adaptation goes, the play is amenable to rewriting, or appropriation, providing a rich source of cultural material that could be used to defy Shakespeare’s cultural and ideological authority. Wesker rewrites the play with a special purpose, that is, from a
Demythologizing Girlhood in Kate Bernheimer’s Trilogy
the forbidden fruit, the myth of Pandora has been deployed traditionally to warn of the dangers of feminine curiosity. However, Mulvey rewrites this narrative in order to review Pandora’s deed as an active form of feminist curiosity that champions the
Julia Pascal’s The Yiddish Queen Lear
-century American setting in her Shakespearean rewriting. By presenting the young Jewish generation’s lack of interest in the Yiddish theatre in her play, Pascal actually criticizes the Jews of her own day for not working enough to preserve this tradition. In
Re-writing the Relationship
Like the Chorus in Marlowe’s prologue to Doctor Faustus, let me begin by stating what this essay is not. This paper is not a detailed examination of the biographical character of either Marlowe or Shakespeare. Nor is it yet another attempt to show that Marlowe coauthored or, more conspiratorially, actually wrote some of Shakespeare’s plays. Nor will it focus on the working and playing conditions of the early modern theatrical scene.What it will explore is the relationship between Shakespeare and Marlowe as it has been portrayed in biographical and fictional forms.
Sensation and the Tragedy of the Exceptional Woman in Rhoda Broughton's Good-bye, Sweetheart!
Reading Rhoda Broughton's fourth novel Good-bye, Sweetheart! (1872) as a revision of Germaine de Staël's Corinne (1807), this essay examines Broughton's depiction of the exceptional woman who tragically defies the gender norms of her day. Like Staël's famous improvisatrice, Broughton's rebellious heroine Lenore Herrick dies heartbroken after her fiancé discards her to marry a more docile girl. Significantly, however, Broughton's Victorian protagonist is even more disempowered than her Romantic predecessor; lacking an artistic career like Corinne, Lenore is, finally, a rebel without a cause.
Rewriting Lesbian Stereotypes in Summer Will Show
Intertextuality is basic to Sylvia Townsend Warner’s narratives: she is a formidably learned, effortlessly allusive writer. From her slyly absurd references to Wordsworth in the lush tropical setting of Mr. Fortune’s Maggot (1927) through her retelling of Apuleius’s Cupid and Psyche to produce an allegory of class oppression in her first historical novel, The True Heart (1929), to the densely woven intertextuality of Summer Will Show (1936), she uses allusion both to ground her apparently implausible narratives within literary history and to question and parody the politics, ‘history’, and narratology of her predecessors. It is appropriate that in this novel, where the lesbian romance in Paris is precisely coterminous with the 1848 revolution, many of the allusions are to nineteenth-century French literary history. Warner’s ‘unwriting’ of Flaubert’s L’Éducation Sentimentale has received a great deal of attention since it was first noted by Terry Castle in her 1990 theorisation of the lesbian triangular plot. Later writers, in contrast, have emphasised the allusion’s Marxist significance. Quite another fictional genealogy seems more to the point, however, when we consider Warner’s characterisation of Minna Lemuel, the revolutionary Jewish story-teller: the representation, usually by women writers, of the powerful, sexually active, sometimes evil and sometimes doomed femme artiste, as in Madame de Stael’s Corinne, Charlotte Brontë’s Villette, George Sand’s Consuelo, and Colette’s La Seconde. It is now abundantly clear that the intertextuality of Summer Will Show demonstrates that the novel is narratologically, politically, and sexually revolutionary.
Te Papa Tongarewa the Museum of New Zealand
The national Museum of New Zealand Te Papa Tongarewa was comprehensively restructured in the 1990s in accordance with new government policies of ‘biculturalism,’ designed to reformulate relations between indigenous Maori and descendants of colonial settlers. This article, which traces the development of the new Museum, is a case study, not only of contemporary cultural politics in a settler society, but also of the impact of discursive theory on museums. Te Papa has embraced critical literature and has incorporated into its exhibitions notions derived from literary theory, such as subversion, deconstruction, and ‘play.’ ‘Biculturalism’ may be seen as another rhetorical device, one that effects a conceptual separation between Maori and non-Maori that is given form in the Museum’s physical structure and operations. This article considers how cultural policy shapes museum practice, and questions whether biculturalism is an effective strategy in terms of its stated aim of supporting Maori self-determination and a (cultural and political) ‘partnership’ with Pakeha, New Zealanders of European descent.
Rafael Guendelman Hales
it. They saw in the project an opportunity to develop a meaningful activity by and for the community. The Project: A Collective Rewriting The project was carried out in three stages. First, there was a stage of dialogue around the library and its
Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice
Jeanette R. Malkin and Eckart Voigts
terms of postcolonial theory) ‘Writing Back’, ‘Re-Writing’ or ‘Re-Positioning’. 3 These ‘afterings’, versions, adaptations and appropriations initiate a counter-discourse to the dominant, prevalent image of Jewishness that we find in Shylock. The
first version. In 1582, though, he began to rewrite it. The resulting New Arcadia is a famously incomplete text. While the Old Arcadia is subdivided into five ‘books or acts’ (plus one eclogue following each of the first four of them), in 1584, when