Great Drama Research Articles

The Devil and the Deep Blue Sea: Faust as Jung's Myth and Our Own

This paper is a meander through Jung's opus, following the thread of Goethe's Faust, and a reflection on Faust's meaning for our own times. Goethe's great drama gives us a story line for our times: We are Faust. We have made a bargain with the devil for enormous power over the earth. We have committed crimes against nature and humanity for the sake of more land, more energy, more destructive capacity. We have murdered that loving old couple, Baucis and Philemon, who hosted the god in his disguise as a homeless wanderer. We are haunted by Faustian guilt about melting glaciers, rising seas, the fate of the salmon. Jung, whose psychology can be described as an amplification of Goethe's Faust, saw it as his ethical task to take on Faust's guilt. He placed an inscription over the gate of his home at Bollingen that read: Philemonis Sacrum—Fausti Poenitentia (Shrine of Philemon—Repentance of Faust). This resonates over the years and speaks to our current ethical dilemmas.

Performance Review Essay: Japanese Theatre in Los Angeles

Performance Review Essay: Japanese Theatre in Los Angeles Kevin Wetmore Jr. Shochiku Grand Kabuki—Chikamatsu-za. By Chikamatsu Monzaemon. Directed by Nakamura Ganjiro III. Cerritos Center for the Performing Arts, Los Angeles. 22June 2005. Blood! Love! Madness!By Nakamura Kichizo, Kikuchi Kan, and Shimizu Kunio. Directed by Brent Hinkley. Ivy Substation, The Actors’ Gang, Los Angeles. 14October 2005. Hiroshima Maiden. Created by Dan Hurlin. REDCAT (Roy and Edna Disney/CalArts Theatre), Los Angeles. 5November 2005. In Mark Jacobson’s 1991 novel Gojiro,the eponymous lizard, clearly based on Tōhō’s Gojira(Godzilla), decides to attack and destroy Los Angeles, only to be defeated by the scope of the city: “It was the sprawl that did it, that L.A. whizzing by: the overwhelming sameness, the diffuse repetition. It dulled all passion, doused every fire. Ever spreading, the city was an amorphous sweep without a vital organ or center at which a determined Destroyer could aim . . . [I]n what amounted to a perfect defense against exactly the attack the monster envisioned, the town had no cherished emblem of itself beyond its very vagueness” (Jacobson 1991: 172). Unable to do to Los Angeles what it has done to Tokyo countless times, the monster instead capitulates to the seductions of the city and becomes a movie star. This scenario is a telling metaphor for many things Japanese that enter the City of Angels: unable to remain as they are and change the city, they change themselves and become part of the culture already present, an [End Page 159]assessment that holds true to varying degrees of three Japanese or Japanese-inspired productions in Los Angeles: one kabukifrom Japan, one an American production of three shingekiclassics, and an American fusion production utilizing bunraku-style manipulation and other forms of puppetry to tell the story of one of the Hiroshima Maidens. As with Gojiro,the American location in general, and the Southern California location in particular, transform the performance experience, sometimes to the benefit of performance and audience experience and sometimes to the detriment of both. (Interestingly, when Hollywood had the opportunity to remake the Godzilla story in its own image in 1996, it was to New York to which the giant radioactive lizard went, regardless that the West Coast was much closer to Godzilla’s Pacific origins. It was apparently much easier to attack Manhattan, filled with recognizable symbols, than Los Angeles, even in an American film). These productions are also unique in that they form a continuum of connection between East and West that require us to reevaluate what is meant by “Asian theatre” in general and “Japanese theatre” in particular, especially when performed outside the culture that produced them. What is it that makes a particular theatre Asian? The ethnicity of the performers? The culture of origin? The subject matter? The claims of the producers? If an American company performs a play set in Japan, about Japan, written by a Japanese playwright, with a multiethnic company for a multiethnic audience, is it solely an American play, or is the production inherently multicultural? The globalization of culture allows for American theatre artists to seize upon elements of both traditional and modern Japanese theatre and present them in new American contexts while making claims of authentic Japaneseness. For the purposes of this review, I am interested in how this “Japaneseness” is made manifest within productions, how it is marketed to American (specifically Southern Californian) audiences, and how, if at all, the stated authenticity is accurate. As part of their 2005 tour of the United States and the twenty-fifth anniversary of the Japanese American Cultural and Community Center, the Shichiku Grand Kabuki performed in Los Angeles at the Cerritos Center for the Performing Arts. Living National Treasure Nakamura Ganjirō III’s Chikamatsu-za presented Boshibari(Tied to a Pole) and Sonezaki Shinjō(Love Suicide at Sonezaki), the former being a dance play based on the kyōgenoriginal, adapted for kabukiin 1916 and the latter being one of Chikamatsu Monzaemon’s (“Japan’s Greatest Playwright,” proclaims the program) best-known plays. Nakamura played the geisha heroine Ohatsu, a role he used to play opposite his father Nakamura...

Shakespeare, Persia, and the East

No writer's work has been studied more closely or more often than the plays of William that master of language and peerless explorer of the human heart. Books about him number in the thousands, yet Shakespeare, Persia, and the brings a truly fresh perspective to his genius. In the three dozen plays he composed between 1590 and 1612, Shakespeare ranged far and wide in his imagination, setting some of his tales in places as varied as Denmark, Venice and Athens - while drawing on a rich array of imagery and lore from lands further east. This remarkable book by a lifelong student of Cyrus Ghani, reveals how rich a source of inspiration those exotic Eastern realms were for the playwright. Elizabethan England was especially fascinated by Persia, whose deep-rooted culture was then flourishing under the Safavid dynasty. An Englishman first visited there in 1562, two years before Shakespeare's birth. More contacts between England and Persia followed, prompted by hopes of a lucrative trading relationship and a possible military alliance against the Ottoman Turks. A pair of English adventurers, Anthony and Robert Sherley, spent years attempting to establish these ties, not always scrupulously, and their story was well known to England's greatest dramatist. To illuminate the creative uses Shakespeare made of the East, this book first looks at the life of the playwright himself, then at the dynasties that did so much to shape England and Persia in that tumultuous age. Other sections in the book profile key figures in the efforts to forge a connection between the two lands, with particular focus on the colourful Sherleys and their fatally ambitious sponsor, the Earl of Essex -- a great admirer of Shakespeare. The final section of the book briefly describes the plays and cites their many allusions to the East -- testimony that this literary giant was very much a man of his time.

Theatrical Spinning: Ricciarda and Ugo Foscolo's Campaign For Fame

Ugo Foscolo's name does not make today's short list of Italy's great dramatists. Contemporary Italianists often overlook Foscolo's contribu? tion to the Italian theatrical tradition, despite the fact that he wrote three neoclassical, or Alfierian, tragedies: Tieste (Venice, 1797), Ajace (Milan, 1811), and Ricciarda (Bologna, 1813).2 The oversight is with good reason; these works are not particularly impressive, and they were not well received by Italian audiences.3 Yet despite the poor

科学の歴史はドラマだ！

科学の歴史はドラマだ！

Through Black Spruce by Joseph Boyden

^^^^H to him. But turning away from the ^^^^H integral relationships and meshing ^^^^B of stories promised by the frames ^^^^H does not necessarily lead to coherent ^^^^B structure.The pieces are inplace and ^^^^B thereare links,but theoverall effect ^^^^B ismore like an arrangement of dif ^^^^B ferentepisodes than a series united ^^^^B by themes and anxieties. ^HjH W.M. H?gen ^HBH Oklahoma BaptistUniversity JosephBoyden.Through Black Spruce. Toronto / New York. Viking Canada/ Viking.2008/2009. 360 pages. Can$34 / US$26.95. isbn 978-0-670-06363-5 / 02057-7 Dense groves of black spruce over shadow thebusy streetsof Toronto, Montreal, and New York through much of Joseph Boyden's second novel. Through Black Spruce is a meticulously crafted, suspenseful story of an extended family from one of theMushkegowuk Nations living in theJamesBay area ofnorth ern Ontario. Researching sites and people for a novel is standard prac tice for writers today,but Boyden, of Metis background with knowledge ofCree, iswell positioned to capture thevoice of the Mushkegowuk. Through Black Spruce is about fire and ice as well as conifers? about their regenerative as well as destructive powers. It is about life sustaining beaver and goose, martin and moose?and their animal spirits that command respect. Especially evocative in the novel is one narra tor's account of preparing forwinter by James Bay as the cold winds come blowing in. But we come across other, more modern northern tropes, like first-generation skidoos, a World War I rifle, an old-fash ioned bush pilot, and a subsistence economy based on the furtrade and the company store. Tobacco is a sac rament; rye whiskey is survival. The Indian protagonists we come to love, such as Annie and Antoine and Will, reflectBoyden's extraordinary ability toget the read er to suspend disbelief and fully embrace his fictional characters. We can find no redeeming qualities in Marius of the Netmaker clan?a con stant presence in the novel even though his cameo appearances pro vide its greatest drama. One of two love stories we become absorbed in is between Annie and Gordon, a Cree and a Mohawk, respectively, who come from contrasting back woods and urban environments. The other isbetweenWill and Doro thy,high school sweethearts in one of the notorious Christian schools for aboriginals, who only discover theirlove foreach other in theirlater years. At firstit seems sacrilegious to include alongside this JackLondon esque wildnerness tale the venial struggle for survival in the fashion world of Manhattan?a story that takes up much of themiddle sec tions of Black Spruce. But it serves both as morality tale and spoof of the survival struggles of attractive young models who have closets of flattering outfits,designer drugs of many differenteffects,and admiring men in all shapes and colors, who nevertheless careen off on a path of self-destruction. Their lifestyles make a stark contrast to the bare knuckles struggles of FirstNations in remote areas of Ontario who struggle to collect enough food so as to survive through the winter. Boyden excels at narrative design. For example, two of the main characters around which the central plot?involving bike gangs, drug wars, killings, and disappear ances?revolves never emerge in the novel. But they animate the story, and the shadowy figure of one of them, discernable at the end, makes for a satisfying resolution. The novel was awarded the 2008 Scotiabank Giller Prize, one of Canada's top literary awards. It puts Joseph Boyden in the com pany ofGiller laureates likeMarga retAtwood, Rohinton Mistry, Alice Munro, Michael Ondaatje, Mordecai Richler, and M. G. Vassanji. RayTaras ^^^M Tulane University Alina Bronsky. Scherbenpark. Cologne, Germany. Kiepenheuer & Witsch. 2008. 287 pages. 16.95. isbn 978-3-462 Scherbenpark,a firstnovel, begins with a contradiction: "Manchmal denke ich, ich bin die Einzige in unserem Viertel, die noch vern?nf tigeTr?ume hat. Ichhabe zwei, und f?rkeinen brauche ich mich zu sch? men. Ichwill Vadim t?ten.Und ich will ein Buch ?ber meine Mutter schreiben" (I sometimes think I am the only person in our quarter who still has sensible dreams. I have two, and don't need to be ashamed of either one. I want to...

Scherbenpark by Alina Bronsky

^^^^H to him. But turning away from the ^^^^H integral relationships and meshing ^^^^B of stories promised by the frames ^^^^H does not necessarily lead to coherent ^^^^B structure.The pieces are inplace and ^^^^B thereare links,but theoverall effect ^^^^B ismore like an arrangement of dif ^^^^B ferentepisodes than a series united ^^^^B by themes and anxieties. ^HjH W.M. H?gen ^HBH Oklahoma BaptistUniversity JosephBoyden.Through Black Spruce. Toronto / New York. Viking Canada/ Viking.2008/2009. 360 pages. Can$34 / US$26.95. isbn 978-0-670-06363-5 / 02057-7 Dense groves of black spruce over shadow thebusy streetsof Toronto, Montreal, and New York through much of Joseph Boyden's second novel. Through Black Spruce is a meticulously crafted, suspenseful story of an extended family from one of theMushkegowuk Nations living in theJamesBay area ofnorth ern Ontario. Researching sites and people for a novel is standard prac tice for writers today,but Boyden, of Metis background with knowledge ofCree, iswell positioned to capture thevoice of the Mushkegowuk. Through Black Spruce is about fire and ice as well as conifers? about their regenerative as well as destructive powers. It is about life sustaining beaver and goose, martin and moose?and their animal spirits that command respect. Especially evocative in the novel is one narra tor's account of preparing forwinter by James Bay as the cold winds come blowing in. But we come across other, more modern northern tropes, like first-generation skidoos, a World War I rifle, an old-fash ioned bush pilot, and a subsistence economy based on the furtrade and the company store. Tobacco is a sac rament; rye whiskey is survival. The Indian protagonists we come to love, such as Annie and Antoine and Will, reflectBoyden's extraordinary ability toget the read er to suspend disbelief and fully embrace his fictional characters. We can find no redeeming qualities in Marius of the Netmaker clan?a con stant presence in the novel even though his cameo appearances pro vide its greatest drama. One of two love stories we become absorbed in is between Annie and Gordon, a Cree and a Mohawk, respectively, who come from contrasting back woods and urban environments. The other isbetweenWill and Doro thy,high school sweethearts in one of the notorious Christian schools for aboriginals, who only discover theirlove foreach other in theirlater years. At firstit seems sacrilegious to include alongside this JackLondon esque wildnerness tale the venial struggle for survival in the fashion world of Manhattan?a story that takes up much of themiddle sec tions of Black Spruce. But it serves both as morality tale and spoof of the survival struggles of attractive young models who have closets of flattering outfits,designer drugs of many differenteffects,and admiring men in all shapes and colors, who nevertheless careen off on a path of self-destruction. Their lifestyles make a stark contrast to the bare knuckles struggles of FirstNations in remote areas of Ontario who struggle to collect enough food so as to survive through the winter. Boyden excels at narrative design. For example, two of the main characters around which the central plot?involving bike gangs, drug wars, killings, and disappear ances?revolves never emerge in the novel. But they animate the story, and the shadowy figure of one of them, discernable at the end, makes for a satisfying resolution. The novel was awarded the 2008 Scotiabank Giller Prize, one of Canada's top literary awards. It puts Joseph Boyden in the com pany ofGiller laureates likeMarga retAtwood, Rohinton Mistry, Alice Munro, Michael Ondaatje, Mordecai Richler, and M. G. Vassanji. RayTaras ^^^M Tulane University Alina Bronsky. Scherbenpark. Cologne, Germany. Kiepenheuer & Witsch. 2008. 287 pages. 16.95. isbn 978-3-462 Scherbenpark,a firstnovel, begins with a contradiction: "Manchmal denke ich, ich bin die Einzige in unserem Viertel, die noch vern?nf tigeTr?ume hat. Ichhabe zwei, und f?rkeinen brauche ich mich zu sch? men. Ichwill Vadim t?ten.Und ich will ein Buch ?ber meine Mutter schreiben" (I sometimes think I am the only person in our quarter who still has sensible dreams. I have two, and don't need to be ashamed of either one. I want to...

Lara impugna a Vera Tassis: ¿Qué comedia atribuida a Salazar y Torres es de Cuero y Tapia?

In 1684, Gaspar Agustín de Lara published his Obelisco fúnebre … a la inmortal memoria de D. Pedro Calderón de la Barca . In this eulogy of the great dramatist, he criticized severely Juan de Vera Tassis y Villarroel's editing skills and enumerated some of his serious failures of judgment. He included, in the latter category, one of Vera's earlier editorial projects, the publication in two volumes of the Cítara de Apolo the complete poetic and dramatic works of Agustín de Salazar y Torres. He singled out for particular criticism Vera's inclusion of Juan de Jáuregui's Orfeo , in the first volume, and an unnamed play by Cuero y Tapia, in the second. After reviewing the history of the textual transmission of Salazar's plays, I have concluded, based on historical and stylistic evidence, that the last play in the second volume, Triunfo y venganza de Amor , is not by Salazar and should now be attributed to Cuero y Tapia. It would appear that even Vera himself had some doubt regarding Triunfo . When one examines the signatures of the second volume of the Cítara de Apolo , it is clear that the play, the ninth, was added at the last moment and after the eight plays that were to comprise the original volume had been set and printed.

Out of an Old Toy Chest

Out of an Old Toy Chest Marina Warner (bio) The Soul of the Toy In Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy. The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life. That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1 Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2 Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn...

Harpoon: into the heart of whaling

From one-hundred-fifty-ton barnacled Blues to the sleek, embattled Minke, whales have been hunted worldwide to near extinction. Despite efforts to halt the killing, the future of these majestic mammals-known as mind in the water-is again in jeopardy. With passion and engaging detail, Andrew Darby profiles each species of whale and its place in this great drama. From the wooden harpoons of aboriginals in cockleshell vessels, to the high-tech killing machines of todays lawless Russian whalers and smooth-talking Japanese scientific crews, Darby chronicles the evolving pursuit of whales and its significance to our humanity. Fans of well-written history, as well as those fascinated by whales and the fierce international conflict surrounding them, will be swept into the very heart of whaling.

:Solon and Thespis: Law and Theater in the English Renaissance

In this attractively titled collection of essays on law and theater in the English Renaissance, Dennis Kezar has assembled an impressive array of talent to focus on the productive and yet vexed relationship of theater and the state. Plays 'tell lies' to their audiences: so argued Solon in his riposte to Thespis, to be followed in due course by Plato's attack on poetry in the Republic and all that Jonas Barish has studied under the rubric of Antitheatrical Prejudice. This battleground here affords a rich opportunity for an exploration of 'an institutional antagonism over the tenuous distinction between theater's inconsequential fiction and the real world's socially consequential fact.' This volume is a truly valuable contribution to the growing interest in law and literature, here brought to bear on the great drama of Shakespeare, Jonson, Dekker, Marston, Chapman, and their contemporaries. -David Bevington, Phyllis Fay Horton Distinguished Service Professor in the Humanities, University of Chicago The diversity of topics explored in this excellent collection makes it a valuable addition to the burgeoning field of early modern law, theater, and literature studies. essays included here touch on a wide range of material-from Dekker to Shakespeare to Chapman and Bacon; and in doing so, they explore the tensions between Solon and Thespis in such a way as to make the work of analyzing the relationship between literature and the law seem not only fruitful, but in fact essential to a deeper understanding of both. -Jeremy Lopez, University of Toronto This volume contains contributions by literary critics and historians who demonstrate that theater and law were not simply relevant to each other in the early modern period; they explore the physical spaces in which early modern law and drama were performed, the social and imaginative practices that energized such spaces, and the rhetorical patterns that make the two institutions far less discrete and far more collaborative than has previously been recognized.

Anton Chekhov's MD Thesis

If you had to choose the world's five greatest dramatists who would they be? Shakespeare and Moliere would figure highly on most people's list. Then perhaps the Ancient Greeks, Aeschylus and Sophocles (or Euripides); and then in more modern times there may be a toss-up between Ibsen and Chekhov for fifth place. I would personally go for Chekhov—he is less harrowing to watch than Ibsen. There is usually a Chekhov play showing somewhere in the United Kingdom every year. Ivanov is currently showing in London. If you had to choose the world's five greatest short story writers who would they be? The number to choose (Maupassant, Henry James, Graham Greene, etc.) seems to be much larger than for dramatists perhaps it is an easier craft to ply. But again Chekhov would figure highly on many people's list. It must be quite unique for a practicing physician to get on two such short lists. Anton P. Chekhov (1860–1904) qualified in medicine from Moscow University in 1884. While a student he had worked in the Vozkresenk Hospital and after taking his degree was employed on the staff of the Zvenigorod Hospital. He went into practice and from 1892–93 he was medical superintendent of the Melikhovo district near Moscow. In 1890, Chekhov wanted to join the lecturer staff of a medical school and to do this he had to write a thesis towards the degree of Doctor of Medical Sciences at Moscow University. He completed the thesis in 1895. The project was to undertake a medico-social study of Sakhalin Island. His aim as a physician was to study the social conditions of the Island to see how …

Romanticism Revisited: Jørn Utzon's Sydney Opera House

Complex and mysterious, the Sydney Opera House is gloriously elusive. It is something very rare: the intersection of early 19th century Romantic ideas that elevated feeling, intuition and individual genius, and mid-20th century Modernism standing for a rational acceptance and assimilation of industrialism, standardisation with an abstract mass-production aesthetic. Evidence supporting this is found in Utzon's reference to the Gothic church, his fascination with remote exotic sources and fascination with the primitive in his development of the ‘additive architecture' principle, but most tellingly, the importance given to nature and landscape as a source of poetic metaphors. This combination of a Romantic orientation and Modernism is understandable only in terms of his special Scandinavian heritage. The collision resulted in a powerful, but ultimately flawed outcome to the extent that Utzon failed to fuse the emotional with the rational dimensions but in his defence, it has to be said that this is a widespread failure that has carried over into the present day. This is the great drama we experience at Bennelong Point, which is made all the more poignant by our sympathy with his aims and the unconscious recognition that in some fundamental way, the goal was unattainable.

The Trials of Alger Hiss: A Commentary

No criminal case had a more far-reaching effects on modern American politics than the Alger Hiss-Whittaker Chambers spy case which held Americans spellbound in the middle of the twentieth-century. The case catapulted an obscure California congressman named Richard Nixon to national fame, set the stage for Senator Joseph McCarthy's notorious Communist-hunting, and marked the beginning of a conservative intellectual and political movement that would one day put Ronald Reagan in the White House. Even without its important influence on American political debate, the trials of Alger Hiss for perjury have the makings of a great drama. They featured two men who could hardly be more different, sharing only impressive intelligence. Alger Hiss was a tall, handsome Harvard-trained lawyer with an impeccable pedigree. Whittaker Chambers was a short, stocky, and rumpled Columbia drop-out and confessed former Communist from a poor and troubled Philadelphia family. Time and time again the two men would tell congressional committees, trial juries, and a reading public flatly contradictory stories about Hiss's allegiances during the period from 1933 to 1938. Hiss, according to Chambers, was a dedicated Communist engaged in espionage, even while working at the highest levels of the United States government. Hiss told a very different story, claiming unflinching loyalty and denying even membership in the Communist Party. One man was lying, one was telling the truth. In the summer of 1948, Chambers's story rang true to one very important young man: Congressman Richard Nixon, a member of the House un-American Activities Committee, then an often-ridiculed political backwater.

State of immunity: The politics of vaccination in twentieth-century America

State of immunity: The politics of vaccination in twentieth-century America

GE‐YI IN BUDDHIST SCRIPTURE TRANSLATIONS

Buddhist scripture translations are among the greatest dramas that have happened in the entire history of Chinese translation. During the space of over one thousand years, Buddhist translators have delved into or touched upon numerous aspects and problems of translation, leaving us an invaluable treasure‐house which present‐day translation theoreticians can tap into. This paper is an investigation of a peculiar approach employed by early Buddhist translators called ge‐yi, or ‘concept matching’. Through examples from some Chinese translations of Buddhist sutras, it can be seen that the method of ge‐yi is quite frequently used by early Buddhist translators. An analysis is then made with regard to the underlying causes of ge‐yi, with the conclusion that although this phenomenon is partly related to the linguistic competence of the translators, seen from a cultural perspective it is caused inevitably by certain laws inherent in translation activities during the process of cultural exchange, especially during the nascent phase.

SCIENCE'S CONCEPTION OF HUMAN BEINGS AS A BASIS FOR MORAL THEORY

Abstract. Niels Bohr stated, and Werner Heisenberg reiterated, that “in the great drama of existence we ourselves are both actors and spectators.” Their emphasis stems from the fact that the entry of human beings into physics as actors constitutes the most fundamental philosophical departure of twentieth‐century basic physics from its eighteenth‐ and nineteenth‐century forerunners. Those earlier theories claimed that our human conscious thoughts are mere witnesses to, or by‐products of, essentially mechanically determined brain processes. In stark contrast, certain conscious decisions that are made by human beings, but that are not determined by any known law, statistical or otherwise, enter irreducibly into orthodox contemporary physical theory. These actions are required to counteract effects of Heisenberg's Uncertainty Principle, which ordains that the physically described process of nature, acting alone, produces not a physical world of the kind we experience but rather a continuous smear of potential possible worlds of the kind we know. This contradiction between theory and experience is resolved in orthodox contemporary physical theory by bringing certain effects of our conscious human choices into the dynamics in essentially the way that we intuitively feel that our conscious intentions affect the physical world, namely, via the effects of our intentional efforts on our physically described bodies. The moral implications of this profound change in physics are discussed.

Primary Colors: A Play by Mishima Yukio: Introduction

Primary Colors (Sangenshoku) is a 1955 play by MishimaYukio that brings up issues of homosexuality and bisexuality. Its positive treatment of homosexual themes contrasts with the darkness of Forbidden Colors, the author's novel of the same period. While the play has received only a few professional productions, its poetry and theme help us understand Mishima's developing aesthetic.

Bearing the White Man’s Burden: Misrecognition and Cultural Difference in E. M. Forster’s A Passage to India

Research Article| August 01 2006 Bearing the White Man’s Burden: Misrecognition and Cultural Difference in E. M. Forster’s A Passage to India TIMOTHY CHRISTENSEN TIMOTHY CHRISTENSEN Search for other works by this author on: This Site Google Novel (2006) 39 (2): 155–178. https://doi.org/10.1215/ddnov.039020155 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation TIMOTHY CHRISTENSEN; Bearing the White Man’s Burden: Misrecognition and Cultural Difference in E. M. Forster’s A Passage to India. Novel 1 August 2006; 39 (2): 155–178. doi: https://doi.org/10.1215/ddnov.039020155 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsNovel Search Advanced Search The text of this article is only available as a PDF. Copyright © Novel Corp. 20062006 Article PDF first page preview Close Modal Issue Section: Articles You do not currently have access to this content.

The Convent of Pleasure (review)

Presented for the Sixth Biennial International Conference of the Margaret Cavendish Society at Convocation Hall, McMaster University, Hamilton, Ontario. July 9, 2005. Produced and Directed by Gweno Williams. Assistant Directors Gillian Brownson, Monika Karpinska, Stephanie Morley, and Calli Armstrong. Music by Freddy Wilkes and Stephanie Wit-ten. Choreography by Monika Karpinska. With Gillian Brownson (Lady Happy), Ashley Petrovsky (Madame Mediator), Michael Atlin (Princess), Jayson Brown (Monsieur Advisor, Gentleman), Laura Pomeroy (Lady Amorous, Convent Lady), Calli Armstrong (Lady Vertue, Convent Lady), John Browning (Ambassador, Monsieur Facil, Gentleman), Peter Cockett (Mimick), Greg Cruikshank (Monsieur Courtly), Kristian Listrom (Gentleman, Dick), Amit Sharma (Gentleman, Monsieur Take-Pleasure), and Kathryn Allan, Max Goodie, Monika Karpinska, Kate Mackeracher, Kait MacMurray, Stephanie Morley, Stephanie Witten (Convent Ladies). Margaret Cavendish warned at the end of her 1662 volume of plays that believe I shall not go much further, finding my spirits of Fancy grown weak, and dull, and the vein of Wit empty, having lately writ 21 Playes, with 12 Epistles, and one Introduction, besides Prologues, and Epilogues. We can be thankful that she did persevere to write several more plays alongside her growing philosophical oeuvre. In fact, her greatest play, The Convent of Pleasure, was to be the penultimate work in the 1668 Playes Never Before Printed. Without the Convent (and a handful of other plays) it might be easier to argue that Cavendish did not write for performance. But with its concision, wit, and spectacular action, The Convent of Pleasure crystallizes all the dramatic talent scattered piecemeal in her other works. Its richness has generated in recent years a hefty volume of scholarship that has neither exhausted the play nor produced any major interpretive consensus. The Canadian premiere of The Convent of Pleasure took place at McMaster University, in Hamilton, Ontario, 9 July 2005. The production by Gweno Williams, Reader in Early Modern Drama at York St. John University College, marked the highpoint of the Sixth Biennial International Conference of the Margaret Cavendish Society and brought together about one hundred audience members from the conference and the wider public. In 1999, Williams founded the Margaret Cavendish Performance Project and has developed, produced, and recorded on DVD and video six hitherto unperformed Cavendish plays. This conference production drew upon her experience over a decade conducting research and workshops on Cavendish and early modern dramatic performance. The Convent was staged in Convocation Hall on campus, in a simple, open playing space surrounded by the audience. This staging suggested a private production in the hall of a great house such as Bolsover or Welbeck, and emphasized the fact that with simple costumes, a few hand-held props, and minimal musical accompaniment, Cavendish had all the materials necessary to conjure a vivid theatrical illusion. Cavendish's insistent interrogation of norms of gender and sexuality was the guiding principle behind Williams's production. The play's precipitating event is the death of Lady Happy's father, which leaves her an orphan and the prey of fortune-hunting men. In this way, the play appears to open with a plotline common to countless Restoration comedies--one J. Douglas Canfield usefully termed the tricksters and estates plot--but it soon becomes clear that Cavendish disappoints any expectations of a standard sex farce. Inspired by the chance of successfully wooing the handsome, young, rich, and virtuous Lady Happy, the gentlemen in this production were all comic energy, increasingly drunk and desperate as their hopes were dashed by the yard-thick walls of the convent and the self-contained pleasures of the all-female space. In stylish period white blouses and black satin breeches, the men showed excellent comic timing and physical acumen. …