Using interruptions as a specific formal structure, this article explores the varying characterisation of Ophelia/Ofelia in Hamlet. The textual differences apparent in the ‘Nunnery’ scene present an Ophelia in Q2 that is interrupted by Hamlet and possesses little power, whereas her Q1 counterpart actively engages the prince and repeatedly interrupts him. These differences highlight not only a change in characterisation but also a reconceptualisation of the status of the two texts: Q2 presents a directed and writerly dramatic text, while Q1 offers an open and performative theatrical one. By considering the repeated interruptions not as corruptions in the text but as open and artful choices, Q1’s Ofelia becomes a more equal and interesting character who asserts agency and defies Hamlet’s misogynistic invective.
Michael M. Wagoner
Through an ethnographic exploration of Pehuenche conceptualizations of doubles and of greeting and funerary practices in Southern Chile, this article considers the ontological relevance of sensorial perception as a main operator for stabilizing the tension between autonomy and dependence on otherness. The article aims to establish how relations between ‘real people’ or che, in Pehuenche daily life, do not precede mutual sensorial perception; instead, they can be seen as the result of such perceptions. In so doing, and building upon the concept of ‘potential affinity’ as a persisting relational principle of relatedness, I show how the minimal unit of analysis of sensorial perception is not composed of separated unities. Rather, it is an assemblage of multiple capacities involving both visible and invisible relational entities.
Hanne Busck-Nielsen and Jean Sprackland
Half-light, by Hanne Busck-Nielsen Prayer, by Hanne Busck-Nielsen Yeast, by Jean Sprackland
An Interview with Pauline Pantsdown (AKA Simon Hunt)
Ben Hightower, Scott East and Simon Hunt
There is often a division between scholarly publication and activist knowledge—something that Sarah Maddison and Sean Scalmer (2005) suggest may be countered by taking the knowledge produced by activists seriously. In this interview, Simon Hunt reflects on the genesis of Pauline Pantsdown, a drag persona that he developed in the late 1990s in reaction to Australian Conservative politician Pauline Hanson, who generated controversy for her racist and divisive views. The introduction briefly considers the importance of activist accounts and contextualizes Hunt’s practice in relation to arts activism and networked societies. From there, Hunt discusses a range of significant considerations for activism, notably the significance of using persona as a means for activism, the affordances and challenges of using social media, and methods for activating participation in a changing media landscape.
Deevia Bhana and Emmanuel Mayeza
In this article we focus on sixty South African primary schoolgirls’ experiences of male violence and bullying. Rejecting outmoded constructions of schoolgirls as passive, we examine how girls draw on different forms of femininity to manage and address violence at school. These femininities are non-normative in their advancing of violence to stop violence but are also imbued with culturally relevant meanings about care, forgiveness, and humanity based on the African principle of ubuntu. Moving away from the discursive production of girls’ victimhood, we show how girls construct their own agency as they actively participate in multiple forms of femininity advocating both violence and forgiveness. Given the absence of teacher and parental support for girls’ safety, we conclude with a call to address interventions contextually, from schoolgirls’ own perspectives.
The Sequence of Creation and Implications for the 'Allowed Booke’
Charles Adams Kelly and Dayna Leigh Plehn
The case for Q1 Hamlet as a pre-Q2 text is coming into focus as the findings of several scholars are reconciled. Additionally, a finding related to the Brudermord text has helped mark that text as a predecessor to both Q1 and Q2/F, with further implications for Q1 as a pre-Q2 text. As this view of Q1 becomes accepted, patterns of Q1 vs. Q2 variance advance the case for Q1 as being the author’s draft of the text that became the censor-approved ‘allowed book’. There is no way to know how most of the Q1 vs. Q2 textual variants progressed from Q1 as printed, to the non-extant allowed book from which the players’ parts were copied, and finally to Q2. However, the 577 Q1 lines that are identifiably concordant but variant to lines in Q2 represent a category of Q1 lines that will be of interest to those planning to edit or stage Q1 Hamlet.
Graham Holderness and Bryan Loughrey
While the articles in this volume are focussed on new research in Hamlet studies, this editorial ‘Afterword’ reverts to an earlier stage of the debate around Q1, specifically the ‘culture wars’ of the 1990s, and re-examines the controversy surrounding the publication of the Shakespearean Originals series, which was launched with a new edition of Hamlet First Quarto (1992). Shakespearean Originals sought to situate texts within the historical conditions of textual production by decomposing conflated modern editions into the various discrete, and to some degree incommensurable, textualisations that were produced by historical contingency in the late sixteenth and early seventeenth centuries. A general recovery of such textualisations, as they existed before their colonisation by the modern edition, was at that point in time clearly a priority. Although the series was prompted by ascendant currents in critical theory, the academy was not ready for this particular editorial initiative.
This afterword offers a commentary on the concept of relations discussed in the introduction and the individual contributions to this special issue by critically reflecting on the key concepts that have emerged in it. It contributes to the discussion with a reflection on the use of the term parente in Amazonia, showing how its exclusive use in inter-ethnic contexts indicates a play of perspective in the way that relations between different groups of people are experienced.
The Dangerous Imperative of Hospitality in Apiao, Chiloé
Based on an analysis of ethnographic data collected in Apiao, Chiloé, this article offers a view of relations as inescapably fraught connections between different entities. These relations are articulated in highly ritualized hospitality practices involving reciprocal exchange of food and drinks in a domestic space. Cutting across established, contrasting analytical categories, such as consanguines/affines and friends/ enemies, hospitality practices reveal the immanence of otherness. Relations can occur only among different/differentiated individuals and are always expressed through an alternation of the contingent positions of host and guest, where one offers and another receives. In hospitality interactions, sameness is denied and transformed into otherness, revealing the importance of asymmetry and disclosing the latent hostility and potential danger implicit in relations. The other is first and foremost a dangerous and unpredictable guest.
This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).