French existentialism is commonly regarded as the main impetus for the universal significance that Kafka gained in postwar France. A leading critic, Marthe Robert, has contended that this entailed an outright rejection of interest in the biographical, linguistic and historical dimension of Kafka's writing in order to interpret it as a general expression of the human condition. This article will consider this claim in the light of Sartre's original conceptualization of a dialectic of the universal and the particular in the intercultural mediation of the work of art. The notion of a 'true universality' proposed by Sartre as a defence of Kafka during the 1962 Moscow Peace Conference will allow for a reassessment of Robert's criticism in a paradoxical reversal of terms: it is precisely the inevitable loss of context and the appropriation within one's own particular situation which allow the literary work to elucidate a foreign historical context and thereby gain a wider significance. Rather than a universal meaning of the work, Sartre's concept points to literature's potential to continually release specific meanings in new contexts.
Sartre, Kafka and the Universality of the Literary Work
'Rouz'd by a Woman's Pen'
The Shakespeare Ladies' Club and Reading Habits of Early Modern Women
Katherine West Scheil
In the 1730s a group of women known as the Shakespeare Ladies’ Club promoted performances of Shakespeare’s plays and supported the creation of the Shakespeare monument in Westminster Abbey. The Shakespeare Ladies’ Club (SLC) has been accorded a footnote in the reception history of Shakespeare, but no one has yet taken account of their importance for women’s participation in the intellectual and cultural life of eighteenth-century London. By tracing the dynamics of this group, we may increase our understanding of women’s reading habits, their effect on the theatrical repertoire, and their role in the public life of clubs and philanthropic endeavours. The convergence of several factors made the SLC possible; this article contextualises the SLC within the literary and cultural life of the eighteenth century, and examines the importance of the SLC in the life and work of one member, Elizabeth Boyd.
Shylock in Buchenwald
Hanan Snir’s Israeli-German Production (Weimar 1995)
influenced by the intricate critical reception history of Merchant in the German theatre. In order to understand the historiographical background of the Israeli-German Weimar production, we have to view this history from three perspectives. First, we must
The Word of the Lord to Shylock
Biblical Forms in the Translations of Shakespeare’s The Merchant of Venice to Hebrew
Tel Aviv University and a PhD from the University of Bristol, where he would have had plenty of opportunity to note the English reception history of the play. 7 What does Oz’s translation make of ‘revenge’? If a Jew wrong a Christian, what is his
Psalms of Ascent
reception history. The fifteen short Psalms of Ascent (Psalms 120–134) are named for the superscription that initiates each: שיר המעלות, ‘a song of the ascents’ (שיר המעלות in Ps. 121:1). Jewish tradition as well as subsequent scholarship associates these
Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward
editors instead pair biographies and historical essays with case studies and reception histories precisely to showcase the diversity of scholarly approaches to the study of visual ‘Blackness’ and of the ‘subculture’ and ‘community’ that have surrounded
‘Shakespeare's Religious Afterlives’
, and despite the importance of the study of Shakespeare's religious afterlives to fully appreciate the cultural impact of the author's reception history, there is no comprehensive critical account of them and their literary, cultural, social and
Millennial Dark Ladies
(London: Jonathan Cape, 1970), 145, 146, 148. 9 In her excellent study of the reception history of the Sonnets, Jane Kingsley-Smith observes that the Dark Lady provides ‘a means by which women may write back to Shakespeare’. The Afterlife of Shakespeare
Happiness in Sir Philip Sidney's Arcadia
the need to complete Sidney's fragmentary manuscript of the New Arcadia and add endings – and these were all happy endings. One instructive and telling example of the complicated textual and cultural revisions in the publication and reception
Annabel Brett, Fabian Steininger, Tobias Adler-Bartels, Juan Pablo Scarfi, and Jan Surman
largely ignores (except for a few glancing references) the translation to Latin America of Rousseau and Enlightenment political ideas more generally. Palti, of course, is not writing reception history, either of scholasticism or of Enlightenment thought