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Author:
Having made his reputation in the 1940s and ‘50s, Arthur Miller continued to write into the twenty-first century, producing his final play in 2004, the year before his death. With little critical, academic, or theatrical attention was paid to his plays after 1968’s The Price, he had one of the longest “late” periods in literary history.
This book brings new attention to Miller’s writing from this period, analysing 5 plays and a host of essays to highlight the influence of postmodernism on his work. Using relevant novels and films, these plays are situated within their cultural moments to show that Miller always remained an engaged, aware, and contemporary writer.
This book brings new attention to Miller’s writing from this period, analysing 5 plays and a host of essays to highlight the influence of postmodernism on his work. Using relevant novels and films, these plays are situated within their cultural moments to show that Miller always remained an engaged, aware, and contemporary writer.
Author:
Having made his reputation in the 1940s and ‘50s, Arthur Miller continued to write into the twenty-first century, producing his final play in 2004, the year before his death. With little critical, academic, or theatrical attention was paid to his plays after 1968’s The Price, he had one of the longest “late” periods in literary history.
This book brings new attention to Miller’s writing from this period, analysing 5 plays and a host of essays to highlight the influence of postmodernism on his work. Using relevant novels and films, these plays are situated within their cultural moments to show that Miller always remained an engaged, aware, and contemporary writer.
This book brings new attention to Miller’s writing from this period, analysing 5 plays and a host of essays to highlight the influence of postmodernism on his work. Using relevant novels and films, these plays are situated within their cultural moments to show that Miller always remained an engaged, aware, and contemporary writer.
Women, Clothing, Cultural Representation and Modern Japan
Editor:
This book, a unique contribution to the field of kimono and Japan-related clothing studies, challenges uncritical readings of clothing from the lives of Japanese women and cultural representations of women wearing these clothes. Chapters ground understandings of clothing, including kimono, in the lived experience of different groups of women in modern Japan.
Also discussing cosplay outside Japan, the collection argues that items worn by women are produced and consumed in a gendered and highly politicised socio-historical environment. Examining, for example, women’s recent renewed enthusiasm for kimono, in addition to representations of monpe, kimono and other attire in film and narrative, the book includes three new translations of clothing commentary by women writers from Japan.
Contributors are: Tomoko Aoyama, Yasuko Claremont, Sheila Cliffe, Barbara Hartley, Helen Kilpatrick, Emerald King, Machiko Iwahashi, Komashaku Kimi, Rio Otomo, Sata Ineko, Jennifer Scott, and Shirasu Masako.
Also discussing cosplay outside Japan, the collection argues that items worn by women are produced and consumed in a gendered and highly politicised socio-historical environment. Examining, for example, women’s recent renewed enthusiasm for kimono, in addition to representations of monpe, kimono and other attire in film and narrative, the book includes three new translations of clothing commentary by women writers from Japan.
Contributors are: Tomoko Aoyama, Yasuko Claremont, Sheila Cliffe, Barbara Hartley, Helen Kilpatrick, Emerald King, Machiko Iwahashi, Komashaku Kimi, Rio Otomo, Sata Ineko, Jennifer Scott, and Shirasu Masako.
Women, Clothing, Cultural Representation and Modern Japan
Editor:
This book, a unique contribution to the field of kimono and Japan-related clothing studies, challenges uncritical readings of clothing from the lives of Japanese women and cultural representations of women wearing these clothes. Chapters ground understandings of clothing, including kimono, in the lived experience of different groups of women in modern Japan.
Also discussing cosplay outside Japan, the collection argues that items worn by women are produced and consumed in a gendered and highly politicised socio-historical environment. Examining, for example, women’s recent renewed enthusiasm for kimono, in addition to representations of monpe, kimono and other attire in film and narrative, the book includes three new translations of clothing commentary by women writers from Japan.
Contributors are: Tomoko Aoyama, Yasuko Claremont, Sheila Cliffe, Barbara Hartley, Helen Kilpatrick, Emerald King, Machiko Iwahashi, Komashaku Kimi, Rio Otomo, Sata Ineko, Jennifer Scott, and Shirasu Masako.
Also discussing cosplay outside Japan, the collection argues that items worn by women are produced and consumed in a gendered and highly politicised socio-historical environment. Examining, for example, women’s recent renewed enthusiasm for kimono, in addition to representations of monpe, kimono and other attire in film and narrative, the book includes three new translations of clothing commentary by women writers from Japan.
Contributors are: Tomoko Aoyama, Yasuko Claremont, Sheila Cliffe, Barbara Hartley, Helen Kilpatrick, Emerald King, Machiko Iwahashi, Komashaku Kimi, Rio Otomo, Sata Ineko, Jennifer Scott, and Shirasu Masako.
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
Series:
Metaforms, Volume: 27
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
A Translation of Mayama Seika’s Genroku Chūshingura
The revenge of the 47 rōnin is the most famous vendetta in Japanese history and it continues to inspire the popular imagination today. Written between 1934 and 1941, Mayama Seika’s ten-play cycle Genroku Chūshingura is a unique retelling of the incident based on his own painstaking research into the historical facts.
Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
A Translation of Mayama Seika’s Genroku Chūshingura
The revenge of the 47 rōnin is the most famous vendetta in Japanese history and it continues to inspire the popular imagination today. Written between 1934 and 1941, Mayama Seika’s ten-play cycle Genroku Chūshingura is a unique retelling of the incident based on his own painstaking research into the historical facts.
Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
Considered a modern masterpiece, it now has a secure place in the Kabuki repertoire and many of the plays are still frequently performed.
For the first time, Seika’s monumental achievement is here translated into English in its complete and original form by three experienced experts in the field.
Création, représentation et sociabilité au féminin, 1650-1914
Comment une femme pouvait-elle s’affirmer et faire carrière dans le monde du spectacle entre 1650 et 1914 ? Dans une perspective interdisciplinaire, les quinze études réunies dans ce volume apportent des éléments de réponse à travers l’analyse de parcours d’autrices, de compositrices et de performeuses aux profils très variés, actives dans les domaines du théâtre, de la danse et de l’opéra. Ces études proposent une meilleure compréhension et contextualisation des obstacles et préjugés auxquels ces artistes ont dû faire face dans un milieu socio-professionnel majoritairement masculin, ainsi qu’une interprétation analytique des stratégies artistiques et discursives mises en place pour les surmonter. Il en ressort une approche renouvelée et une meilleure connaissance de notre matrimoine culturel.
Création, représentation et sociabilité au féminin, 1650-1914
Comment une femme pouvait-elle s’affirmer et faire carrière dans le monde du spectacle entre 1650 et 1914 ? Dans une perspective interdisciplinaire, les quinze études réunies dans ce volume apportent des éléments de réponse à travers l’analyse de parcours d’autrices, de compositrices et de performeuses aux profils très variés, actives dans les domaines du théâtre, de la danse et de l’opéra. Ces études proposent une meilleure compréhension et contextualisation des obstacles et préjugés auxquels ces artistes ont dû faire face dans un milieu socio-professionnel majoritairement masculin, ainsi qu’une interprétation analytique des stratégies artistiques et discursives mises en place pour les surmonter. Il en ressort une approche renouvelée et une meilleure connaissance de notre matrimoine culturel.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
Series:
Metaforms, Volume: 25
Volume Editor:
Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
The Hero on Stage from the Enlightenment to the Early Twenty-First Century
Series:
Metaforms, Volume: 25
Volume Editor:
Hercules Performed explores the reception of the ancient Greek hero Herakles – the Roman Hercules – on the western stage from the sixteenth century to the present day, focusing on live theatre, including tragedy, comedy and musical drama. Each chapter considers a particular work or theme in detail, exploring the interplay between classical models and a wide variety of modern performance contexts. The volume is one of four to be published in the Metaforms series examining the extraordinarily persistent figuring of Herakles-Hercules in western culture, drawing together scholars from a range of disciplines to offer a unique insight into the hero’s perennial appeal.
Author:
Résumé
Cet article examine la situation et plus largement la trajectoire de Valentine de Saint-Point en tant qu’artiste, en partant de l’une de ses déclarations les plus connues : « Ce qui manque le plus aux femmes, aussi bien qu’aux hommes, c’est la virilité » (1912). Il s’agit d’y réfléchir à la lumière d’une hypothèse de Christine Bard, selon qui « la virilité » des femmes peut être comprise « comme [un] choix émancipateur personnel » néanmoins risqué, puisque ce choix expose aussi à la réprobation sociale (2011). Dans le cas de Valentine de Saint-Point, qui appelle en effet à l’émancipation féminine dans les domaines qui la concernent directement en tant que femme de lettres divorcée, c’est-à-dire la création artistique et la sexualité, on peut se demander dans quelle mesure son appel à la virilisation des femmes peut éclairer sa « stratégie de carrière ». L’article contextualise les positions féministes et antiféministes de l’autrice ainsi que l’usage même du terme « virilité », dont le sens et les connotations actuels peuvent aujourd’hui conduire à des interprétations réductrices ou erronées : le xix e siècle connaît plusieurs « femmes viriles » qui ne sont pas forcément masculines. Il semble en effet que Valentine de Saint-Point mobilise cet ancien imaginaire de la virilité pour contrer celui, très présent au tournant du xx e siècle, de la masculinité prétendue des autrices.
Résumé
Cet article introduit l’ouvrage intitulé Femmes de spectacle (danse, opéra, théâtre). Création, représentation et sociabilité au féminin, 1650-1914. Avant d’en présenter le sommaire, il propose un inventaire des principaux obstacles rencontrés par les femmes de spectacle tout au long de la période considérée et de ce qui peut s’apparenter à des « stratégies de carrière » : consolidation et exploitation d’un réseau familial, marital ou social ; développement de profils polyvalents et construction d’une trajectoire sur le principe du cumul des rôles et fonctions, parfois non reconnu officiellement ; investissement dans des activités artistiques privées ou semi-publiques.
Author:
Résumé
En partant des trajectoires de femmes ayant exercé (ou souhaité exercer) professionnellement le métier de comédienne, l’article interroge la pluralité des liens entre les spectacles de société et les théâtres publics à Paris, durant la seconde moitié du xviii e siècle. Ces rapports s’avèrent ambivalents. D’un côté, les femmes sont souvent invitées à se limiter aux spectacles privés, loin de l’immoralité des scènes publiques. De l’autre, ces scènes de société se présentent comme des lieux stratégiques de repérage et de recrutement professionnels.
Author:
Résumé
Dans cette étude, je soutiens que les espaces dédiés aux spectacles amateurs ou semi-professionnels et accueillant un public limité et choisi – le salon, les théâtres de société et les théâtres de province – offraient quelque liberté aux autrices. Le point commun de tous ces espaces « excentrés » tient au fait qu’ils échappaient aux règles strictes de l’Académie française et donc à la censure. Ainsi les femmes dramaturges ont-elles non seulement pu accéder au monde du théâtre, mais aussi s’émanciper des règles traditionnelles, particulièrement dans la création de leur personnages féminins, qui ignorent le code des bienséances. Cette étude se concentre sur ces héroïnes émancipées et sur les contextes qui les ont vu naître : Triphine de l’Agathonphile martyr (1655) de Françoise Pascal, les héroïnes des Comédies en proverbe (1699) de Catherine Durand et la Comtesse du Caprice de l’amour (1739) de Mlle Huau.
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