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- Rokem, Performing History, xi.Google Scholar
- Ibid. xiii.Google Scholar
- Carlson, The Haunted Stage, 1, 3.Google Scholar
- “Again,” Oxford English Dictionary, 2nd ed., 1989.Google Scholar
- Ibid.Google Scholar
- “Anew,” Oxford English Dictionary, 2nd ed., 1989.Google Scholar
- “Again.”Google Scholar
- I am quoting Joseph Donohue’s conception of the tense of drama, which he repeated in many “Modern American Drama” lectures at the University of Massachusetts, Amherst.Google Scholar
- “Translate,” Oxford English Dictionary, 2nd ed., 1989.Google Scholar
- Bennett, “Minoritarian Linguist in Translation.”Google Scholar
- In “Performing Translation in Kushner’s Homebody/Kabul,” presented at the University of Massachusetts, April 2004, Jenny S. Spencer noted the absolute centrality of translation to any understanding of Kushner’s play. See also Spencer, “Performing Translation in Contemporary Anglo-American Drama,” 389–410.Google Scholar
- Bennett, “ Minoritarian Linguist in Translation.”Google Scholar
- Richardson, “‘Time Is Out of Joint,’” 308. For an article about contemporary theatre’s sense of dramatic time, see Fischer, “Dramatic Time,” 241–256.Google Scholar
- White, Content of the Form, 14.Google Scholar
- Ibid. 27.Google Scholar
- Ibid.Google Scholar
- Canning and Postlewait, “Representing the Past,” 12.Google Scholar
- Ibid. 18.Google Scholar
- White, Content of the Form, 1.Google Scholar
- “Translator,” Oxford English Dictionary, 2nd ed., 1989.Google Scholar
- Robyns, “Translation and Discursive Identity,” 405.Google Scholar
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- Tony Crowley discusses memory and forgetting in relation to Brian Friel’s Translations and Making History. Crowley examines memory and forgetting in a different manner than I do, contemplating the following questions: “Is there an obligation to remember? Is there a duty to commemorate? Does peace depend on forgetting?” (Crowley, “Memory and Forgetting,” 73).Google Scholar
- Qtd. in Griffin, “Birth of the History Play,” 221.Google Scholar
- “The past, Blau asserts, riffing on Marx’s Eighteenth Brumaire, may or may not replay itself as farce, but it will always need fresh actors—blood donors—because it is always under construction. The theatre—and the theatre’s literature—is not only a means of transfusion, it is the means of transfusion, for what is resuscitated is what had to be invented in the first place” (Diamond, “Modern Drama,” 5).Google Scholar
- Griffin, “Birth of the History Play,” 217.Google Scholar
- Albee, Who’s Afraid of Virginia Woolf?, 67.Google Scholar
- G. K. Hunter has an interesting take on how the past meets the future in history plays (particularly history plays by Shakespeare)Google Scholar
- [Shakespeare] seeks to create specific though complex interrelations out of the narrative evasiveness of their “real life” stories, turning parataxis into hypotaxis and in all cases requiring the events to implicate a future that will explain their meaning … [the history play’s] future keeps opening up new possibilities instead of closing them down: “the king is dead; long live the king.” (“Notes on the Genre of the History Play,” 237–238)Google Scholar
- In another article, Hunter states a similar idea in an interesting fashionGoogle Scholar
- History plays are not shaped by the formal closures of death and marriage; they allow the open-endedness of history itself to appear—when one king dies another king emerges; time and politics grind on with a degree of indifference to the life-cycles of individuals. (“Truth and Art,” 20)Google Scholar
- Think of Quentin Tarantino’s Inglorious Bastards (2009) when many moviegoers had trouble letting go of the fact that Tarantino drastically changed historical events.Google Scholar
- Lorenz, “Unstuck in Time. Or: The Sudden Presence of the Past,” Tilmans et al., Performing the Past, 75. For a more philosophical, specifically ontological, approach to history and time, see Bentley, “Past and “Presence,” 349–361.Google Scholar
- Lorenz, “Unstuck in Time,” 75.Google Scholar
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- The following, since this book examines the modern history play, is meant only as an overview of the classical conceptions of the history play, which is mostly connected to early modern drama. For more on the subject of the history play, see Shortslef, “Acting as an Epitaph,” 11–24; Dillon, “The Early Tudor History Play,” 32–57; Ullyot, “Seneca and the Early Elizabethan History Play,” 98–124; Kewes, “The Elizabethan History Play,” 170–193; Cavanagh, Language and Politics,; Hattaway, “The Shakespearean History Play,” 3–24; Hoenselaars, “Shakespeare and the Early Modern History Play,” 25–40; Robinson, Writing the Reformation; Kurtz, “Rethinking Gender,” 267–287.Google Scholar
- Griffin, “The Birth of the History Play,” 217.Google Scholar
- Ibid.Google Scholar
- Ibid. 218.Google Scholar
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- Ibid. 225.Google Scholar
- “Never before had the ‘particulars’—the historical individual characters—been worth treating in terms of their anagogic significance … the particulars are treated as derivable from universals” (ibid. 229).Google Scholar
- Ibid. 232.Google Scholar
- Hunter, “Truth and Art in History Plays,” 20.Google Scholar
- Ibid. 18.Google Scholar
- Ibid. 18.Google Scholar
- Ibid. 19.Google Scholar
- “The medieval drama derives its formal stability from its recognition that human time has a fixed beginning and end (the Creation and Judgment). The shape of the Shakespearean history play, however, is denied this stability because, although time is felt as a linear process as in the Cycles, the ends of this process are nowhere in sight. Individual actions may be brought to completion, but the history play recognizes the impossibility of isolating the action from its place on the temporal continuum” (Kastan, “The Shape of Time,” 263, 270).Google Scholar
- Weineck, “Sex and History,” 353. “Though his work is constantly read in terms of his own revolutionary politics, Büchner seems to have been equally interested in writing Rankean history. Perhaps as much as one-sixth of Danton’s Tod (1835) was transcribed from the histories Büchner used as sources. His title deliberately evokes the last play of Schiller’s trilogy, suggesting that Büchner is both responding to and refuting Schiller’s historiography” (Favorini, Memory at Play, 67).Google Scholar
- Diamond, “Modern Drama,” 10.Google Scholar
- de Certeau, The Writing of History, 10.Google Scholar
- Ibid. 8.Google Scholar
- Ibid. 11.Google Scholar
- Ibid. 3–4.Google Scholar
- Favorini, Memory in Play, 62.Google Scholar
- Ibid. 62–63.Google Scholar
- Ibid. 63.Google Scholar
- Ibid.Google Scholar
- Ibid. 64.Google Scholar
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- Ibid. 67.Google Scholar
- Ibid. 69.Google Scholar
- Assmann, Cultural Memory, 24.Google Scholar
- Ibid. 36.Google Scholar
- Ibid. 55–56.Google Scholar
- Ibid. 66–71.Google Scholar
- Ibid. 42.Google Scholar
- Ibid. 25.Google Scholar
- Ibid. 90–92.Google Scholar
- Ibid. 91.Google Scholar
- Nietzsche, Use and Abuse of History, 3.Google Scholar
- Ibid. 7.Google Scholar
- Ibid. 11.Google Scholar
- Ibid. 12–22.Google Scholar
- Ibid. 72.Google Scholar
- Ibid. 22.Google Scholar
- Ibsen: “Speech to the Norwegian Students,” 49.Google Scholar
- For a similar angle on modern historical drama, see Fischer, “Playwrights Playing with History,” 249–265.Google Scholar
- For three articles on modern history plays (more about specific plays rather than the “genre”), see Crowley, “Memory and Forgetting,” 72–83; Hammond, “‘Is everything history?’” 1–23; and Carson, “Transformation of History into Drama,” 7–21.Google Scholar
- Runia, “Burying the Dead,” 314.Google Scholar
- Ibid. 321.Google Scholar
- Bhabha, Nation and Narration, 3.Google Scholar
Understanding And Speaking English Metaphorically Pdf Download Torrent Download
Language: English; ASIN: B00BUS2QJ4. Download Torrent ACCOUNTING: UNDERSTANDING AND PRACTICE Pdf EPub Free. Note: If you're looking for a free download links of ACCOUNTING: UNDERSTANDING AND PRACTICE Pdf, epub, docx and torrent then this site is not for you. Ebookphp.com only do ebook promotions online and we does not distribute any. Modern Drama and the Translation of History’s Narratives Abstract. The chaotic torrents of the past within an aesthetic frame. —Freddie Rokem. English (metaphorically like Kafka’s use of German). 12 Homebody, then, is deterritorialized because her language, and thus (by.
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