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Akim Volynsky

A Hidden Russian-Jewish Prophet

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Helen Tolstoy

In Akim Volynsky: A Hidden Russian-Jewish Prophet Helen Tolstoy goes far beyond the accepted image of Akim Volynsky as a controversial literary critic of the 1890s who ran the first journal of Russian Symbolists, promoted philosophic idealism and proposed the first modernist reading of Dostoevsky. This book, through the study of periodicals and archive materials, offers a new view of Volynsky as a champion of Symbolist theater, supporter of Jewish playwrights, an ardent partisan of Habima theater and finally, a theoretician of Jewish theater. Throughout his life, Volynsky was a seeker of a Jewish-Christian synthesis, both religious and moral. His grand universalist view made him the first to see the true value of leading Russian writers – his contemporaries Tolstoy and Dostoevsky.

Neo-Baroques

From Latin America to the Hollywood Blockbuster

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Edited by Walter Moser, Angela Ndalianis and Peter Krieger

The Baroque is back in contemporary culture. The ten essays authored by international scholars, and three interventions by artists, examine the return of the baroque as Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical (between historical moments) the contributors to this volume offer diverse perspectives that suggest the slipperiness of the Neo-Baroque may best be served by the term ‘Neo-Baroques’. Case studies analysed reflect this plurality and include: the productions of Belgian theatre company Abattoir Fermé; Claire Denis’ French New Extremist film Trouble Every Day; the novel Lujuria tropical by exiled El Salvadorian Quijada Urias; the science fiction blockbuster spectacles The Matrix and eXistenZ; and the spectacular grandeur of early Hollywood movie palaces and the contemporary Las Vegas Strip.

Contributors: Jens Baumgarten, Marjan Colletti, Bolívar Echeverría, Rita Eder, Hugh Hazelton, Monika Kaup, Peter Krieger, Patrick Mahon, Walter Moser, Angela Ndalianis, Richard Reddaway, Karel Vanhaesebrouck, Saige Walton.

Spike Milligan's Accordion

The Distortion of Time and Space in The Goon Show

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Rick Cousins

“It’s all rather confusing, really” was one of the catchphrases used by Spike Milligan in his ground-breaking radio comedy program The Goon Show. In a series of mock-epics broadcast over the course of a decade, Milligan treated listeners to a cosmology governed by confusion, contradictions, fluidity and uncertainty. In The Goon Show’s universe, time and space expand and contract seemingly at will and without notice.

The worldview featured in The Goon Show looked both backward and forward: backward, in the sense that it paralleled strategies used by schoolchildren to understand time and space; forward, in the ways it anticipated and prefigured a number of key features of postmodern thought.

Winner of the Ann Saddlemyer Award 2017 of the Canadian Association for Theatre Research.

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Edited by Stratos Constantinidis

The Reception of Aeschylus' Plays through Shifting Models and Frontiers addresses the need for an integrated approach to the study and staging of Aeschylus’ plays. It offers an invigorating discussion about the transmission and reception of his plays and explores the interrelated tasks of editing, translating, adapting and remaking them for the page and the stage. The volume seeks to reshape current debates about the place of his tragedies in the curriculum and the repertory in a scholarly manner that is accessible and innovative. Each chapter makes a significant and original contribution to its selected topic, but the collective strength of the volume rests on its simultaneous appeal to readers in theatre studies, classical studies, performance studies, comparative studies, translation studies, adaptation studies, and, naturally, reception studies.

Tom Stoppard’s Plays

Patterns of Plenitude and Parsimony

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Nigel Purse

In Tom Stoppard’s Plays: Patterns of Plenitude and Parsimony Nigel Purse assesses the complete canon of Tom Stoppard’s works on a thematic basis. He explains that, amongst the plenitude of chaotic comedy, wordplay and intellectual ping-pong of Stoppard’s plays, the principle of parsimony that is Occam’s razor lies at the heart of his works. He identifies key patterns in theme – ethics and duality - and method – Stoppard’s stage debates and his dramatic vehicles - as well as in theatrical devices.

Quoting extensively from all Stoppard’s published works, many of his interviews and also unpublished material Nigel Purse arrives at a comprehensive and unique appraisal of Stoppard’s plays.

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Edited by Teresa Bela, Clarinda Calma and Jolanta Rzegocka

Publishing Subversive Texts in Elizabeth England and the Polish-Lithuanian Commonwealth offers recent research in book history by analysing the impact of early modern censorship on book circulation and information exchange in Elizabethan England and the Polish-Lithuanian Commonwealth. In fourteen articles, the various aspects of early modern subversive publishing and impact of censorship on the intellectual and cultural exchange in both England and Poland-Lithuania are thoroughly discussed.

The book is divided into three main parts. In the first part, the presence and impact of British recusants in the Polish-Lithuanian Commonwealth are discussed. Part two deals with subversive publishing and its role on the intellectual culture of the Elizabethan Settlement. Part three deals with the impact of national censorship laws on book circulation to the Continent.

La ficción histórica en la televisión iberoamericana 2000-2012

Construcciones del pasado colectivo en series, telenovelas y telefilms

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Edited by María de los Ángeles Rodriguez Cadena

Historical Fiction in Iberoamerican Television 2000-2012 brings together the work of academics who study the production of historical fiction on television in Argentina, Chile, Cuba, Spain and Mexico. Through approaches from the social sciences, visual studies, and narrativization, this book contributes to an understanding of series, telenovelas and telefilms as dynamic and relevant elements of ongoing construction of collective identities and cultural memory. Attending to the intersections of history and memory, and to the process of the audiovisual representation of the past, television becomes a vehicle through which our established concepts of history and national heroes are highlighted, questioned and transformed.


La Ficción Histórica en la Televisión Iberoamericana 2000-2012 reúne el trabajo de académicos especialistas en la producción de ficción histórica televisiva de Argentina, Chile, Cuba, España y México. Desde las ciencias sociales, los estudios visuales, y la narrativización, este proyecto nos acerca a un entendimiento de series, telenovelas y telefilms como elementos dinámicos y relevantes en la constante re elaboración de nuestras identidades colectivas y de la memoria cultural. Atendiendo a las relaciones entre historia y la construcción de memoria, y del proceso de representación audiovisual del pasado, el medio televisivo configura el escenario donde los conceptos tradicionalmente establecidos de la historia nacional y sus protagonistas se destacan, se cuestionan, y se transforman.

Staging Scripture

Biblical Drama, 1350-1600

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Edited by Peter Happé and Wim Hüsken

Against a background which included revolutionary changes in religious belief, extensive enlargement of dramatic styles and the technological innovation of printing, this collection of essays about biblical drama offers innovative approaches to text and performance, while reviewing some well-established critical issues. The Bible in the fifteenth and sixteenth centuries appears in a complex of roles in relation to the drama: as an authority and centre of belief, a place of controversy, an emotional experience and, at times, a weapon. This collection brings into focus the new biblical learning, including the re-editing of biblical texts, as well as classical influences, and it gives a unique view of the relationship between the Bible and the drama at a critical time for both.

Contributors are: Stephanie Allen, David Bevington, Philip Butterworth, Sarah Carpenter, Philip Crispin, Clifford Davidson, Elisabeth Dutton, Garrett P. J. Epp, Bob Godfrey, Peter Happé, James McBain, Roberta Mullini, Katie Normington, Margaret Rogerson, Charlotte Steenbrugge, Greg Walker, and Diana Wyatt.

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Charlène Deharbe

Tout semble opposer le théâtre au récit de soi. Le premier se rattache aux arts du spectacle, tandis que le second relève de l’intime. Genre littéraire emblématique du XVIIIe siècle, le roman-mémoires invite à dépasser cette opposition. S’il place l’expérience vécue au cœur de son écriture, il s’approprie également le langage de la scène comique ou tragique au profit d’une fiction de l’intériorité. Ce livre montre ce que le roman-mémoires doit au théâtre, en étudiant comment son écriture s’élabore à partir de différents emprunts et procédés caractéristiques de la scène. En s’inventant au sein d’une culture dominée par le goût du spectacle, ce genre lègue ainsi à la littérature à venir les éléments constitutifs d’un langage de l’intime.

Theatre and fictional memoir are supposedly opposites: the former has to do with the performing arts, while the latter focuses on the intimate side of life. A literary genre emblematic of the eighteenth century, fictional memoir invites readers to move beyond this assumption. Although lived experience is at the heart of the memoir, such fiction also appropriates the language of comedy or tragedy for the benefit of a novel of interiority. This book highlights fictional memoir’s debt to the theatre, while examining how its writing developed based on various borrowings and processes characteristic of the stage. By self-inventing within a culture dominated by enthusiasm for stage performance, this genre thereby endowed future literature with the constitutive elements of a language of the intimate.

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Edited by Robin Lefere and Nadia Lie

This book brings together scholars from Europe, Latin America and the United States in a shared effort to assess the critical potential of the transnational paradigm for Spanish and Latin American cinema. After an introductory part, including a state of the art discussion of some 50 publications, the book presents a set of strategically chosen case-studies, grouped into three categories: transnational modes of production, transnational directors, and transnational modes of narration. Written by some of the leading scholars in Hispanic film studies, the book includes contributions on individual directors and producers (e.g. Almodóvar, Buñuel and González Iñárritu), as well as on genres (road movie), interstitial subjectivities (children, queer and diasporic personalities) and festivals (e.g. BAFICI).

Este libro, que es el fruto de la colaboración de académicos de Europa, América Latina y Estados Unidos, debate y detalla la fecundidad crítica del paradigma transnacional en los cines español y latinoamericano. Después de una parte teórica que ofrece un estado de la cuestión basado en más de 50 publicaciones, analiza casos emblemáticos por diversas razones, distribuidos en tres categorías: modos de producción transnacionales, directores transnacionales, narraciones transnacionales. Escritos por destacados especialistas del cine hispánico, los estudios se centran en importantes directores y productores (Almodóvar, Buñuel, González Iñárritu, etc.), en géneros (como la road movie), en subjetividades específicas (niños, personalidades queer o marcadas por el exilio) y en festivales (entre otros, el BAFICI).