The (Ir)relevance of the Aside in Golden Age Drama

The professionalization of public theatre in late sixteenth-century Spain transformed the public street drama of playwrights and actors such as Lope de Rueda into an activity whose survival and success depended on ticket sales and attendance. It is within this context that the aside became one of the most popular dramatic techniques of Spain's Golden Age theater. This article seeks to answer two questions about the aside: (1) Do Golden Age playwrights utilize the aside in the same manner? and (2) Does the subgenre of a comedia dictate the use of a particular category of aside? I propose to answer these questions, focusing in particular on the different ways that the following comedias utilize the aside to transform the audience from mere spectators to active accomplices of what they witness on stage: Calderón de la Barca's El alcalde de Zalamea (comedia de honor), Antonio Mira de Amescua's El esclavo del demonio (comedia hagiográfica), and Tirso de Molina's El burlador de Sevilla (comedia moral).     

John Milton and the Beard-Hater: encounters with Julian the Apostate

ABSTRACT

This is a study of John Milton and Julian the Apostate, last of the pagan emperors. It follows two trajectories. The first takes as its subject Julian’s “School Edict” of 362 AD, which barred Christians from traditional classical education; while the second concerns a literary text by Julian himself, the Misopogon or “Beard-Hater,” in which he ironically attacked his own aversion to Antiochene Christianity, including the performance of plays. These discussions offer an opportunity to re-examine Milton’s comments on early Christian views of drama, as well as his own drafts for sacred dramas. All these discussions turn on the question of how the Christian is to approach pagan literature, one of the oldest intellectual debates within Christianity. I argue that Milton’s attitude to Greek literature as an entire process was shaped by his attitude to this specific debate, and that this can be seen afresh by viewing it through the eyes of its most powerful critic in antiquity, Julian the Apostate. I also furnish an account of the early-modern editorial tradition of Julian.     

An analogy of the song of songs and genesis chapters two and three

Song of Songs is the love story of tha ages. It encompasses all the drama known of love, naturally and spiritually. In this writing is presented the controversy that preceded the canonization of the Song of Songs within Judaism and early Christianity. Presented is an overview of the vehicles that have been used in the exegeses of the Song of Songs as well as a discussion of the traditionally held allegorical interpretation of the Song. Within this writing there is also a discussion of the debate that still persists due to the view held by some scholars that the poetry of the Song is a translation of pagan litany when utilizing the Cult Theory. It is the intent of this writing to suggest an analogy between the Song of Songs and the book of Genesis, chapters two and three. In using the tool of analogy this writer discovered that there exists aspects of likeness, as well as that of contrast. The Song becomes, in a sense, a parable in which the allegorical interpretation of the Song is not considered in its traditional sense. Utilizing the Drama Theory, the principle characters in this consideration are the Shulamite woman, the Rustic lover, and the king. There are reflective qualities that exist in the Song of Song to Chapters two and three of Genesis. As noted by Francis Landy, ''The Song is a reflection on the story of the garden of Eden, using the same images of garden and trees…''.     

Darwinism — The political implications

In his De tragoediae constitutione (1611) Heinsius rearranged the text of Aristotle's Poetics, and built on it a new general theory of drama, literature and speech. The new system was designed to render Christian exemplars and Christian theories of internalisation, pedagogy and motivation impossible to maintain, and thereby sidestep one of the most divisive issues in the intellectual debates of the Reformation. Irenicist secularisation is a major cause of Heinsius's impact on German, English and French literary theory.     

Memory,narration and spectrality in Brian Friel's Faith Healer and Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme

This article proposes an examination of how Brian Friel's Faith Healer functions as an intertext in Frank McGuinness's Observe the Sons of Ulster Marching Towards the Somme. This shall be the first extensive consideration of Frank McGuinness's debt to Faith Healer, the play that convinced him that drama was the form most suited to his vision. How both plays consider the relationship between history, memory and art will be a key concern. Attention shall also be paid to the shared cultural and historic traditions that unite both Friel and McGuinness. The essays that McGuinness has written on Friel will be shown to be as valuable in interpreting McGuinness's work as they are to illuminating Friel's. It shall be argued that McGuinness, far from merely parroting Friel's aesthetic, uses the earlier writer's legacy to create new and original works.     

The Lance of St Maurice as a component of the early Ottonian campaign against paganism

The so‐called Holy Lance that formed part of the Holy Roman imperial insignia from the middle of the tenth century was for a time believed to be identical with that carried by the early Christian soldier‐martyr, St Maurice. While the earliest documentary evidence for a Maurician identification dates to 1008, I argue that Otto I (936–73) already associated the blade with this saint in the context of his anti‐pagan campaign along the empire's eastern borders, in which the figure of the saint played a significant role. Construed as the lance of St Maurice, this weapon was a potent visual tool of early Ottonian proselytism.     

Athanasian Paganisation of Arius: Unprecedented Application of the Deification Theme

Athanasian contribution to the development of the deification theme and its subsequent influence on Christian spirituality remains significant. Athanasius certainly applied deification in his fight with Arianism. A generally acknowledged application of deification in Athanasius in an anti‐Arian context also finds additional support in a seemingly unexpected place—Athanasian criticism of pagan divinization, mostly concentrated in Against the Pagans. Relying on a traditional Christian apologetic approach for criticism of pagan divinization, Athanasius contextualizes the theology of Arius as the paganization of Christianity as well as proposes necessary prerequisites for Christian understanding of deification. This is an unprecedented application of deification in Christian theology where one Christian author portrays the teaching of another Christian author as pagan divinization.     

Proëmial Prolepsis in Plato's Politeia

A recently proposed proleptic, or anticipatory reading of the Platonic dialogues insufficiently modifies the conventional doctrinal-developmental reading of these. Fuller literary consideration of the way Republic 1 anticipates the following books suggests how a genuine appreciation of a principle previously applied to Aeschylean drama invites deeper re-assessment both of Plato's philosophical manner of writing and of his political philosophy.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

The Concepts of imitatio and translatio: Perceptions of a Viking‐Age Past

The author presents the results of excavations at Mare Church, North Tr?ndelag. Medieval sources indicate that Mære was the religious centre for Inner Tr?ndelag in pre‐Christian times. It was also the place where the first church (shire church) in Sparbyggjafylke was erected. At Mære if anywhere, therefore, it should be possible to test archaeologically the theory about cult continuity from pagan to Christian times.

Under the present church, which dates from the end of the twelfth century, the remains of an early wooden church surrounded by a churchyard were found, together with vestiges of at least two buildings from pre‐Christian times. On the evidence of loose finds, the oldest of these can be dated to the Migration Period (c. A.D. 500). A series of gold plaquettes were found associated with the later of the two buildings. This find is interpreted by the author as indicating that the building may have been a pagan cult building.     

“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

Death on the Seine: The mystery of the pagan king Setric

In 943, a pagan king called Setric arrived with a fleet on the Seine, seeking to ‘take over the whole area without a grant from the king’ and to bring the young Richard and his Rouen Northmen back ‘to the worship of idols, and to bring back pagan rites’. But this was not to be because the young Carolingian king Louis IV d’Outremer was quickly on the scene and engaged Setric and his dux Turmod in battle. Louis’s mounted forces were victorious and both Setric and Turmod were killed. As the great French historian Philippe Lauer said: ‘La défaite du viking Setric et du renégat Turmod est un événement important dans l’histoire de l’établissement des Normands en Neustrie’. The mystery examined in this article is, who was this pagan king Setric (ON Sigtryggr) who had been sent to Valhalla? And where had he come from —York or Denmark? It is shown that whilst a Danish origin for King Setric cannot be completely excluded, the equation of a King Sihtric of York with King Setric on the Seine is more likely and is supported by a plethora of onomastic, chronological, numismatic and contextual evidence.     

An American Prototype in Thomas Mann's Königliche Hoheit

This study is inspired by Henri Lefebvre's theories on the production of space to consider the issues of geographic scale, urbanism, and historical memory in Spanish playwright Jerónimo López Mozo's 1999 play El arquitecto y el relojero. In this drama, the discourses of scale and the spectacle of urban space permeate the dialogue and staging of the work while the characters confront contemporary anxieties about the spatial component of historical memory. Relying on Henri Lefebvre's tripartite theory of the production of space to explore this spatial component not only illustrates the important relationship between culture and space, but it also demonstrates how the production of space at one scale—the urban—simultaneously “articulates” (Delaney and Leitner) with the broader geography of the nation.     

Searching for resonance: scientific patterns in Complicite's Mnemonic and A Disappearing Number

Abstract

After the international success of Mnemonic, Complicite have once again brought science and drama together in a new theatre piece, A Disappearing Number. Both plays place scientists in the limelight, though their 'scientific' content is very different: Mnemonic was based on the discovery of a Neolithic man in the Alps, and used neurology and archaeology to explore notions of memory and history; A Disappearing Number focuses on our fascination with infinity, and dramatises the 'mysterious and romantic mathematical collaboration' between G. H. Hardy and Srinivasa Ramanujan. The two pieces are, however, remarkably similar in plot and structure, and in their common exploration of the metaphorical and theatrical potential of scientific discourse. Moreover, they both use science as a narrative tool to explore our relation to time and mortality. This review presents them in parallel and examines the particular integration of ideas and aesthetics which characterises Complicite's work: a tireless search for connections, and a constant translation of ideas between different theatrical languages, be they verbal, visual or musical.     

Otto Warburg

Abstract

In the ancient world the dividing line between the Arts and the Sciences was not so rigidly drawn as in recenl times. Poets and prose authors alike frequently crossed the boundaries in their literary works. Notable Greek interdisciplinary writers include Hesiod, Aristotle and Theophrastus and, among the Romans, Lucretius, Virgil and Pliny the Elder are the best known. Thus Aristotle wrote the Poetics on the nature of drama and related topics and, in addition to many other philosophical and scientific works, the Meteorologica, a mixture of sciences. Virgil composed the Aeneid, a national epic glorifying Rome and the emperor Augustus, and the Georgics, a handbook of agriculture. Pliny the Elder, the nineteenth centenary of whose death was celebrated on 24 August 1979, had wide-ranging interests. His works include a treatise on the javelin, a history of Rome's wars against the Germans and the unique encyclopaedic Natural History. The present review examines Pliny's career and assesses his contribution to the early history of mineralogy.     

Defining the OE hearg: a preliminary archaeological and topographic examination of hearg place names and their hinterlands

The OE term hearg is interpreted variously as ‘pagan temple’, ‘hilltop sanctuary’ and even ‘idol’. It is a rare survival in the English place‐name record. When it can be identified, the place name is commonly considered to refer to a location of pre‐Christian religious activity, specifically a pagan Anglo‐Saxon temple. Taking inspiration from the extensive and methodologically well‐advanced studies in Scandinavia, which have successfully related place‐name evidence for cultic and religious sites with the archaeology and topography of these localities, this paper adopts and uses a similar methodology to investigate the archaeological and topographic character of a selection of hearg locations. The traditional interpretations of the place name are questioned and evidence is presented that these sites are characterized by long‐lived, localized cult practice spanning the late prehistoric to early historic periods, but with activity reaching a zenith in the late Iron Age to Romano‐British eras, rather than the fifth to seventh centuries AD.     

Enemy of the people: Simmel,Ibsen, and the Civic legacy of Nietzschean sociology

The fall of Communism continued an ongoing weakening of Marxist ideology, which had been hegemonic among the European Left since the Great War. While the decline of Marxist thought can be justly seen negatively as the historical correlative of globalization, this decline has also produced cultural space for a re-evaluation of non-Marxist critiques of capitalist civilization. One example of a powerful non-Marxist critique of capitalist civilization is Georg Simmel's sociology of money culture. Before turning to Simmel's radical critique, this essay explains how Simmel came to be viewed as a conservative. Simmel's presumed conservatism is challenged via a re-examination of the civic implications of his Nietzschean sociology. A central question is whether Simmel's ethical individualism is conservative. This question is finally answered through an analysis of Ibsen's Enemy of the People. The choice of Ibsen is not random, for it amplifies the close ethical and historical affinity of Naturalist drama and Simmel's philosophy.     

Reviews

Abstract

Since the beginning of the 1970s the women's/feminist theatre has gained a dominant position on the European and the American stage. Women have stormed the postmodern stage either as solo dramatists and artists or as collaborative teams, forging a new female theatre language and training audiences to new ways of theatre reception. The publication of Lizbeth Goodman's Contemporary Feminist Theatres: To Each Her Own (Routledge, 1993), one in a long series of recent studies on women's theatre, already heralded an advanced epoch of a polyvocal feminist theatre embracing a multiplicity of female differences along the paradigms of gender, race, sexuality and ethnicity. Within the dynamic spectrum of development and intercultural exchange that ensued in the field of women's theatre the Greek women's contribution is faceless and anaemic. The situation is both distressing and calling for systematic research, especially since the scanty sociological studies concerning the position of women in contemporary Greece are inadequate in throwing full light on such a complicated problem. In 1992 Savas Patsalidis made the first serious attempt to analyse the foetal state of women's theatre in Greece in his article ‘Greek Female (Feminist?) Theatre: A Preliminary Approach', published in the Greek journal Utopia (4, Nov.-Dec. 1992, 105–38). My own interest in the issue in my capacity as a feminist and drama critic springs from my long-standing research in British women's theatre and my understandable comparative inquiry, as a Greek national, into the causes that might have led to the striking absence of an analogous phenomenon in my native country. I have deliberately used the word immaterial in the title of this paper in order to suggest, on the one hand, the relative lack of a distinct theatre discourse of women as speaking subjects and moving bodies on stage, inscribing female experience and female desire, and, on the other hand, the unimportance, in terms of power, of women theatre practitioners as still very few of them hold key positions in theatre institutions and the theatre industry.     

Liberation Theology and Zombies: Paralysis and Praxis

In Fredric Jameson's formulation it may now be “easier to imagine the end of the world than to imagine the end of capitalism.” What Jameson suggests is that our current preoccupation with the drama of the apocalyptic belies a deeper paralysis of the imagination, and with this the concomitant loss of actions conducive to a new politics. Jameson's comments here foreground a contradiction in our experience of late capitalism, representations of dramatic rupture which obscure fundamental political stasis. This paper takes Jameson's reflections and the contradiction of action which is also non-action as the point of departure to query the current state of Liberation Theology, particularly the work of Ivan Petrella, to defend the work of Gustavo Gutiérrez, and ask how our contemporary predicament might be illuminated by Danny Boyle's zombie film, 28 Days Later.