Editor's Notes Morse, Donald E
Hungarian journal of English and American studies,
10/2020, Letnik:
26, Številka:
2
Journal Article
Recenzirano
King Leopold of Belgium was especially notorious for his merciless treatment of the Congolese, who were pressed into service on the rubber plantations. Lanters's discussion places the play within ...this historical and artistic setting with the European and American treatment of the Blacks as less than human including exhibiting some of them as freaks, natural oddities, and sub-humans or creatures on an evolutionary ladder leading to White perfection, while enslaving native populations to extract natural resources to fuel the "home" country's prosperity. The contemporary clinical psychologist Kay Redfield Jamison demonstrated the truth in Dryden's observation in important books using her clinical experience to evaluate several artists, poets, and musicians, including Touched with Tire (1993), An Unquiet Mind (1995), Night Tails Tast (1999), and most recently Robert Lowell: Setting the River on Tire (2017). Lowell being fully conscious "of its relevance . . . made it a creative force in his writing . . . as the duality of mania and discipline, insanity and sanity was the major organizing force of his life."
Rewriting History Lanters, José
Hungarian journal of English and American studies,
10/2020, Letnik:
26, Številka:
2
Journal Article
Recenzirano
Martin McDonagh’s A Very Very Very Dark Matter (2018) explores how the stories of exploited people have been written out of history. The play includes several storytellers, and it both replicates and ...deviates from the details of numerous existing narratives, including McDonagh’s own plays. Set in 1857, the play imagines that Hans Christian Andersen’s fairy tales were written by a pygmy woman from the Belgian Congo who has traveled back in time; Hans calls her Marjory and keeps her in a box in his attic. Eventually Marjory writes herself out of the box and departs for Africa to prevent the colonization of her people. Dark Matter compels us to question the narratives about the past that have become embedded in our culture and to uncover the facts that official accounts have altered or suppressed; rewriting history is acceptable only in imaginative storytelling, as an act of poetic justice. (JL)
The entremés, never represented in 1615, became a classic text and at the same time an object of revision, eventually turning into a hypotext for numerous authors who, at different times, turned ...their gaze to the cervantine text to provide their own version. In this paper, we will focus on analyzing the repercussion that El retablo de las maravillas had in Rafael Dieste and Lauro Olmo, two playwrights who recreated new and marvelous retablos from the cervantine piece and established an extremely interesting and fruitful network of intertextualities from multiple perspectives. The rewriting and updating of a classic text such as Cervantes' entremés also offers a great potential for the teaching of literature, aspect to which we devote a brief final reflection. En este caso, Fantasioso y Mónica les hacen ver un espectáculo en el que se conjugan ciertos elementos rescatados del retablo cervantino, como el toro o los ratones -el propio Fantasioso advierte que «vamos a ser fieles al antiguo modelo que celebró Cervantes»28-, con otros que claramente obedecen a las pretensiones políticas antifascistas que subyacen a la composición diesteana, pues en ese espectáculo creado por la palabra y refrendado por la sugestión aparecen sucesivamente dos ejércitos, primero uno conformado por soldados alemanes, que hace las delicias de los espectadores, y luego otro de milicianos rojos, que provoca el pánico entre el público y obliga incluso al general a pedir refuerzos al Estado Mayor «llevando un auricular invisible a la oreja»29.
The Snow Queen (1845), by Hans Christian Andersen, and Snow White (1812) by the Brothers Grimm. ...we will focus on the relation of Pizarnik's work with its explicit hypotext, Valentine Penrose's La ...comtesse sanglante, considering the aforementioned, that is, the way fairy tales operate as a matrix in this transfer. Freud, en cierta medida, desestima la importancia de los factores apuntados por Ernst Jentsch, para quien el caso por excelencia de lo siniestro es "'la duda de que un ser aparentemente animado sea en efecto viviente; y a la inversa: de que un objeto sin vida esté en alguna forma animado', aduciendo con tal fin la impresión que despiertan las figuras de cera, las muñecas sabias y los 'autómatas'" (2488). Por otra parte, con respecto a la asociación entre sexualidad y violencia que percibimos en "La Reina de las Nieves", cuando ocurre el pasaje a la adolescencia del personaje masculino, cabe señalar que esto coincide con el planteo de LCS: "Si el acto sexual implica una suerte de muerte, Erzébet Báthory necesitaba de la muerte visible, elemental, grosera, para poder, a su vez, morir de esa muerte figurada que viene a ser el orgasmo" (Pizarnik 287). "The Snow Queen".
Pr., 2015) xiii + 227 $24.95 Laurence Talairach-Vielmas, Fairy Tales, Natural History and Victorian Culture and Melanie Keene, Science in Wonderland: The Scientific Fairy Tales of Victorian Britain ...join join a well-established body of scholarship on the Victorian fascination with folklore, fairy belief and various forms of fairy narrative - from Richard Dorson's landmark book The British Folklorists: A History (1968) to Molly Clark Hillard's recent Spellbound: The Fairy Tale and the Victorians (2014). In Fairy Tales, Natural History and Victorian Culture, she turns to canonical works of children's literature (such as Charles Kingsley's The Water Babies, Mary Louisa Molesworth's Christmas-Tree Land, and Edith Nesbit's Five Children and It); periodicals for adults (The Strand) and for children (primarily Aunt Judy's Magazine, Boy's Own Magazine and John Newbery's Lilliputian Magazine); classic fairy tales (by Charles Perrault, the Borthers Grimm, and Hans Christian Andersen) - as well as lesser-known science education texts that draw with surprising frequency on discourses associated with magic, fantasy, and fairy. In some cases, popular science texts suggest that works of natural history could well replace traditional fairy tales as the favored reading material of early childhood, as is the case in the 1863 English edition of Louis Figuier's World Before the Deluge (51).
A feminist/queer/crip close textual reading of Disney's The Little Mermaid and its straight-to-DVD sequel, The Little Mermaid II: Return to the Sea, uncovers contrasting cultural narratives of ...disability. The first film, and mermaid Ariel's story line, represent conservative ideologies of compulsory able-bodiedness and the need for overcoming disability, as well as a strongly reinforced binary of merfolk versus humans. Conversely, the sequel, and (Ariel's and Prince Eric's daughter) Melody's narrative, imagine more progressive desirably disabled futurities and welcome hybrid embodiments through the process of shifting societal perspectives and deconstructing binaries that work to other those with nonnormative bodies.
The fairy tale has a special role in forming Gianni Rodari's mind-set and writing. Fairy tales, with their ability to overturn social and cultural customs, models of behavior, and hierarchies of ...class and species were an inexhaustible driving mechanism for the creativity of this Italian children's writer. He also drew much inspiration from fairy tales for his educational works on the subject of childhood and imagination. The aim of this contribution is to reflect on the value that Rodari attributed to the fairy tale within an educational setting aimed at young generations, a vital mediator between adult culture and childhood culture.
In Hans Christian Andersen’s iconic fairy tale, Den grimme ælling (The Ugly Duckling, 1843), we learn that “it does not matter that one has been born in the henyard as long as one has lain in a ...swan’s egg.” Claims to supremacy, worth, and belonging are nested in a children’s story about “nature” and bolstered by biological notions of kin and kind – some eggs are naturally better than others. Since Andersen’s nineteenth-century tale, the lost/found/switched egg narrative has become a trope in children’s literature, particularly in stories that explore themes of family and belonging, and yet little scholarly attention has been given to the egg in this regard. Drawing on queer, feminist, and posthumanist frameworks inspired by Donna Haraway’s natureculture thinking, this article examines the deployment of the egg-switch trope in Andersen’s The Ugly Duckling, in relation to two contemporary picturebooks, And Tango Makes Three (Parnell and Richardson, 2005), and The Odd Egg (Gravett, 2008). I treat the material-symbolic presence of the egg in these texts as a generative site for interrogating the construction and perpetuation of dominant notions of kin and kind, considering the complex and slippery ways that nature is called upon to uphold ideas of exceptionalism and normativity through discourses of origin and species. At the same time, acknowledging the concurrent conservative and radical potentialities of literature for children (Jaques), and guided by Rosi Braidotti’s affirmative ethics and Eve Sedgwick’s queer reparative approaches to criticism, I also read these texts as imaginative sites for noticing and theorizing alternative queer models of relationality that elevate chosen, non-biological, and cross-species kin.
Hans Christian Andersen’s tale, “The Little Mermaid,” has been adored by both children and parents for decades. The tale shows an astonishingly different quality to Andersen’s early genre of fairy ...tales, which allows the reader to sense his keenness on the meaning of human sexuality. The author used the short narrative form, becoming more conservative, cautious, and concise in his ideological compromise between religiosity and human nature. “The Little Mermaid” is a tale that draws the reader in about “universal preoccupations” of femininity, self-concept, and self-actualization. Andersen’s intentions and the authenticity of this tale should not be overlooked.
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