Search

We extend Choiceless Polynomial Time (CPT), the currently only remaining promising candidate in the quest for a logic capturing Ptime, so that this extended logic has the following property: for every class of structures for which isomorphism is definable, the logic automatically captures Ptime. For the construction of this logic, we extend CPT by a witnessed symmetric choice operator. This operator allows for choices from definable orbits. But, to ensure polynomial-time evaluation, automorphisms have to be provided to certify that the choice set is indeed an orbit. We argue that, in this logic, definable isomorphism implies definable canonization. Thereby, our construction removes the non-trivial step of extending isomorphism definability results to canonization. This step was a part of proofs that show that CPT or other logics capture Ptime on a particular class of structures. The step typically required substantial extra effort. [ABSTRACT FROM AUTHOR]

Evidence is sparse for the grounds on which ancient audiences and critics decided that certain poems were Homeric or Hesiodic. As the original Hesiodic canon was large and disparate, thematic preoccupations and narrative arc provide a better basis for canonization than purely "literary" style. Hesiodic poetry portrays a myth-history organized by Zeus' sovereignty and justice in a markedly different way from Homeric poetry. Comparative evidence is adduced from the Catalogue of Women and the Shield of Heracles to explain why ancient readers nearly universally considered Hesiod to be their author. [ABSTRACT FROM AUTHOR]

Ezra-Nehemiah is found in three distinct positions in Old Testament canons. In the Greek canonical tradition, Ezra-Nehemiah comes after Chronicles in the ordering of the Historical Books. The common idea that their duplicate passages (2 Chron 36:22-23 [= Ezra 1:1-3a]) are designed to ease the transition between the books ignores the key role the verses play in each book. Putting Ezra-Nehemiah at the end of the Tanak gives it special prominence. One feature that makes this canonical setting appropriate is the review of Old Testament history provided by the prayer in Nehemiah 9. When Chronicles follows rather than precedes Ezra-Nehemiah (as it does in most Hebrew Bibles, in which Chronicles is in last position) this order makes it less likely that the books will be read simply as stages in the same story. This order helps to protect their individuality, for there are, in fact, several significant theological differences between the books. All three positions occupied by Ezra-Nehemiah make sense, and one location is not better than the others. [ABSTRACT FROM AUTHOR]

Here I defend the idea of a constructive complicit reading as the best way to deal with the problem of the philosophical canon. Facing complacent conservation and paranoid elimination, my position advocates a less reverential reading that interrogates the role of the classics in racist and sexist processes of exclusion. Reading the classics requires making cracks in canonization. As an example of the above, I review the role of Kant and neo-Kantism in the racist and sexist construction of the philosophical canon, as well as Kant's own canonical works. [ABSTRACT FROM AUTHOR]

As a result of a close relationship established between Romanticism and Catholicism in the struggle against modernity in the early 19th century, a significant number of mystical phenomena, especially involving visionary women, spread throughout Europe during the 19th century. The works of Anna Katharina Emmerick stand as one of the earliest and primary influencers in this regard. Her mystical visions were transcribed and published by a romantic intellectual who had converted to Catholicism in that same context: Clemens Brentano. However, despite inspiring various mystical phenomena in the Catholic milieu, Emmerich's visions raised suspicion within the Catholic Church due to the presence of supposed pagan and superstitious elements from Brentano's Romanticism in her descriptions. This suspicion has resulted in ongoing difficulty in advancing her canonization process. In light of this debate, this article discusses the impacts of the union between Romanticism and Catholicism in early 19th-century Germany. It focuses on the case of Anna Katharina Emmerich and Clemens Brentano. [ABSTRACT FROM AUTHOR]

Although the portrayal of Zhunti Daoren (Cundī Daoist 準提道人) in the Canonization of the Gods (Fengshen yanyi 封神演義) is relatively subdued, it has garnered considerable scholarly interest owing to the pivotal role he fulfills in advancing the narrative and the profound cultural connotations encapsulated within the character. Scholars have put forward three distinct hypotheses: "Zhunti Daoren as a Buddhist deity", "Zhunti Daoren as a Daoist deity", and "Zhunti Daoren as the Panchen Lama". Based on the theory that the figures in the novels of gods and demons (Shenmo xiaoshuo 神魔小說) embody symbolic characteristics, as well as the sociocultural background of Ming–Qing times, this study uses literary image analysis to investigate these three different interpretations. A basic examination is also performed to explore the correlation between Zhunti Daoren and Jieyin Daoren (Welcoming Daoist接引道人), with the aim of illustrating the relationship between the cult of Zhunti and Pure Land Buddhism in late imperial China. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scripta is the property of Scripta and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Direito e Práxis is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses issues raised by the 2017 opening of the canonization process for Black Elk, the voice of the celebrated Native American autobiography, Black Elk Speaks (1932). Though it was begun by his own family to recognize his merit as a Catholic catechist, some observers criticize the project as a ploy by the Church to erase his Lakota identity. The debate centers around the inculturation initiative begun by the Catholic Church in the 1960s that evolved to include the current reconciliation policy: by allowing Indigenous Catholics to bring into the Church their own cultural traditions, Rome sought to retain them when the call to leave grew stronger in the wake of decolonization. It is likely that the second stage in the canonization process--that of Venerable, now being discussed in Rome--will soon succeed. (The first stage of the process is being declared a Servant of God at the diocesan level.) Allowing Black Elk's future sainthood would substantiate the good faith of the Catholic Church in its declarations on reconciliation with Indigenous Americans. [ABSTRACT FROM AUTHOR]

The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture. [ABSTRACT FROM AUTHOR]

This article focuses on the meeting between Mikołaj Krzysztof Radziwiłł "the Orphan" (1549–1616), powerful magnate from the Grand Duchy of Lithuania, and Pope Pius V (1504–1572), its inclusion in the pope's first biography, and its influence on his hagiography. The brief encounter in 1566 left an impression on the young duke, leading to his conversion to the Roman Catholic faith. The event was included in the first biography of Pius V, written by the Italian humanist Girolamo Catena. Following the pope's beatification (1672) and canonisation (1712), the number of works devoted to Pius V significantly increased. Initially mentioned by only one of his titles, the "Duke of Olyka," Radziwiłł's identity was not always recognised by later authors, resulting in the abstraction and allegorisation of the event. The decontextualised mention of the Duke of Olyka appeared in various hagiographies of Pope Pius V as part of the narrative of his saintliness. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The retranslations of Andersen's fairy tales in the twentieth century have promoted the canonization of Andersen in the modern Chinese literary system. Today, Chinese readers of different ages are fascinated by Andersen's works and the images created by him. However, the literary and cultural significance of Andersen to China lies in his influence. In this paper, the authors will first review the history of translating Andersen's fairy tales in China and then analyze some cases from Chinese literature and culture within the theoretical framework of intertextuality, in an attempt to specify the influence of Andersen on modern Chinese literature and culture. It is argued that Andersen's fairy tales have been cross‐culturally woven into Chinese children's as well as adult literature when the intertextual devices are applied by writers in their own literary creations; meanwhile the fictional elements of the tales are intertextually merged, as symbols, into other forms of cultural products where they are involved in a critical construction of modern Chinese culture. [ABSTRACT FROM AUTHOR]

In the early 1990s, against the background of the loss of the authority of Soviet culture, the name of Alexey Tolstoy fell out of the core of the national literary canon. There was a consensus regarding the figure of the writer, first of all, as an opportunist who collaborated with the authorities and fulfilled a “social order.” Such assessments often had an emotionally colored character and pushed the discussion about the poetics of Tolstoy’s texts into the background. However, since the beginning of the 2000s, there has been a shift towards a more objective assessment of the writer’s role in the national literary process. Especially the publication of Tolstoy’s biography, written by A.N. Varlamov, has contributed to this course. Since the same period, representatives of various institutes of canonization have actualized the discussion about Tolstoy’s place in the national pantheon of literature. This article examines the mechanisms of the writer’s canonization in the 2000–2020s. The focus of attention, first of all, was on fiction, critical, and media discourses, where there were regular mentions of Tolstoy and references to his literary texts. Despite the intensification of interest in the personality and work of the writer, it is not necessary to assert that his name has entered the core of the national literary canon. It is due to several reasons, in particular, the sharp decline in the authority of Soviet classics after the collapse of the USSR and the absence in modern Russia of systematic attempts by representatives of the major institutions of literary canonization to return Tolstoy’s figure to the national pantheon.

This article examines the relationship between the literary-theoretical topos of self-reflexivity and a politically efficacious theater in Bertolt Brecht's Die heilige Johanna der Schlachthöfe , with the objectives of reassessing the special position Johanna occupies within Brecht's work and of responding to criticism questioning the usefulness of self-reflexivity as an analytical category. This article argues that the triad of self-reflexivity, crisis, and critique is instrumental in developing a theater suitable for the challenges of the early twentieth century. Self-reflexivity in Brecht's play is established through a series of intertextual references and metatheatrical scenes. By confronting epic theater with tragic form, Johanna produces a structural crisis that makes possible a critique of both politics and theater. As a symptom of capitalism, crisis needs to be staged in order to be rendered comprehensible. Crisis as a formal element, by contrast, serves as a critique of the seemingly inescapable capitalist cooptation of Johanna. (LW) [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Soziologische Revue is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Hindman proved in 1979 that no matter how natural numbers are colored in r colors, for a fixed positive integer r, there is an infinite subset X of numbers and a color t such that for any finite nonempty subset X\prime of X, the color of the sum of elements from X\prime is t. Later, Taylor extended this result to colorings with an unrestricted number of colors and five unavoidable color patterns on finite sums. This result is referred to as a canonization of Hindman's theorem and parallels the canonical Ramsey theorem of Erd\H os and Rado. We extend Taylor's result from sums, that are linear combinations with coefficients 1, to several linear combinations with coefficients 1 and 1. These results in turn could be interpreted as canonical-type theorems for solutions to infinite systems. [ABSTRACT FROM AUTHOR]

In the varied spectrum of healers to whom the sick people could turn to in Middle Ages, including physicians, surgeons and different kind of empirical practitioners, the saint was often the first to whom they would refer. Miracle tales, therefore, represent an essential source for a historical investigation into diseases and sick people. Without claiming to be exhaustive, this article aims to briefly outline this topic through several examples taken from miracles accounts in some canonization processes and Libri miraculorum, compiled between the thirteenth and the fifteenth centuries. It will be highlighted how these sources, when properly interpretated, are of fundamental importance for understanding the relationship between the sick and his/her community of reference, as well as the work of some empirical healers who approached the sick person's bedside. Furthermore, these sources are unique lexicographical treasures related to the vocabulary of disease - an aspect still largely overlooked. [ABSTRACT FROM AUTHOR]

This article traces the development of Jarman's imagination of medieval reliquary devotion as a practice of queer mourning and memorialization between 1981 and ca. 1993: from draft scripts for the unrealized film Bob-up-a-Down to Blue (1993) and his last hospital journals. In Jarman's works, the reliquary appears not merely as image but also in active use, evidenced in his assemblage paintings and his garden at Prospect Cottage, Dungeness. Jarman's reliquaries are analyzed in their archival contexts, drawing on medieval and modern repositories. These reliquaries are considered in relation to Jarman's own canonization by both the queer community and the artistic establishment. Before and after his canonization by the Sisters of Perpetual Indulgence in 1991, Jarman was deeply engaged with medieval mystical and medical representations of relics. Working amidst devastating losses and in the knowledge of his own approaching death, Jarman created reliquaries to challenge the denial of public mourning during the AIDS crisis. Jarman's archives emerge as inescapably plural, even within one repository. Like Jarman's imagined reliquary, these archives are made of jewels and ashes, the aesthetic and bodily remains. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Itinerarios (1507-7241) is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay historicizes the Shakespeare curriculum at UC Berkeley’s English department over the last one hundred years. An elite research university in the United States, UC Berkeley’s extensive course offerings have expanded due to changes in undergraduate education and external cultural shifts. With a growing number of courses on sexuality, race, gender, etc., that became part of the purview of an English department, the teaching of Shakespeare expanded as well. I demonstrate how the emphasis on Shakespeare in the U.S. undergraduate curriculum shifts over time from one form of recognition—an acknowledgement of his value or worth—to a recognition of identifying with his work based on prior experience. Distinguishing between courses that combine “Shakespeare and” and those that combine “Literature and,” I expose the consequences each has for the canonicity of both Shakespeare and subject fields with which his works are placed in conversation, explicitly and implicitly. I argue that the expansion of Shakespeare in the American undergraduate curriculum coincides with and depends on the compression of key aspects of interpretation that pose challenges for the new knowledges it seeks to create. I illuminate how an expanded Shakespeare curriculum saw a compression of Shakespeare into metonymic mythic status, which has implications for the teaching of literature from various identity and cultural groups. I demonstrate how the origins of an expansive undergraduate Shakespeare curriculum in the United States positions Shakespeare as the interlocutor for a wide range of topics.

The coram Pinto Judgment (26 March 1999) enables an exploration, from a historical perspective, of the scope and meaning of the canonization of civil law in relation to obligations and liability. The canonization of civil laws concerning compensation for damages is supported by the canonical tradition. The sources of c. 128 CIC 83 are not to be found in CIC 17, but in the chapters of the title De (iniuris et) damno dato of the ius novum, as well as in the rules of the ius romanum which the Decretalists used to interpret this rubric in a systematic way. [ABSTRACT FROM AUTHOR]

This paper contributes to decolonisation theory and debates in Higher Education by thinking from the practice of diversifying subject reading lists. To illustrate the scene within which diversification efforts unfold I draw on primary research designed to explore the function of a subject canon (Urban Studies). Researched and written as an autoethnographic rhizoanalysis, I show that texts’ meanings are intertextually established through hegemonic processes of canonisation, which are curricular in effect; and which draw in readers as nodes through which the assemblage proliferates. Using Karen Barad’s concept of intraactivity to better articulate the materiality of this curricular assemblage and our inseparability from it, I critique the common practice of adding more diversity for its failure to attend to underlying logics and its edging out of more radical responses. I then discuss the decolonial openings that intra-action makes possible, focusing on its potential for producing different knowledge(s) through reading and research. [ABSTRACT FROM AUTHOR]

This article examines Jesuit representation of the exploits of Francis Xavier, 'the Apostle of the East', in celebration of his canonization in 1622 and in the Jesuit campaign to have him canonized prior to that. Pageants in Madrid, Lisbon and Antwerp are examined, along with prior pictorial depictions of Francis' miracles and activities, taking into account the gulf between the political realities of proselytization in the Portuguese territories of influence in the East and the hagiography of 1622. The work of Rubens, the Portuguese painter André Reinoso and three Spanish Golden Age poet/playwrights are analyzed, exploring variance in the application of a universal Jesuit aesthetic founded on the melding of the Classical and the Catholic in response to the local conditions for which each ephemeral event and work of art were produced. [ABSTRACT FROM AUTHOR]

Copyright of Naharaim -- Journal of German -- Jewish Literature & Cultural History / Zeitschrift für Deutsch -- jüdische Literatur und Kulturgeschichte is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Through one-hundred-year journey of translation and dissemination, Xiyouji has finally become a successful model of the Canonization of Chinese literature in English-speaking world. This paper investigates the Canonization of four translations of Xiyouji from four aspects of economic, scholarly, pedagogical and social. The research finds that Timothy Richard's translation is typical case before canonization. The translation performs well in the Western market over a century, it fails becoming a canon because of the quality of translation. Canonization of Arthur Waley's translation is economy-driven type. Economic benefit helps achieving other aspects of canonization. Canonization of Anthony Yu's translation is scholarship-driven type. The scholarly character helps achieving other aspects of canonization. Canonization of Julia Lovell's translation is direct type. The translation is recognized as a classic as soon as it is published. The investigation of canonization of translation of Xiyouji can provide experience for translation of Chinese classics. [ABSTRACT FROM AUTHOR]

The paths to sainthood of the cults of Isidore Agricola and Ferdinand III exhibit a unique phenomenon of collaboration across the Spanish empire for the canonisation of multiple Counter-Reformation saints. An analysis of their financial records may reveal a network of alliances that could account for the overwhelming number of Iberian saints canonised in the seventeenth century. The role of Spanish America in the construction of a renewed imperial identity is also examined, demonstrating that it capitalised on the urgency of these devotions to advance its own cults while arguing for the centrality of their territories to the expansion of Catholicism. [ABSTRACT FROM AUTHOR]

Discussing the reasons of the marginalisation of sociological analysis on war and peace processes is the main purpose of the paper: such a situation weakens the capacity to understand sociologically macro-social changes. After having analysed in which way war conflicts have been studied during the foundation of sociology in Europe and USA, in the critical discussion it will be hypothesized that such a situation is due to the canonisation of sociology and the rise of its professional identity, between the 30s and the 60s of the XX century. Eventually, in the final part three proposals will be discussed in order to go beyond this situation. [ABSTRACT FROM AUTHOR]

Studying cults of Christian saints as well as providing a reasonable explanation for the absence of such cults in certain parts of the early medieval Balkans are challenging tasks. The obstacles and difficulties are not always a result of some kind of lack of information, but sometimes they are due to the obscure and debatable nature of the accounts in the primary sources. Such is the case of Enravota, the eldest son of Khan Omurtag (814/815–831). He did not inherit the throne and was executed because of his devotion to Christianity. Nowadays, the Bulgarian Orthodox Church commemorates Enravota on March 28, but the initial ambiguities of the cult are rarely discussed. In view of this, the present text tries to achieve as much certainty as possible as to whether his veneration as a saint goes indeed back to the medieval era. [ABSTRACT FROM AUTHOR]

Copyright of Przeglad Sejmowy is the property of Kancelaria Sejmu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on six Black Catholics who are on the path to canonization by the Catholic Church. These individuals are Pierre Toussaint, Henriette Delille, Augustus Tolton, Mary Lange, Julia Greeley, and Thea Bowman. Topics include their struggles against racism; their commitment to serving others; and the importance of their canonization in promoting racial justice and unity within the Church.

A review of the works of the most authoritative Ḥanafī theologians and jurists shows that the later madhhab taught that its eponym, Abū Ḥanīfah (d. 150/767), held the Qurʾān to be the uncreated and eternal speech of God. According to this understanding, he and his followers believed the linguistic composition of the Qurʾān in Arabic to be a component of its miraculous nature. However, a closer examination of Ḥanafī sources leads one to conclude that the claim that Abū Ḥanīfah believed Arabic to be integral to the Qurʾān's composition is not without contention. Abū Ḥanīfah permitted recitation of the Qurʾān within ritual prayer in Persian, which later Ḥanafī jurists used as a basis to argue that the Qurʾān, for Abū Ḥanīfah, consisted only of its meaning, not its expression in Arabic. After the Miḥnah, Abū Ḥanīfah's permissive position became associated with the newly heterodox view of the "Created Qurʾān," placing pressure on later Ḥanafī jurists to ensure that Abū Ḥanīfah was not associated with heresy. Whereas earlier Ḥanafīs contended that the Qurʾān was miraculous solely in its meaning and guiding capacities, later Ḥanafīs, when faced with scandal, condemned the earlier view and reinterpreted Abū Ḥanīfah's views. The characterization of the miraculous nature of the Qurʾān as inhering in its canonized Arabic expression allowed the Qurʾān to serve as evidence of the prophethood of Muḥammad. This article traces the shift within Ḥanafism on the connection between language and the ontology of the Qurʾān to align with the Sunnī orthodoxy of the uncreated and fully inimitable Arabic Qurʾān. Although some aspects of the roles of Abū Ḥanīfah and Ḥanafism in this evolution have been studied by other scholars, I focus here on an overlooked figure, the proto-Ḥanafī Abū ʿIṣmah Nūḥ b. Abī Maryam (d. 173/789). This case study on the recitation of the Qurʾān in Persian examines and explores the impact of the understudied aspects of this evolution. [ABSTRACT FROM AUTHOR]

In the play Macbett, written in 1972, Ionesco mischievously turns Shakespeare’s classic work, the canonised story of Macbeth inside out and creates an absurd parody. According to Shakespeare the mechanisms of history and power are simple and transparent, and even terribly ridiculous if viewed from the right distance. Ionesco achieves this “right distance” using the instruments of the theatre of the absurd. The paper aims to analyse the two plays in comparison to determine if the elements of absurdity and comedy already emerge in the original play and seeks answers to the following question: is Ionesco’s intention solely to amuse or does he wrap the tragedy of humankind in an absurd appearance to more precisely highlight the story’s message? Where did Ionesco get the idea, and which themes and aspects does he emphasize from the Shakespearean play? Furthermore, what additional colours does Ionesco introduce to the same storyline in order to transform the tragedy of human frailty into an absurd comedy? [ABSTRACT FROM AUTHOR]