1,720,979 research outputs found
Beyond Myth: The Memory of Queen Elizabeth in Shakespeare's 'The Winter's Tale'
No full textSince her death in 1603, Queen Elizabeth I has been remembered in ways that increasingly depart from history. Soon after James I was enthroned, mythical representations of Elizabeth – the warrior queen epitomizing chastity and national glory – were revived in popular recollections and literary eulogies, while the more controversial aspects of her reign were being partly repressed. Shakespeare’s treatment of Elizabeth’s legacy in his Jacobean plays was however different from most of his contemporaries’. Albeit drawing from the renowned androgynous representations and virginal imagery of the Queen – Shakespeare’s feminine roles do not celebrate the mythologized memory of Elizabeth as an imperishable model of sovereignty. On the contrary, they feed on the paradoxes of her femininity, thereby retrieving the whole complexity and contradictoriness of the Virgin Queen’s myth. My paper intends to address Shakespeare’s idiosyncratic recasting of Elizabeth’s myth through an insight into the articulation of gender roles in The Winter’s Tale. As it bears nuanced traces of the lost Queen, such a reshaping of femininity – I argue – polemically targets the widely contested rule of the present King in line with widespread discontent
Poor Tom and the linguistic performance of monstrosity in King Lear
No full textEdgar’s disguise in King Lear draws upon a popular early modern figure, the Bedlam
beggar. This article argues that Poor Tom transcends the cultural representations of the
Bedlamites, inasmuch as his liminality and otherness turn him into a monstrous creature.
Tom’s monstrosity emerges from his language rather than his appearance or actions.
Close readings reveal how the fashioning of Tom in 2.2 is anticipated by Edmund’s and
Gloucester’s words, which foretell the metaphorical self-birth whereby Edgar delivers
his own monstrous alter ego through language, in a multifaceted linguistic performance
made of overlapping voices that are monstrous in structure and content.Le d ́eguisement d’Edgar dans Le Roi Lear s’inspire d’une figure populaire de la premi`ere
modernit ́e, le mendiant de Bedlam. Cet article d ́emontre que le Pauvre Tom transcende
les repr ́esentations culturelles des Bedlamites, dans la mesure o`u sa liminalit ́e et son
alt ́erit ́e le transforment en une cr ́eature monstrueuse. La monstruosit ́e de Tom se
manifeste dans son langage plut ˆ ot que dans son apparence ou ses actions. Une lecture
attentive fait apparaˆıtre que les paroles d’Edmund et de Gloucester anticipent le
fac ̧onnement de Tom `a l’acte 2 sc`ene 2, annonc ̧ant l’auto-engendrement m ́etaphorique
par lequel Edgar met au monde son alter ego monstrueux `a travers le langage, dans une
performance linguistique polymorphe compos ́ee de voix superpos ́ees, monstrueuses
par leur structure et leur contenu
Elizabeth B. Bearden, Monstrous Kinds: Body, Space, and Narrative in Renaissance Representations of Disability
No full textReview: Shakespearean Celebrity in the Digital Age: Fan Cultures and Remediation, Anna Blackwell (2018)
No full textBlending Motherhoods: Volumnia and the Representation of Maternity in William Shakespeare’s Coriolanus
No full text
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
- …
