Shakespeare and Religion Cox, John D.
Religions (Basel, Switzerland ),
11/2018, Letnik:
9, Številka:
11
Journal Article
Recenzirano
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Shakespeare’s personal religious affiliation is impossible to determine. Nearly all the books published about him in the last ten years eschew an earlier attempt to identify him as Catholic and ...focus, instead, on the plays, not the playwright. Some attention has been paid to Judaism and Islam, but Christianity is the overwhelming favorite. Nearly all of these books include a discussion of Measure for Measure, the only play Shakespeare wrote with a biblical title and a central concern with Christian ethics. Though there is some inevitable overlap, each writer approaches religion in the plays differently.
The paper discusses two contemporary Croatian plays – Diva written by Marijana Nola (City theatre Žar ptica, Zagreb, 2010) and Actresses and More (Theatre in Peščenica, Zagreb, 2012). Both plays ...focus on actresses’ identity from the perspective of their theatrical and nontheatrical everyday lives in which the characters re-examine their roles – of females and actresses. Modes of female identity construction are analyzed in the light of gender studies interest in the body and trauma, the private and the public, and are related to the contemporary Croatian theatre. The analysis reveals that the female characters of Diva act as opponents in both life and theatre, while in the Actresses and More they are activists connected by mutual act of rebellion against the contemporary theatre.
Rad se bavi dvama djelima iz suvremene hrvatske dramske produkcije – dramom Diva
Marijane Nola (praizvedenom u Gradskom kazalištu Žar ptica u Zagrebu 2010.) i
dramskim tekstom Glumice i to Dunje ...Fajdić (praizvedenim u Kazalištu na Peščenici u
Zagrebu 2012.). U oba je djela u središtu pozornosti ženski glumački identitet osvijetljen
iz aspekta kazališne i nekazališne svakodnevice u kojoj dramski likovi propituju svoje
uloge – ženske i glumačke. Načini oblikovanja ženskoga glumačkog identiteta analiziraju
se iz očišta rodne teorije s obzirom na tijelo i traumu te privatno i javno, a dovode se u
vezu i sa suvremenim hrvatskim glumištem. Analiza pokazuje da su ženski dramski likovi
iz Dive konkurentice u životu i na sceni, a Glumice i to aktivistički su udružene
pobunjenice protiv suvremenog kazališta.
The article argues that the historical factor of complicating the structure of the dramatic character is dominant. During the work on the comedy “Enough Stupidity in Every Wise Man,” N. A. Ostrovskii ...comprehended the new hero of post-reform Russia in the 1860s in the context of the opposition of the general (folk) and the personal in the transitional eras of Russian history. The literary factor in understanding a new hero relies on the experience of “eternal” images, such as Chatsky and Molchalin. According to the author of the article, their combination in the image of Glumov led to the creation of a holistic and original character with an expanded range of properties, including opposite ones. The author of the article concludes that the search for internal connections and attempts to identify transition situations between them determined the stages of the playwright’s work on the comedy from the first draft notes to the final text. For the first time, the article identifies new pretexts in the historical and literary context of the comedy of 1868 (at different stages of its writing).
Running counter to the French critical tradition, in which Oh les beaux jours is often neglected, we consider that this play offers, through the experience of Winnie, a vision that might help us to ...enrich our conception of aging. In this reading, Winnie is no more a featherbrained child-woman, but someone who fights-by caring, and by the creative use of language and memory-to sustain her humanity in a situation of inevitable decline.
The thesis explores what it means to be human; specifically, what characters in drama and theatre reveal about what it means to be human. It also explores what it means to talk about dramatic ...character; specifically, what the human's various forms .reveal about dramatic character and how such forms interact with critical approaches to character. The thesis, thus, has a dual focus but the human and dramatic character are, in the context of my project, importantly, entwined and mutually enlightening. One of the aims of this thesis is to rehabilitate dramatic character. In doing so, it works to rehabilitate humanist subjectivity, too, albeit of a sort that is modified by hybrid structures of being and identity which are informed by posthumanist discourse. Such a structure, I argue, enables humans to be conceived simultaneously as creators and creations. I name this structure post/humanist. The first three chapters consist of theoretically engaged discussions which present the post/humanist framework underpinning this thesis's arguments for identity, subjectivity, and modern dramatic character. Chapter One claims it is a mistake to view the modern human being in exclusively liberal humanist terms and employs Donna Haraway's cyborg to reveal and argue for its indeterminate post/humanist form. Chapter Two makes the case for this thesis's alternative post/humanist account of modern subjectivity by revealing that the representation of liberal humanist subjectivity as the orthodox form of the modern period may have been overstated. Chapter Three argues for a post/humanist method of analysing dramatic character that conceives it as a structure of natural and cultural parts. Chapters Four, Five, and Six present case studies of the characters of Shakespeare's Hamlet (circa 1599-1601), August Strindberg's Miss Julie (1888), and Sarah Kane's Blasted (1995). Focusing in these three different versions of modern dramatic characters, detailed analyses reveal forms and identities in process in a world - dramatic and real - that/arms character and is, in turn, also formed by character. 3
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