centuries, as reflected in John Dryden's Don Sebastian (1689) and its adaptation by Frederick Reynolds as The Renegade (1812). Reynolds adopts the trope of Restoration ‘cultural renegade’, or what I call ‘Restoration gone cultural revolutionary
The Cultural Transformation of the Trope of the Renegade in Late Seventeenth- and Early Nineteenth-Century English Drama
John Dryden's Don Sebastian and Frederick Reynolds's The Renegade
Hussein A. Alhawamdeh
The Greek economic crisis as trope
Daniel M. Knight
The Greek economic crisis resonates across Europe as synonymous with corruption, poor government, austerity, financial bailouts, civil unrest, and social turmoil. The search for accountability on the local level is entangled with competing rhetorics of persuasion, fear, and complex historical consciousness. Internationally, the Greek crisis is employed as a trope to call for collective mobilization and political change. Drawing on ethnographic research conducted in Trikala, central Greece, this article outlines how accountability for the Greek economic crisis is understood in local and international arenas. Trikala can be considered a microcosm for the study of the pan-European economic turmoil as the “Greek crisis“ is heralded as a warning on national stages throughout the continent.
In Search of My Original Affluent Self and Other Tropes in Travel Writing on Hunters and Gatherers
Donald H. Holly Jr.
( Clifford and Marcus 1986: 6 ; Crick 1995 ; Fowler 2003 ; Gordon 2006: 22 ; Marcus and Cushman 1982: 31–32 ), but even then and in the great era of scientific anthropology that followed, ethnographies still employed the tropes, narrative structures, and
Beyond Colonial Tropes
Two Productions of A Midsummer Night’s Dream in Palestine
This article documents two Palestinian productions of A Midsummer Night’s Dream that took place in Ramallah at Ashtar Theatre in 1995 and Al-Kasaba Drama Academy in 2011. This exploration demonstrates how Shakespearean plays have become a medium for international collaboration and exchange between European and Palestinian theatre training institutions. Recognizing that the works of Shakespeare have been used as a tool to further British imperialist ambitions, and drawing upon the author’s own experiences as director of the 2011 production, this article examines the ways in which these two contemporary productions both acknowledge this colonial heritage in Palestine and use it to further the mission of training emerging actors.
“Historical Falsification” as a Master Trope in the Official Discourse on History Education in Putin’s Russia
This article explores a key claim underpinning Russian official memory politics, namely, the notion that Russia’s past (and especially the role it played in the Second World War) is the object of a campaign of “historical falsification” aimed at, among other things, undermining Russian sovereignty, especially by distorting young people’s historical consciousness. Although “historical falsification” is an important keyword in the Kremlin’s discourse, it has received little scholarly attention. Via an analysis of official rhetoric and methodological literature aimed at history teachers, I investigate the ideological functions performed by the concept of “historical falsification.” I show how it serves to reinforce a conspiratorial vision of Russia as a nation under siege, while simultaneously justifying the drive toward greater state control over history education.
Imagining European Diversity in an Age of Migration
commitment that recognizes but seeks to overcome power differences. The tropes of romance and family—around which such fantasies historically revolved—built historical, bourgeois assumptions about gender and generational difference into stories of interracial
Susan Abulhawa's Appropriation of Shakespeare's Romeo and Juliet
Yousef Abu Amrieh
) themes, tropes and motifs that Shakespeare employs in his love tragedy Romeo and Juliet (c. 1596). The article shows how Abulhawa depicts four Palestinian love stories/marriages that collapse due to violence. Yet, while Romeo and Juliet's love story is
Scenes of Subjection
Slavery, the Black Female Body, and the Uses of Sexual Violence in Haile Gerima's Sankofa
two claims that reflect the central questions undergirding this article's argument. She asserts that “while there is much to applaud in McQueen's work, it fails to challenge the standard trope in films about slavery: a cathartic display of the intense
Spectacle of the Demonic Other
Transcoding Evil in American Horror Story: Apocalypse
-as-queer trope that was, and is, employed within popular horror cinema perpetuates the binary of self-versus-other as heterosexual heroine versus homosexual monster/villain (cf. Benshoff 1997 , 2004 ). This characterization of queer bodies as monstrous and evil
Ruined Abjection and Allegory in Deadgirl
political imaginaries of virility staged against abject tropes of the monstrous-feminine. As Annalee Newitz (2008) writes in a post titled “Zombie Feminism,” “Filmmakers Marcel Sarmiento and Gadi Harel did not accidentally create a movie that dabbles in