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
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
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.
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.
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
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.
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
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
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
Queer Girlhood and Coming of Age on Screen
girlhood is made visible on screen. In the past, queer girlhood has been predominantly represented on screen via two dominant tropes; queer girls have gained visibility via the coming out as coming of age narrative, through which complex negotiations of