In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare's plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare's life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.
Cultural Heritages and Their Transmission
Elizabeth C. Macknight
This Spring 2021 issue of Historical Reflections/Réflexions Historiques is about cultural heritages and their transmission, focusing on the period from the middle of the eighteenth century to the present. An important stimulus for the creation of the issue was the European Year of Cultural Heritage (EYCH) in 2018. There were four main themes for the EYCH: protection, engagement, sustainability, and innovation. National coordinators and local organizers of events and initiatives across the continent adopted the unifying slogan “Our Heritage. Where the past meets the future.” The articles brought together here serve as an invitation to readers to continue reflecting on subjects and questions that were at the heart of planning for and supporting public participation in EYCH 2018. The European Year of Cultural Heritage provided myriad opportunities to discover the roles played by individuals and groups in the preservation and valorization of natural sites and landscapes, public monuments, cultural institutions, artifacts, digital resources, and intangible cultural heritage. It highlighted educational initiatives to raise awareness of multiple, diverse cultural heritages within communities and to promote intercultural dialogue. It pushed governments and nongovernmental organizations to address matters of financial investment, legal accountability, partnership management, and the shaping of policies on conservation and ownership rights. It challenged professional historians as well as archivists, librarians, archeologists, conservators, and curators to think hard about widening access and about ways of integrating local, national, and international perspectives when communicating with audiences about surviving traces of the past.
Apprenticeship, Asymmetrical Knowledge, and Large-Scale Production in Britain and France, 1750–1820
Leonard N. Rosenband
Josiah Wedgwood, the Montgolfier family, and Samuel Bentham were leading producers during the early industrial era. A pottery manufacturer, a family of papermakers, and the Inspector-General of Britain's Naval Works, they all occupied the highest perch in their fields. This article considers the efforts by these eminent figures to control the exercise and reproduction of skill in their shops. It examines their attempts to build internal labor markets and blend carefully trained, home-grown hands with novel systems of work discipline and fresh technologies. In doing so, this article assesses the success and limits of the entrepreneurial trio's designs in the coming of mechanized production.
This article takes a history of emotions approach to Scottish illegitimacy in the context of imperial sojourning in the early nineteenth century. Using the archives of a lower-gentry family from Northeast Scotland, it examines the ways in which emotional regimes of the East India Company and Aberdeenshire gentry intersected with the sexual and domestic lives of native Indian women, Scottish farm servant women, and young Scottish bachelors in India. Children of these relationships, White and mixed-race, were the focus of these emotional regimes. The article shows that emotional regimes connected to illegitimacy are a way of looking at the Scottish history of empire.
Ophelia's Manga Afterlives
Manga – one of Japan's cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare's canonical works have long been appreciated for their educational value and ‘friendly’ introduction to Shakespeare's dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare's Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia's afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times.
A New Perspective on C. K. J. Bunsen (1791–1860)
When a hymnbook is placed outside its more expected hymnological environment and put in a wider contextual framework, particularly a political one with significant diplomatic aspects, a better appreciation is gained of the hymnbook and the circumstances of its compilation. Critically, the complexity and progressive transparency of hymn transmission from one country to another is also revealed. This article focuses on Prussian diplomat Christian Karl Josias von Bunsen and his Gesang-und Gebetbuchs (1833). A primary source for several translators, notably Catherine Winkworth (1827–1878), the hymnbook directly affected the movement of many hymns from Germany to England, Scotland, and Australia.
The Political History of ‘Risk-Versus-Reward’ Investment in Emerging Markets
This article politicises the discourse of emerging markets in global finance. The black-boxed appearance of credit markets easily obscures the significant amount of subjective evaluation and cultural work that underpins capital flows. This article reveals the colonial, masculine, and racial imagination that informs the articulation of emerging markets as geographies of risk and profit. This brings into view the postcolonial nature of contemporary finance and how colonialism's regimes of power and knowledge remain crucial for the reproduction of the global political economy. To illustrate this point, the article highlights the sociality of credit practices. Contrary to their mathematical appearance, credit is a relationship with the future, mediated by social imaginations of trust. Focusing on emerging markets as ‘risk-versus-reward’ investments, this article examines the long-term colonial histories embedded in modern investment discourses. The article aims to show the continuing relevance this history plays for emerging market economies in modern financial markets and their political economies.
The Dystopian Interpretation/Adaptation of Titus Andronicus in the animation PSYCHO-PASS
In the Japanese animation PSYCHO-PASS, the setting is a future Japan where every citizen's mental health is monitored and analysed, and where they can sometimes be terminated according to the state of their mental health. In such a dark and dystopian setting, the motifs from the many bloody quotations of Shakespeare's bloodiest play Titus Andronicus are used in the three-episode multiple murder case of young schoolgirls. The animation shows how Shakespeare is used to stylise and elaborate the serial murder case. This article discusses how Titus Andronicus is used to give relevance and sophistication to serial murder, and how the bloodiness of a serial murder can give a different impression to audiences by the use of literature.
Why Are the Japanese Titles of Shakespearean Films So Odd?
Using William Shakespeare's name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
This article explores Amartya Sen's understanding of freedom, and performs two central functions, one classificatory and the other substantive in nature. First, I situate his reflections within canonical understandings of liberty, finding an irreducible pluralism incorporating positive liberty in ‘capability’ alongside negative and republican liberty in ‘process’, which is subsequently unified in the notion of ‘comprehensive outcomes’. Secondly, I attempt to find a normative referent for the intrinsic value of choice, and thereby indirectly that of freedom, in his account. In contrast to the liberal subjectivity one might – I believe, mistakenly – attribute to Sen's deployment of neoclassical economic frameworks, I instead argue for a re-interpretation of his account, inspired by the sociological literature on embodiment. Here, an ‘encumbered’ subject must inherit and transcend a normative totality to become an agent in the fullest sense.