The differences between the second quarto (1604–1605) version of Hamlet’s soliloquy beginning ‘To be, or not to be’ and the version contained in the first quarto (1603) have often been used to argue for the authorial integrity of the former and the degenerate nature of the latter. However, recent research has questioned the customary primacy between these two texts, arguing instead that Q2 revises and expands Q1. This article will attempt to substantiate this interpretation by showing that Shakespeare’s revision of ‘To be, or not to be’ is inspired by Montaigne’s essay ‘By diuerse meanes men come vnto a like end’, translated by John Florio and published in 1603. Shakespeare’s indebtedness to Montaigne has been noted before, most notably in The Tempest. But it is significant that possibly Shakespeare’s first direct encounter with Montaigne is inspired by the very first three pages of Montaigne’s Essays.
Hamlet Q1, Q2 and Montaigne
In this article, I join a conversation about the definition and value of the term transnational girlhood. After surveying the fields of transnationalism, transnational feminism, and girlhood studies, I reflect on the representation of girls who act or are discussed as transnational figures. I critique the use of the term, analyze movements that connect girls across borders, and close by identifying four features of transnational girlhood: cross-border connections based on girls’ localized lived experiences; intersectional analysis that prioritizes the voices of girls from the Global South who, traditionally, have had fewer opportunities to speak than their Global North counterparts; recognition of girls’ agency and the structural constraints, including global structures such as colonialism, international development, and transnational capitalism, in which they operate; and a global agenda for change.
Explaining political quiescence of Ukrainian labor unions
In order to explore factors conditioning the political quietude of Ukrainian labor, this article analyzes ethnographic data collected at two large enterprises: the Kyiv Metro and the privatized electricity supplier Kyivenergo. Focusing on a recent labor conflict, I unpack various contexts condensed in it. I analyze the hegemonic configuration developed in the early 1990s, at the workplace and at the macro level, and follow its later erosion. Th is configuration has been based on labor hoarding, distribution of nonwage resources, and patronage networks, featuring the foreman as the nodal figure. On the macro scale, it relied on the mediation by unions, supported by resources accumulated during the Soviet era and the economic boom of the 2000s. The depletion of these resources has spelled the ongoing crisis of this configuration.
Study of the Q1 Hamlet (1603) has been characterised by analysis of its degree of similarity to the Q2 and Folio versions. Detailed consideration of the unique lines in Q1 – that is, lines for which there is no analogue in Q2 or F – has been ignored, with discussion of Q1 focusing instead on whether it ‘cuts’ or ‘remembers’ any lines from Q2 or F. This article demonstrates the consistent presence of a key image – the heart – in association with the character of Corambis in unique Q1 lines. This consistency means that whichever model of transmission one accepts, some account is needed of the prospect that unique lines were either cut or added systematically in conjunction with the change of name of the King’s counsellor.
The renewal machine's struggle to organize hegemony in Turkey
In 2012, an urban renewal project in Eskişehir, Turkey, was initiated with claims of “festive renewal,” challenging the theories of critical urban studies that emphasize the disruptive effects of such projects. Built on a discussion about hegemony, which deploys consent and dissent in its organization, this article ethnographically investigates the tactics and strategies of the renewal machine that mobilized and co-opted parts of the locals into the project while invoking layers of dissent, distrust, and discomfort. The article discusses how historically built political, socioeconomic, and gender inequalities were efficiently detected, reconstituted, and put into the service of the renewal machine while revealing tension and dynamism behind the “festive renewal.” It shows a fragility of hegemony that is neither a given nor a completed template.
Alessandro Pelizzon and Jade Kennedy
In the past two decades, “Welcome to Country” and “Acknowledgment of Country” practices have become commonplace at the commencement of most public events throughout Australia, and it is highly unusual to participate in a public event where some words of acknowledgment of the traditional owners and custodians of the locale are omitted. This article traces the origins of such practices while identifying the semantic, political, and conceptual differences between them. It articulates how precolonial protocols of encounter among distinct groups and individuals inform “Welcome to Country” practices, attesting to the ontological and epistemological continuity of the latter in relation to the former. It explores recent trends in the public understanding and positioning of both “Welcome to Country” and “Acknowledgment of Country” speeches and events, contextualizing their emerging positioning within the fabric of Australian settler colonial relations, particularly in the context of contemporary discourses on Aboriginal sovereignty and the constitutional recognition of Aboriginal and Torres Strait Islanders.
W.W. Greg first identified the dumb show in Hamlet as problematic: if Claudius sees the dumb show, which replicates his murder of Old Hamlet in mime, then why does he not react until much later? Many explanations have been offered, and this article responds to (in title and argument) John Dover Wilson’s influential account in What Happens in Hamlet (1935) which inspired much further debate. First discussing the anomalous nature of the dumb show in Hamlet, before turning to the different versions of the dumb show as they appear in the three substantive texts of Hamlet, this article considers the nature and content of the information supplied by dumb shows and the critical arguments that can be developed from these slippery inset performances.
Catherine E. Clark
This article looks at two seemingly disparate events: Georges Pompidou’s 1973 presidential visit to the People’s Republic of China (PRC) and the filming and release of Jean Yanne’s blockbuster comedy Les Chinois à Paris (1974). Both produced flawed visions of Franco-Chinese relations. During Pompidou’s visit, officials and the press attempted to demonstrate that France enjoyed warmer relations with the PRC than any other Western nation. Yanne’s film parodied the French fad for Maoism by imagining the People’s Liberation Army invading and occupying Paris. His film caused an uproar in the press and sparked official Chinese protest. The article ultimately argues that the two events were deeply related, part of a wave of popular and official interest in China in the early 1970s that extended well beyond the well-known stories of student and intellectual Maoists. This interest paved the way for Franco-Chinese relations as we know them today.
Nicholas of Cusa's De Pace Fidei
The aim of this paper, which more generally is a contribution to political theology, is to show in what way the conception of peace in Nicholas of Cusa’s De Pace Fidei is dependent upon a specific philosophical anthropology. Within it any link between human being and law is replaced by the subject of faith. Central to the argument is demonstrating the ways in which this anthropological position is necessarily interarticulated with the larger metaphysical positions that are advanced across a range of Cusanus’ texts.
The article builds on an empirical study of knowledge practices in international, interdisciplinary MA education, foregrounding the role of academic staff in identifying and explicating academic norms to students recruited from different subject areas and institutions. A central theme is transition, which refers to the state of liminality that postgraduates can experience when new to a discipline, institution and sociocultural context. I argue for lecturers as ‘transition managers’ who may ease students’ transfer into an unfamiliar academic culture. This argument is explored in an analysis of interview data collected from four MA courses, which suggests that lecturers’ transition management involves an awareness of classroom diversity, an acceptance of responsibility for academic socialisation and the development of new pedagogic practices.