Shakespeare and the Second World War: Memory, Culture, Identity

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Shakespeare, William, Criticism and interpretation. Shakespeare, William, Stage history More Details added author. Makaryk, Irene Rima. McHugh, Marissa, A Look Inside Summaries. Main Description. Shakespeare's works occupy a prismatic and complex position in world culture: they straddle both the high and the low, the national and the foreign, literature and theatre.

The Second World War presents a fascinating case study of this phenomenon: most, if not all, of its combatants have laid claim to Shakespeare and have called upon his work to convey their society's self-image. In wartime, such claims frequently brought to the fore a crisis of cultural identity and of competing ownership of this 'universal' author.

Despite this, the role of Shakespeare during the Second World War has not yet been examined or documented in any depth. Shakespeare and the Second World Warprovides the first sustained international, collaborative incursion into this terrain. The essays demonstrate how the wide variety of ways in which Shakespeare has been recycled, reviewed, and reinterpreted from are both illuminated by and continue to illuminate the War today.

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Connect with us Twitter YouTube Instagram more social media. Your Name:. Include PDF. These writers believed a cash-poor colony or nation could not only advance itself through borrowing but also gain reputability each time it successfully paid off a loan. Equally important, they believed that debt could promote communality: precarious public credit structures could exact popular commitment; intricate financial networks could bind individuals to others and to their government; and indebtedness itself could evoke sympathy for the suffering of others.

Close readings of their literary works reveal how these writers imagined that public life might be shaped by economic experience, and how they understood the public life of literature itself.

Insecure times strengthened their conviction that writing could be publicly serviceable, persuading readers to invest in their government, in their fellow Americans, and in the idea of America itself. Rachel Rosenthal is an internationally recognised pioneer in the field of feminist and ecological performance art. Her revolutionary performance technique integrates text, movement, voice, choreography, improvisation, inventive costuming, dramatic lighting and wildly imaginative sets into an unforgettable theatre experience. In the last twenty years she has presented over thirty-five pieces nationally and internationally.

Her work is passionately dedicated to interrogating, illuminating and improving the relationship between human beings and the planet we share with so many other species. Her performances explore and embody the long history and urgent future of this deeply troubled relationship, and use viscerally compelling performance to draw us into a direct experience of the beauty and power of our lives in nature.

Theatre is a uniquely powerful site for the kind of thinking called for by the crises of climate change. Encompassing academic research, theatre work-shopping, playwriting, dramaturgy, and theoretical writing, this book offers a practical, theoretical, and critical engagement with the urgent issue of making art in the age of climate change. We all have an animal story—the pet we loved, the wild animal that captured our childhood imagination, the deer the neighbor hit while driving.

While scientific breakthroughs in animal cognition, the effects of global climate change and dwindling animal habitats, and the exploding interdisciplinary field of animal studies have complicated things, such stories remain a part of how we tell the story of being human. What does it mean for a child to be a "reader" and how did American culture come to place such a high value on this identity?

Reading Children offers a history of the relationship between children and books in Anglo-American modernity, exploring long-lived but now forgotten early children's literature, discredited yet highly influential pedagogical practices, the property lessons inherent in children's book ownership, and the emergence of childhood itself as a literary property.

The nursery and schoolroom version of the social contract, Crain argues, underwrote children's entry not only into reading and writing but also into a world of commodity and property relations. Increasingly positioned as an indispensable form of cultural capital by the end of the eighteenth century, literacy became both the means and the symbol of children's newly recognized self-possession and autonomy.

At the same time, as children's legal and economic status was changing, "childhood" emerged as an object of nostalgia for adults. Literature for children enacted the terms of children's self-possession, often with explicit references to property, contracts, or inheritances, and yet also framed adult longing for an imagined past called "childhood.

Dozens of colorful illustrations chart the ways in which early literature for children was transformed into spectacle through new image technologies and a burgeoning marketplace that capitalized on nostalgic fantasies of childhood conflated with bowdlerized fantasies of history. Reading Children offers new terms for thinking about the imbricated and mutually constitutive histories of literacy, property, and childhood in the eighteenth and nineteenth centuries that ground current anxieties and long-held beliefs about childhood and reading.

Culture in Camouflage aims to remap the history of British war culture by insisting on the centrality and importance of the literature of the Second World War. The book offers the first comprehensive account of the emergence of modern war culture, arguing that its exceptional forms and temporalities force us to reappraise British cultural modernity. Patrick Deer reads war literature as one element in an expanded cultural field, which also includes popular culture and masscommunications, the productions of war planners and military historians, projections of new technologies of violence, the fantasies and theories of strategists, and the material culture of total war.

The Anglo-American Sphere

Modern war cultures, Deer contends, are defined by their drive to normalize conflict and war-making, by their struggle to colonize the entire wartime cultural field, and by their claim to monopolize representations and interpretation of the conflict. But the mobilization of cultural formations during wartime reveals, at times glaringly, the constitutive contradictions at the heart of modern ideas of culture. The Great War failed to produce a popular war culture on the home front, producinginstead an extraordinary literature of protest, yet the strategists struggled to regain their oversight over both the enemy across no man's land, and the minds and bodies of their own mass conscript armies.

The interwar years saw a massive effort to make strategic fantasies a reality; if thetechnology of imperial air power or mobile armoured warfare did not yet exist, culture could be mobilized to shore up the ramshackle war machine. During World War Two a fully fledged British war culture emerged triumphant in time of national crisis, offering the vision of a fully mobilized island fortress, a loyal empire, and a modernized war machine ready to wage a futuristic war of space and movement.

This was the struggle that British World War Two writers confronted with extraordinarycourage and creativity. Beginning with an examination of the different stages of women's lives--childhood, virginity, marriage and widowhood, this Companion addresses various aspects of medieval life that affected women's writing. These include the nature of authorship in the period, the position of women at home or in nunneries, and their relationship to religion. A chronology and guides to further reading add information which students and scholars will find invaluable.

Reaching beyond both medieval and queer studies, Dinshaw demonstrates in this challenging work how intellectual inquiry into pre-modern societies can contribute invaluably to current issues in cultural studies.

Ebook Shakespeare And The Second World War: Memory, Culture, Identity

In the process, she makes important connections between past and present cultures that until now have not been realized. She examines polemics around the religious dissidents known as the Lollards as well as accounts of prostitutes in London to address questions of how particular sexual practices and identifications were normalized while others were proscribed. Finally, she works with and against the theories of Michel Foucault, Homi K.

Bhabha, Roland Barthes, and John Boswell to show how deconstructionist impulses as well as historical perspectives can further an understanding of community in both pre- and postmodern societies. This long-anticipated volume will be indispensible to medieval and queer scholars and will be welcomed by a larger cultural studies audience. Through a series of six provocative essays, Dinshaw argues that Chaucer was not only aware that gender is a social construction, but that he self-consciously worked to oppose the dominance of masculinity that a patriarchal society places on texts by creating works in which gender identity and hierarchy were more fluid.

The unknown and disregarded literary arts of sixteenth century England graffiti, tattoos, writing on clothes or ceramics He never undertook the project himself but did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off.

The Cultural Role and Political Implications of Poland’s 1947 Shakespeare Festival

Using both his early and later thought, and the psychoanalytic texts to which it is addressed, to examine the print culture of early modern England, she drastically unsettles some key assumptions of book history. While the Victorian novel famously describes, catalogs, and inundates the reader with things, the protocols for reading it have long enjoined readers not to interpret most of what crowds its pages. Developing an innovative approach to analyzing nineteenth-century fiction, Elaine Freedgood here reconnects the things readers unwittingly ignore to the stories they tell.

In Victorian Writing about Risk , Elaine Freedgood explores a wide spectrum of once-popular literature, including works on political economy, sanitary reform, balloon flight, and African exploration. The consolations offered by this geography of risk are precariously predicated on the stability of dominant Victorian definitions of people and places. Women, men, the laboring and middle classes, Africa and Africans: all have assigned identities that allow risk to be located and contained.

When identities shift and boundaries fail, danger and safety begin to appear in all the wrong places. This anthology brings together writings ranging from the canonical to the obscure that suggest the scope of responses--from wondrous celebration to apocalyptic horror--elicited by the advent and establishment of the factory system in nineteenth-century Britain. Addressing complex questions about the possible effects of mass production on human life and labor, this collection presents important works by John Ruskin, Thomas Carlyle, and William Morris alongside lesser-known selections from factory tourists' tales and inspectors' reports, Parliamentary testimony, a Luddite pamphlet, and a cotton mill worker's autobiography.

These texts reveal the richness and complexity of the debates, contradictions, and conflicts that accompanied the rise of the factory as the most important site of commodity production. The selections are arranged and introduced in a way that helps students make sense of this complicated field.

An introduction by the editor and a chronology of the British factory system help place the materials in their historical context. From Medea to Goneril to Sharon Stone's ice-pick murderer to Susan Smith, the image of the violent woman has fascinated readers and audiences in a way that other figures have not.

Jo Hendin looks at the figure of the violent woman in her latest book where she argues that a violent woman is a grenade pitched towards both conservative and liberal views of women. Peopled with some of the most fascinating women in history, both real and imagined, Heartbreakers is a thought-provoking read. During the seventeenth century, England was beset by three epidemics of the bubonic plague, each outbreak claiming between a quarter and a third of the population of London and other urban centers.

Contents: Shakespeare-Gesellschaft

The central issue engaged here is the negotiation in these writers between the Sidnean tradition of "ut pictura poesis" that 'sees' poetry as a "speaking picture" and the antipictorial Protestant suspicion of the eye as the "devil's doorway"--according to Luther, the portal of idolatry. The book traces the literary appropriation of the theory and practice of linear perspective in the visual arts in English writing from Shakespeare to Milton.

The word "perspective" itself comes into the English Renaissance by way of the pictorial tradition and is employed both literally in relation to visual art and metaphorically as a way of seeing-- specifying an individual "perspective" that both empowers and delimits the seeing or reading subject who is accorded a unique "point of view.

Leivick—all of whom lived through, and wrote movingly of, their experience as patients in a tuberculosis sanatorium.

He argues that each writer produced a significant body of work during his recovery, itself an experience that profoundly influenced the course of his subsequent literary career. Seeking to recover the "imaginary" of the sanatorium as a scene of writing by doctors and patients, Gilman explores the historical connection between tuberculosis treatment and the written word. Through a close analysis of Yiddish poems, and translations of these writers, Gilman sheds light on how essential writing and literature were to the sanatorium experience.

All three poets wrote under the shadow of death. Their works are distinctive, but their most urgent concerns are shared: strangers in a strange land, suffering, displacement, acculturation, and, inevitably, what it means to be a Jew.

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Thomas Howard, the 21st Earl of Arundel was famed in the day as the "Collector Earl" whose unparalleled galleries were filled with paintings, sculpture and antiquities. This study focuses on the ways in which the Earl's project to plant an English colony on the island of Madagascar enlisted the contributions of all these individuals in various but related ways. The centerpiece of this analysis the cover illustration is Van Dyck's "Madagascar portrait" of the Earl and his Countess contemplating this venture. Junius appears in the background at the right along with a classical head--likely Homer's--to connect the Earl's current colonial adventure with the ancient tradition of epic seafaring.

Using the examples of early recorded sound and digital networks, Gitelman challenges readers to think about the ways that media work as the simultaneous subjects and instruments of historical inquiry.