Ever since the discovery of the first quarto of Hamlet (Q1) in 1823, it has generated fierce debate among scholars about its origin. Recently, Terri Bourus has written a powerful book-length argument that Q1 was indeed by Shakespeare, as its title page states, and that he wrote it by 1589. The present article bolsters Bourus’s conclusion with a careful look at its title page claims as well as the literary satires of Thomas Nashe, Gabriel Harvey and Ben Jonson. Specifically, Q1’s title page and apparent allusions to Hamlet in the early 1590s pamphlet war of Nashe and Harvey independently confirm an earlier chronology for the tragedy. Jonson also attributes a line exclusive to Q1 to his caricature of Shakespeare in Every Man Out of His Humor (1600). The evidence suggests Shakespeare had written Q1 much earlier than conventionally assumed and that there was no ‘lost Hamlet’.
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The Authorship and Date of the First Quarto of Hamlet
Nazera Sadiq Wright. 2016. Black Girlhood in the Nineteenth Century. Urbana, University of Illinois Press.
Black girls have a history of resilience. Nazera Sadiq Wright, in Black Girlhood in the Nineteenth Century (2016), analyzes accounts of the experiences of black girls from what she refers to as “youthful” girlhood to the conscious or “prematurely knowing” (44) age of 18. Setting out to recover overlooked accounts of black girlhood during the nineteenth century, a tumultuous epoch of transition for the black community, Wright uses contemporaneous literary and visual texts such as black newspapers, novels, poetry, and journals to reconstruct this lost narrative. By engaging in a close reading of these texts, in which black people, emerging from slavery, communicated with each other about personal and community goals, Wright examines the ways in which the instruction of black girls operated in between the lines of literature to convey codes of conduct to the black community. She argues that with the emergence of literature written by and for black women, the role of the black girl morphed from docile homemaker to resilient heroine for herself and her people. In discussing this more complex role, Wright does not deny that black girls were vulnerable to multiple forms of violence and hurt, but does point to a more nuanced experience. Black Girlhood in the Nineteenth Century is an intervention into the African American literary canon, filling in many of the gaps in the lost history of black girlhood, making it an essential text for those “who care” (22) about black girls as they engage in the process of rewriting and redeeming the narratives of an often-forgotten population.
Player Tested, Shakespeare Approved
The first or ‘bad’ quarto of Hamlet is the subject of much debate. Is it an early version of the play as some scholars suggest? Or is it corrupted memorial reconstruction, a product of ‘fast writing’ transcription, or just a pirated version of the play rushed into print? In this article I posit that the first quarto is indeed a valid text that deserves to be recognised for its unique, unfussy, playable brilliance. That the text provides clues (if one knows how to look), that elucidate answers to many of the questions that productions must contend with. I believe it to be a time-capsule version of sorts that is a product of what the actors truly performed, rather than a celebration of the poet’s aspirationally complex verse.
The controversies triggered by the Netflix adaptation of Jay Asher’s young adult novel Thirteen Reasons Why (2007) have focused on suicide and downplayed discussions of rape as a central plot device. Making use of stereotypical characters (such as the cheerleader and the jock) and archetypal setting (including the high school), 13 Reasons Why delves into the reassuring world of the suburban town; it deals ambiguously with the entwined notions of gender and power encapsulated in the teenpic genre. A detailed analysis of the series indeed reveals that its causative narrative reinforces the rape myth by putting the blame on girls for events that happen to them. In this article I explore the tensions of a TV series that endorses the rape myth through the entertaining frame of the teenpic.
Remembering and Forgetting World War II Indochina
M. Kathryn Edwards and Eric Jennings
This article analyzes the complex memorial stakes of the events that unfolded in French Indochina during World War II. It first considers the wartime years and analyzes the French frameworks for understanding the Vichy period and the Japanese takeover. It then delves into two memorial trends: the rehabilitation of the French resistance in Indochina and the commemoration of victims of the 9 March 1945 Japanese coup. These trends have produced a double elision: the focus on resistance to the Japanese has displaced previous allegiance to Vichy, and the emphasis on the victimhood of the French settler community has overshadowed responsibility for colonial violence.
The post–Great Recession, zombielike resurrection of neoliberalism has taken much of Europe and the United States on a hard-right detour into a twilight zone of populist nationalism, where far-right critiques of the status quo resonate more deeply with the white working class than leftist analyses. As rising fears of cultural eclipse, economic decline, and elite resentment drive the appeal of right-wing nationalists in the United States, Europe, India, and beyond, what role should intellectuals, and especially anthropologists, play in countering the creeping authoritarianism and growing inequality of our times? What kind of leverage can intellectual labor have on social reality? How can intellectuals broaden the boundaries of political possibility so that progressive, transformative collective action becomes imaginable?
“When the purpose at hand begins from the perspective of a philosophy of praxis, that is to say from a motivation to enhance the leverage of radical democratic interventions in history, then the forming of the intellectual problem takes a particular shape.” — Gavin Smith, Intellectuals and (Counter-) Politics: Essays in Historical Realism
This statement frames Gavin Smith’s thoughtful, complex text Intellectuals and (Counter-) Politics: Essays in Historical Realism. Indeed, you could call the book a manual for the forming of a problem from this kind of perspective and with this motivation. To give a comprehensive discussion of how this might happen, Smith brings in a whole range of questions: What is an intellectual? How do intellectuals reach audiences? How are counter-politics situated within time and space, and how should they be studied? By including the domains of intellectuals, political actors, publics, and the constraining tendencies of structure—of “capital’s fierce demands”—in his analysis, while always recognizing the porous and fluctuating boundaries between these domains, Smith (2014: 11) frames the question of activist scholarship and the ongoing historicity of politics in a way that attempts to grasp their changing, tangled, and slippery nature. The result is an immensely rich book that provides a nudge along the path to a complex account of arrangements of capital and political mobilization that it reveals.
Why Q1 Hamlet Matters
This introduction situates the special double issue ‘Canonizing Q1 Hamlet’ in the context of the early publication history of Shakespeare’s tragedy and the recent critical and editorial interest in the first edition. The first edition of Hamlet – often called ‘Q1’, shorthand for ‘first quarto’ – was published in 1603, in what we might regard as the early modern equivalent of a cheap paperback. Q1 Hamlet is becoming increasingly canonical not because there is universal agreement about what it is or what it means, but because more and more Shakespearians agree that it is worth arguing about. If we read or perform it, rather than simply dismissing it (as was done for most of the twentieth century), Q1 makes us think: about performance, book history, Shakespeare’s relationships with his contemporaries, and the shape of his whole career.
Andrew Benjamin and Francesco Borghesi
This special issue arose from a workshop on “Peace and Concord from Plato to Lessing”, organised by the editors and which took place at the University of Sydney on 18 and 19 September 2017. Central to the work of both the editors is the relationship between the concepts of ‘concord’, ‘peace’ and ‘dignity’ within a setting created by a concern with the development of a philological anthropology. Their work combines both intellectual history and philosophy, a combination that is reflected in the contents of the special issue of Theoria. The importance of these terms is that they allow for another interpretation of the ethical and the political. Central to both is the location of human being within a larger cultural context. That context demands an approach in which philosophy does not exclude history, and history recognises that it is already informed philosophically. If there is a unifying term, it is ‘culture’. The approach taken within the larger project starts with the centrality of culture as that which demands to be thought. And yet culture is neither tranquil nor unified. As Walter Benjamin argued, there ‘is no document of culture which is not at the same time a document of barbarism’. Allowing for culture’s centrality entails a reconfiguration of both philosophy and intellectual history.
In 1988, Michelle Fine explored the ways in which damaging patriarchal discourses about sexuality affect adolescent girls, and hinder their development of sexual desire, subjectivities, and responsibility. In this article, I emphasize the durability and pliability of those discourses three decades later. While they have endured, they shift depending on context and the intersections of girls’ race, class, and gender identities. Calling on ethnographic research, I analyze the intersectional nuances in these sexual lessons for Latina girls in one (New) Latinx Diaspora town.