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Douglas Bruster

Q1 was, and is, can be better grasped by examining more closely how it looked to contemporary readers. Such is one lesson of Zachary Lesser and Peter Stallybrass's groundbreaking essay on Q1 Hamlet (hereafter ‘Q1’), which deepens our

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Torben Grodal

Book Review of Brian Boyd, Joseph Carroll, and Jonathan Gottschall, eds. Evolution, Literature and Film: A Reader (New York: Columbia University Press, 2010)

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John Lavagnino

Although very few electronic editions with any scholarly pretensions exist today, there is already a dominant idea of what an electronic edition ought to be. The idea is that an electronic edition ought to be an archive. It should offer diplomatic transcriptions of documents, and facsimiles of those documents. And it should avoid many of the things that scholarly editions have traditionally done, particularly the creation of critically-edited texts by means of editorial emendation. On this view, what readers need is access to original sources – to as many of them as possible, and avoiding as much as possible the shaping and selection that editors have traditionally engaged in. Although a lot of archives in the world were created and shaped to make specific points, this kind of archive-edition is not conceived of as doing that: it is instead imagined as a neutral witness.

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Marga Munkelt

The article uses performance and life analogies in ten novels for juvenile readers to investigate the young protagonists' quest for identity or orientation. Through their experiences in the theatre and as Shakespeare's colleagues, apprentices, or friends, the young people find out who they are and who they might be or should become. The narratives suggest that, not only as stage-actors but also as life-performers, they relive experiences that can be ascribed also to Shakespeare himself. As seen with their eyes, this Shakespeare is de-bardolatrised and de-mythologised when the life-and-theatre analogies he shares with them are extended to his working methods as a poet and playwright.

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Benjamin Williams

Midrashim were first published as printed texts in the sixteenth century, initially in Sephardi communities of the Ottoman Empire and later at the famous Hebrew presses of Venice. Vital evidence about the study of these new books is furnished by a heavily annotated copy of Midrash Rabba (Venice, 1545) in the Bodleian Library. Handwritten marginal and interlinear notes show that it was studied by Jewish scholars of the Ottoman Empire and later by the celebrated orientalist and Church of England clergyman Edward Pococke. These glosses provide unique evidence of the interaction of a Christian scholar with the notes of an earlier Jewish reader in deciphering linguistic obscurities in the midrash and resolving textual errors. They therefore shed new light on how early printed books of midrash were read in the decades following their publication and on the study of rabbinic Bible interpretation in the early modern period.

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Keith Reader, Reidar Due, and Natascha H. Lancaster

Bernard-Henri Lévy, Le Siècle de Sartre, Paris: Grasset, 2000, 663 pp. 148 FF. ISBN 2- 246-59221-6 Review by Keith Reader

Lendemains: ‘Cinquante ans après Le Deuxième Sexe: Beauvoir en débats’ 24. Jahrgang, 1999, 94. ISBN 3-86057-964-9 Review by Reidar Due

James Giles, ed., French Existentialism; Consciousness, Ethics and Relations with Others, Amsterdam/Atlanta: Rodopi, 1999, 219 pp. £19.50 Review by Natascha H. Lancaster

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'Reader, I Buried Him'

Apocalypse and Empire in Jane Eyre

Thomas Tracy

The centrality of the colonial motif in Jane Eyre has been well established. The figure of Bertha Mason Rochester haunting the text has made this centrality undeniable: her confinement at Thornfield Hall drives the plot, her eventual fiery demise both enables and conditions the conclusion, and the oppression of Bertha and other peoples subjected to imperial domination metaphorises Jane’s subjection to the patriarchal authority of various males throughout the narrative. Moreover, the wealth appropriated from the colonies materially sustains the society with which the novel concerns itself.3 The conclusion of Jane Eyre reinforces the preponderance of the colonial motif. The imperial project is foregrounded at the novel’s end in St John’s mission to India, and the characters of the novel are sustained by the wealth obtained from the colonies in the form of Jane’s inheritance. The novel’s ending, however, has been read by many recent critics as an affirmation of St John’s evangelising mission, leading some of them to conclude that Jane Eyre represents Charlotte Bronte’s own colonial appropriation.

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This issue inaugurates a new phase of Sartre Studies International: for the first time, we are publishing articles in French as well as English.

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Reitter Paul and Brett Wheeler

Like so much else in Kafka, the motif of reading has been discussed hotly and often—from Walter Benjamin's early essay, through seminal studies by Walter Sokel and Heinz Politzer, to poststructuralist analyses of how Kafka foregrounds the instability of language and verbal communication. In this large body of criticism, we find abundant interest in how, for Kafka, certain problems of understanding have a particularly modern character, e.g., in how they are connected to particularly modern conditions. These include the waning metaphysical authority of traditional texts and, most obviously, the rise of bureaucracies that deal programmatically in obfuscation. But Kafka's works engage substantially with what we might call the topos of reading in a modern—and often urban—setting in other ways as well, in ways that have received only passing treatment from scholars. Newspaper reading, for example, has a prominent role in "The Judgment," Kafka's breakthrough text, yet its significance has gone largely unexamined.

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The Girl in the GIF

Reading the Self into Girlfriendship

Akane Kanai

Reading Girlhood in Digital Spaces I approach the question of how individuals recognize themselves in discourses of girlhood by foregrounding the interaction between readers and texts. Focusing on the production of identity in digital spaces, I