUrl":"https://doi.org/10.3167/cs.2022.340404","url":null,"abstract":"This article offers a reading of the famously problematic scene 5.2 of Antony and Cleopatra, in which Cleopatra prepares to meet her death by the bite of the ‘worm’ (5.2.233–290). In this scene, and this scene alone, the Egyptian asp is called by the Anglo-Saxon term ‘worm’ nine times. Repetition, suggests Frankie Rubinstein, may in Shakespeare be a sign of a pun. Samuel Johnson characterised the homophonic resonance of punning as ‘Shakespeare’s Fatal Cleopatra’, but Rubinstein insists that for Shakespeare ‘“reason, propriety, and truth” were not sacrificed by the Shakespearean “quibble” but emerge from it’. In Antony and Cleopatra, punning is one key linguistic expression of the play’s entwinement with the principles of alchemical transmutation and preference for ‘becoming’ in the ancient dichotomy between being and becoming. As Richard Whalen first proposed in 1991, the ninefold iteration of ‘worm’ in the scene may be a pun on an Aristocratic French name, since the word ‘worm’ in French is Ver.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42787417","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 the transformation of the trope of the renegade character in late seventeenth-and early nineteenth-century English drama, as represented by John Dryden’s Don Sebastian (1689) and its adaptation by Frederick Reynolds as The Renegade (1812). Reynolds adopts the trope of Restoration ‘cultural renegade’, or what I call ‘Restoration gone cultural revolutionary protagonist’, to reflect on the military alliance between England of George III and the Oriental Muslims in Egypt in 1801 against their common enemy, Napoleon Bonaparte. The renegade character in the plays of Dryden and Reynolds transcends religious limitations of the negative connotations of betrayal and fosters cross-cultural interactions.
{"title":"The Cultural Transformation of the Trope of the Renegade in Late Seventeenth- and Early Nineteenth-Century English Drama","authors":"Hussein A. Alhawamdeh","doi":"10.3167/cs.2022.340302","DOIUrl":"https://doi.org/10.3167/cs.2022.340302","url":null,"abstract":"This article examines the transformation of the trope of the renegade character in late seventeenth-and early nineteenth-century English drama, as represented by John Dryden’s Don Sebastian (1689) and its adaptation by Frederick Reynolds as The Renegade (1812). Reynolds adopts the trope of Restoration ‘cultural renegade’, or what I call ‘Restoration gone cultural revolutionary protagonist’, to reflect on the military alliance between England of George III and the Oriental Muslims in Egypt in 1801 against their common enemy, Napoleon Bonaparte. The renegade character in the plays of Dryden and Reynolds transcends religious limitations of the negative connotations of betrayal and fosters cross-cultural interactions.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41845786","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}
One of the most remarkable things about Thomas Wyatt’s poetry is how strikingly it tends to be neglected in Renaissance studies. This article focuses on some of Wyatt’s sonnets and muses on why the poet obsesses over time therein. While sonnets are generally said to be about love, Wyatt’s seem to be not only about this overfamiliar notion but also about the notion of time. The poet’s concern about time in his poetry is however not a solo concern, meaning it is not expressed on its own; rather, it is coupled in an astonishing complexity to the poet’s preoccupation with death. Wyatt in fact experienced impending death at an early age in his lifetime due to illness, which, I explain, is precisely what sets off those temporal reflections. Impending death can indeed trigger in one an instant reflection on time in that one becomes more attentive to its value, movement, and transience and feels the urgency to save and get more of it, which is generally called lateness. Wyatt’s poetry being imbued by lateness makes it endemic to a certain kind of style: a late style.
{"title":"‘Besmeared with Sluttish Time’","authors":"M. Madiou","doi":"10.3167/cs.2022.340304","DOIUrl":"https://doi.org/10.3167/cs.2022.340304","url":null,"abstract":"One of the most remarkable things about Thomas Wyatt’s poetry is how strikingly it tends to be neglected in Renaissance studies. This article focuses on some of Wyatt’s sonnets and muses on why the poet obsesses over time therein. While sonnets are generally said to be about love, Wyatt’s seem to be not only about this overfamiliar notion but also about the notion of time. The poet’s concern about time in his poetry is however not a solo concern, meaning it is not expressed on its own; rather, it is coupled in an astonishing complexity to the poet’s preoccupation with death. Wyatt in fact experienced impending death at an early age in his lifetime due to illness, which, I explain, is precisely what sets off those temporal reflections. Impending death can indeed trigger in one an instant reflection on time in that one becomes more attentive to its value, movement, and transience and feels the urgency to save and get more of it, which is generally called lateness. Wyatt’s poetry being imbued by lateness makes it endemic to a certain kind of style: a late style.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43878842","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：