Shakespeare our contemporary in 2016: Margaret Atwood’s rewriting of The Tempest in Hag-Seed

Sederi ◽  
2017 ◽  
pp. 105-129
Author(s):  
Sofía Muñoz-Valdivieso
Keyword(s):  
Cultural Capital ◽  
Present Article ◽  
Original Play ◽  
Avant Garde ◽  
The Tempest ◽  
Artistic Director ◽  
Hogarth Press ◽  
Northrop Frye

Margaret Atwood’s novel Hag-Seed (2016) is a retelling of The Tempest that transfers the actions from the magic island of the original play to present-day Canada: the avant-garde artistic director of a Shakespearean Festival is ousted from his job by his more world-savvy deputy, lives in isolation for twelve years and plots his revenge, which will involve a staging of The Tempest at the local prison where he has been teaching for some time as Mr Duke. Hag-Seed is part of a larger project of fictional retellings of the Bard’s plays conceived by Hogarth Press for the commemoration of the 400th anniversary of his death, a moment when Shakespeare’s cultural capital seems to be circulating more energetically than ever. The present article analyses Hag-Seed as a neo-Shakespearean novel that is original in the double sense of the term that Atwood’s teacher Northrop Frye so frequently remarked: imaginative, innovative, and inventive but also true to its fountain and origins.

scholarly journals Chroniques du Plateau Mont-Royal et Cronache di poveri amanti : romans encyclopédiques de Michel Tremblay et de Vasco Pratolini

2006 ◽  
Vol 17 (3) ◽  
pp. 495-509
Author(s):  
Eva-Marie Kröller
Keyword(s):  
Present Article ◽  
Michel Tremblay ◽  
Northrop Frye

Résumé Diffìcile à classer dans les genres traditionnels, une oeuvre comme les Chroniques du Plateau Mont-Royal gagne à être considérée comme une fiction encyclopédique, au sens que donnent à ce terme des critiques comme Northrop Frye, Mikhaïl Bakhtine, Edward Mendelson et Hilary Clark, le caractère encyclopédique de l'oeuvre de Michel Tremblay sera ici mis en lumière par une comparaison avec les Cronache di poveri amanti (Chronique des pauvres amantsj de Vasco Pratolini, un classique de la littérature néo-réaliste italienne. Le présent article montre que l'encyclopédisme de Tremblay, comme celui de Pratolini, explore l'identité nationale et met en place un discours démocratique. Ces observations permettent de nuancer l'affirmation selon laquelle la relation entre les cultures québécoise et italienne repose sur le partage de valeurs conservatrices.

From Messina to Delhi: Much Ado about Staging Global Shakespeares in Olympic Times

Sederi ◽  
2013 ◽  
pp. 57-78
Author(s):  
Sofía Muñoz-Valdivieso
Keyword(s):  
Cultural Capital ◽  
Early Modern ◽  
Present Article ◽  
International Performance ◽  
Royal Shakespeare Company ◽  
Much Ado About Nothing ◽  
The World ◽  
Performance Issues ◽  
The Uk

The present article discusses one of the contributions of the Royal Shakespeare Company to the World Shakespeare Festival, a celebration of the Bard as the world’s playwright that took place in the UK in 2012 as part of the so-called Cultural Olympiad. Iqbal Khan directed for the RSC an all-Indian production of the comedy Much Ado about Nothing that transposed the actions from early modern Messina to contemporary Delhi and presented its story of love, merry war of wits and patriarchal domination in a colourful setting that recreated a world of tradition and modernity. Received with mixed reviews that in general applauded the vibrant relocation while criticising some directorial choices, this 2012 Much Ado about Nothing in modern-day Delhi raises a number of questions about cultural ownership and Shakespeare’s international performance – issues that are particularly relevant if we see the play in relation to other productions of the World Shakespeare Festival in this Olympic year but also in the context of the increasing internationalization of Shakespeare’s cultural capital in contemporary times.

scholarly journals Shakespeare and the Accumulation of Cultural Prestige in Video Games

2019 ◽  
Vol 17 (1) ◽  
pp. 115-128
Author(s):  
Andrei Nae
Keyword(s):  
Video Games ◽  
Cultural Capital ◽  
Present Article ◽  
Adventure Games ◽  
Complex Characters

Abstract The present article analyses the manner in which AAA action-adventure games adapt, quote, and reference Shakespeare’s plays in order to borrow the bard’s cultural capital and assert themselves as forms of art. My analysis focuses on three major releases: Metal Gear Solid 4: Guns of the Patriots, BioShock: Infinite, and God of War. The article shows that these games employ narrative content from Shakespeare’s plays in order to adopt traits traditionally associated with the established arts, such as narrative depth and complex characters. In addition to this, explicit intertextual links between the games’ respective storyworlds and the plays are offered as ludic rewards for the more involved players who thoroughly explore game space.1

Elitist Egalitarianism: Negotiating Identity in the Norwegian Cultural Elite

Sociology ◽  
2015 ◽  
Vol 51 (3) ◽  
pp. 559-574 ◽  
Author(s):  
Jørn Ljunggren
Keyword(s):  
Cultural Capital ◽  
Present Article ◽  
Qualitative Interviews ◽  
Cultural Elite ◽  
The People ◽  
Cultural Taste

The cultural elite are believed to be under siege due to significant changes in the ‘workings’ of cultural capital. Despite such changes, there is very little information about the class subjectivities of the ‘cultural elite’ themselves. The present article seeks to contribute to this shortcoming by taking advantage of in-depth qualitative interviews with individuals possessing great levels of cultural capital in a highly egalitarian country, Norway. This study shows that while the interviewees experience lack of recognition and honour from ‘the people’, they are far from passively descending. The main demarcation to other groups seems not to be cultural taste, but instead the orientation towards culture, broadly defined. While egalitarian sentiments are voiced, this does not hinder cultural elite awareness, but rather dampens how this can be expressed in public – merged into a form of elitist egalitarianism.

scholarly journals Art in the Age of Globalisation: Dialogue of Cultures (Ural Opera Ballet Theatre’s Production of the Opera Tri Sestry)

2020 ◽  
Vol 4 (4) ◽  
pp. 476
Author(s):  
Andrey G. Shishkin ◽  
Olga O. Morozova
Keyword(s):  
20Th Century ◽  
Mikhail Bakhtin ◽  
Structural Elements ◽  
Late 20Th Century ◽  
Avant Garde ◽  
Great Time ◽  
Time Space ◽  
Artistic Director ◽  
Three Sisters

The article explores the dialogics of art and the role of art as a tool of dialogue between cultures on the example of the Ural Opera Ballet Theatre’s recent stage production of the opera Tri Sestry (Three Sisters), which demonstrates a successful interaction between different cultural traditions.Interpreting Chekhov’s play from a late 20th century perspective, Hungarian composer Peter Eötvös presented new responses to the questions that tormented the play’s characters one hundred years ago. In his work, which blends French and German avant-garde techniques with structural elements drawn from film narrative and the Japanese Noh theatre tradition, he added a radically new dimension to Chekhov’s play. As a result, he was able to open up latent meanings the play within the great time space proposed by the Russian philosopher Mikhail Bakhtin. In turn, Christopher Alden (USA), the Artistic Director of the Ural Opera Ballet production, merged voices from different artistic traditions into a new contemporary musical image.

scholarly journals Rubén Darío en el debate sobre la literatura nacional nicaragüense

(an)ecdótica ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 61-82
Author(s):  
Diana Moro ◽  
Keyword(s):  
Cultural Capital ◽  
Critical Review ◽  
Literary History ◽  
Ruben Dario ◽  
Avant Garde ◽  
The 1960S ◽  
Made In

The debate on literature in Nicaragua, at various moments in the country’s history, is elaborated on the figure, aesthetics, and work of Rubén Darío. Not only the birth and death of the poet on vernacular soil are central aspects in the appropriation made, but above all, the international cultural capital built through his wandering life and cosmopolitanism in his work. The appropriation of his aesthetics, as well as the distancing and debates about his contribution, persist in various moments of Nicaraguan literary history. We will explore some interventions by Nicaraguan intellectuals who are members of the Avant-garde Group, above all, their subsequent critical review and the contribution that Ventana magazine made in the 1960s. Finally, it will be observed that during the revolutionary decade, 1979-1989, the figure of Darío concentrates, at least, two simultaneous appropriations, the “anti-imperialist” and the “half-blood”. Both perspectives coincide in the conviction that, in Nicaragua, there would be no literature without the magisterium of Darío.

Between East and West

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 66-79
Author(s):  
Maria Taroutina
Keyword(s):  
Visual Culture ◽  
Present Article ◽  
Turn Of The Century ◽  
Russian Art ◽  
Avant Garde ◽  
The Past ◽  
Close Analysis ◽  
East And West ◽  
The Way

Abstract Taking cue from Dmitry Sarabyanov’s seminal publications on the Stil Modern and turn-of-the-century Russian visual culture, the present article resituates Mikhail Vrubel’s œuvre “between East and West” by demonstrating that the artist moved beyond the narrowly circumscribed nationalist agenda typically attributed to the work he produced at the Abramtsevo and Talashkino artistic colonies. In addition to indigenous sources, Vrubel also assimilated a number of external artistic influences such as Jugendstil, medieval Gothic and Renaissance ceramics, Japanese and Chinese porcelain, and Egyptian and Assyrian art. Through a close analysis of Vrubel’s orientalist paintings, as well as his cycle of folkloric works such as Mikula Selyaninovich and the Volga (1896), I demonstrate that his aesthetic program crossed multiple boundaries: geographical, temporal, material, and institutional. Through a complex renegotiation of the global and the local, the past and the present, and the traditional and contemporary, Vrubel arrived at a strikingly modernist visual syntax, which paved the way for an entire generation of avant-garde artists such as Mikhail Larionov, Natalia Goncharova, Kazimir Malevich, Aleksandr Rodchenko, Liubov Popova, Vladimir Tatlin, and Naum Gabo, among others. Using Vrubel as a case study, this article thus proposes to rethink the opposing binary categories of avant-gardism and revivalism, historicism and innovation, Orientalism and Occidentalism, regionalism and cosmopolitanism, as they have been applied to the trajectory of modern Russian art—a set of ostensibly fixed dichotomies that Dmitry Sarabyanov had repeatedly and successfully challenged in his own work.

scholarly journals The Females and the Non-Humans in Julie Taymor’s The Tempest

2015 ◽  
Vol 14 (1) ◽  
pp. 1-11
Author(s):  
Yukiko Mori
Keyword(s):  
Original Play ◽  
Main Character ◽  
Female Characters ◽  
Power Struggle ◽  
The Tempest ◽  
Film Version ◽  
Almost All ◽  
The Relationship

Abstract In Julie Taymor’s film version of Shakespeare’s The Tempest (2010), Prospero is changed into a female, Prospera. As almost all the original lines and plots are retained, the film would appear to be a ‘straight’ film version of Shakespeare. However, changing the sex of the main character sheds a new light on the original play and proves the film to be an inspiring adaptation. By examining the relationship between the female characters (Prospera, Miranda) and the non-humans (Caliban, Ariel) in the film, this paper will show how deeply sexuality is related to the power struggle and the final reconciliation.

Counter-voicing in the avant-garde and experimental music: Selected cases

Maska ◽  
2021 ◽  
Vol 36 (203-204) ◽  
pp. 106-116
Author(s):  
Luka T. Zagoričnik
Keyword(s):  
Present Article ◽  
Experimental Music ◽  
Avant Garde ◽  
Sound Poetry ◽  
The Voice

The present article is a reworking of a lecture that was performed live and with visual and sound examples at the CoFestival. In selected examples, the author tries to articulate various vocal practices through contemporary and experimental music, performative practices and sound poetry, in which the voice escapes gender, meaning, turns into noise, and emerges through the utterances of silence.

“They're sufferin' the same things we're sufferin'”: Ideology and Racism in the Federal Theatre Project'sThe Sun Rises in the West

2014 ◽  
Vol 56 (1) ◽  
pp. 51-70
Author(s):  
Amy Brady
Keyword(s):  
Los Angeles ◽  
Dust Bowl ◽  
Federal Theatre Project ◽  
Original Play ◽  
The Sun ◽  
Theatre History ◽  
The West ◽  
Avant Garde ◽  
University Archives ◽  
Federal Theatre

Myth hides nothing: its function is to distort.—Roland BarthesIn Los Angeles, California, the home of the nation's second largest Federal Theatre Project (FTP), a group of FTP artists spent over a year developingThe Sun Rises in the West, a popular and critically well-received but forgotten play about the Dust Bowl migration and its effects on California's agricultural valleys. The play was mounted by the Southwest Theatre Unit (SWTU), an experimental branch of the Los Angeles Federal Theatre Project that worked as a collective to produce plays independently of the FTP's more mainstream endeavors. The SWTU attracted ample publicity during the latter half of the 1930s for its experimental, politically charged material, but because the group's artistic record has been buried for decades in government and university archives, much critical work remains to be done on its contributions to theatre history. This essay seeks to remedy this gap with a brief sketch of the SWTU as an avant-garde force in Los Angeles and an analysis of the SWTU's original play,The Sun Rises in the West.

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