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This essay examines questions around teaching allegory to undergraduates in a liberal arts setting, with a focus on the uses for both reading and inviting students to write contemporary adaptations of premodern works. The complexities of literary character are sometimes reflexively disallowed to the personified figures of premodern allegory. A better tack, without assimilating medieval literary modes into modern ones, might have us attend to the variety of ways in which concepts are given embodied, social life in allegory. Adaptation assignments can invite self-involving hermeneutic engagement, analytic rigor, and creative response from students. Branden Jacobs-Jenkins's Everybody, a recent adaptation of Everyman, is looked to here as a model conversation partner for such a pedagogical approach.

The morality tale Everyman has in recent years seen a notable renaissance in contemporary theater: Everybody (2017) by US American playwright Branden Jacobs-Jenkins, Carol Ann Duffy's adaptation of Everyman (2015) at the National Theatre in London, and director/playwright Milo Rau's work Everywoman (2020) have turned to it. In this article, I conceptualize these theatrical works as creative appropriations which stage the vexing relation between canonical text and contemporary theater practice. They are marked by an ambivalent dynamic in that they are far less conclusive about their own return to and reworking of the literary source. Their mode of representation oscillates between adaptation, appropriation, and playful de- and reconstruction. Despite evident contrasts in theme and form, these works openly reference their literary source and draw destabilizing effects from their montage of different modes of language and writing (citational speech, self-narration, confession) and performative elements. As I argue, however, these productions cannot be easily aligned with postdramatic theory's advocation of a deconstructivist approach towards the dramatic text. The text, rather, is treated as an archive of poetic figures, narrative ideas, and moral concerns. In these productions, the textual material is not deconstructed but rather blended, momentarily decentered, and interwoven with vital performative elements (media, dance, collective speaking) which allows each creative appropriation to explore how canonical literary sources may speak to our contemporary culture and society. [ABSTRACT FROM AUTHOR]

Morality plays such as Everyman were first produced in England during the latter half of the 15th century. Their fictional nature, however, clothed moral truths in line with Catholic doctrines. The main aim of these plays was to teach audiences lessons in Christian living and salvation. Although these plays initially have a Catholic background, this does not exclude them from providing valuable lessons in Christian teaching to Protestant believers of the 21st century. The major problem with these plays is their interpretation of theological concepts such as "saints", "Adonia", and "priests", making it difficult for Protestant believers, the Sesotho audience, in this case, to understand Everyman translated in Sesotho and written from a Catholic perception of such concepts. This article seeks to address the most important question: How can a better translation of the morality play Everyman be offered to Sesotho-speaking Protestant believers? The answer to this question is that an adaptative translation of the morality play Everyman into Sesotho better addresses the needs of these Protestant believers. In addition, this kind of translation should also be performative. The study uses the research methodologies of translation adaptation, performance criticism, and the functionalist skopos theory within the broader theoretical framework of a complexity approach to translation. [ABSTRACT FROM AUTHOR]

Stereotypes and clichés about older age typically evoke criticism and resistance. Rightly so, given that they simplify, overgeneralize, distort, and limit. This article treats stereotypes and clichés as forms that can indeed have powerful and harmful meanings; however, it claims that a focus on content may overlook some of the surprising and unpredictable affordances these forms can also have: stereotypes can help order experience, offer guidelines for behavior, describe relationships, and provide solace and comfort. The article uses Philip Roth's novel Everyman as a particularly rich test case in which stereotypes and clichés abound: a grumpy and "dirty" old man sees in aging nothing but decline, tragedy, and an accumulation of illnesses—associations that age scholars have challenged for decades. These stereotypes, however, also have less predictable affordances, especially when they are conspicuously repeated and amplified via literary strategies. Rather than claiming that these strategies undermine and challenge the problematic nature of age stereotypes and clichés, this article aims to broaden the repertoire of critical approaches to these forms. [ABSTRACT FROM AUTHOR]

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The book "Mr. Cogito", which was published in 1974, is regarded as a turning point in the poetry of Zbigniew Herbert, who is one of the most important figures of Polish poetry in the twentieth century. Through the book's eponymous character Mr. Cogito, the poet deals with more personal and actual topics. In this context, Mr. Cognito is assumed to be Herbert's lyrical mask or his alter ego. This lyrical subject, who for the first time emerged in Herbert's fifth book, continued his existence till the poet's last poetry volume. In the course of time, the reader witnesses the changes of Mr. Cogito. On the one hand, he evokes the Everyman type with his interest in ordinary issues, his ridiculous aspects, ironic approaches and his image as he wanders around the suburbs, while on the other, he draws the image of a modern philosopher with deep thoughts on philosophy, art and aesthetics. Mr. Cogito, who is both closely related to pop culture and classical art, a man who thinks, observes and who is curious, also reveals Herbert's versatile personality. In this study, starting from the first book, Herbert's fictional hero Mr. Cogito is examined in different ways and his relationship between the poet is pointed out.

The human dilemma of making everyday choices between good and evil— obedience or disobedience to God—is poignantly depicted in several medieval Miracle and Morality plays and Early Modern plays, reflecting some of the anxiety induced by the pressure to make such choices by externalising, and thus physically embodying, the alternatives. The effects of these representations and the potential outcome—salvation or damnation—of these decisions are explored in the Catholic Morality play Everyman and its successors, including Johannes Kolross's Protestant everyman drama, Das Spil von Fünfferlei Betrachtnussen zur Buss. In the early 16th-century Miracle play Mariken van Nieumeghen, Mariken spends seven years with the devil, and in Marlowe's late 16th-century tragedy Doctor Faustus, the protagonist enters into a contract with him. The article argues that allowing the audience to see and experience abstract concepts at a visceral level makes these concepts part of the very fabric of their lives. As a commemorative lecture, the article also draws on and extends some of the research of the late Margaret Raftery, honouring her contribution to medieval scholarship. [ABSTRACT FROM AUTHOR]

The article is devoted to the final section of Paul Auster’s 2013 Report from the Interior. We first attempt to imagine the various ways readers integrate the “Album” of images into their experience of the book. Then we go on to examine the role of the visual images in the journey of memory between interior and exterior, and the way these visual images relate to the questions of visibility and disappearance that animate the book. How do such non-personal, medium-quality images mediate memory? The article seeks, finally, to account by analogy for the elaboration and the esthetic effects of this trans-disciplinary work.

Copyright of Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres 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 Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. 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.)

In the English Morality play Everyman, translated from the Dutch Elckerlijk, the protagonist is repeatedly affected by desertion (after having been abandoned by his friends and kinfolks, his own qualities eventually fail him). This repetitive motif has often been considered a flaw in the design. Contrary to that opinion, the author holds that repetition is a key element in the structure of a play constructed as a series of embedded frames.

Drawing on the archives of publishers and individuals, this article analyses the space of the study and the marketplace in a series of interviews by American journalist Louise Morgan, published in the London-based middlebrow Everyman magazine in the early 1930s. A form largely unstudied by literary scholars, the interview offers an important space for exploring issues of publicity and privacy, representations of literary labour and the profession of authorship in this period. In the moment before Q.D. Leavis published Fiction and the Reading Public, before literary studies began to be institutionalised, before New Critical distaste for authorial intention, personae and study of the marketplace largely excluded the interview and the middlebrow from critical study, Morgan's series offers a productive site from which to consider the space of production, the marketplace and, indeed, the work of writing itself. [ABSTRACT FROM AUTHOR]

A tradition going back to Coleridge asserts that The Pilgrim’s Progress is not a true allegory but rather a proto-novel expressive of early modern individualism. The work is radically individualistic, but it is also truly an allegory. Recent research has emphasized how closely related metaphor often is to metonymy and how intimately the two can interact to produce metaphtonymy. This interaction is just as important in allegory as in purely linguistic metaphor and metonymy. The Pilgrim’s Progress makes subtle use of conceptual metaphtonymy to express its individualism. Although the degree of individualism these cognitive structures express is greater than anything in earlier allegorical tradition, the structures themselves are inherited from medieval allegories such as Everyman. This sharing of major cognitive structure with earlier medieval allegories shows that The Pilgrim’s Progress is truly an allegory. An area in which the interaction of metaphor and metonymy is particularly notable is that of blending. The occurrence of highly creative blending in at least some of its scenes is further evidence for the truly allegoric nature of The Pilgrim’s Progress. [ABSTRACT FROM AUTHOR]

The following is an applied research on Everyman, an anonymous 15-th century morality play. It exhibits, in nuce, an Et moriemur attitude with a tiny difference, thus foreshadowing the birth of la mort de soi attitude. If this viewpoint is singular and novel (i.e creative) we cannot go as far as to say. We will have to admit it is deeply culture-bound, in other words that it is a faithful reflection of Zeitgeist. [ABSTRACT FROM AUTHOR]

The article presents a Latin adaptation of the medieval morality play of Elckerlijc / Everyman called Homulus. Its author, Christianus Ischyrius, used the original text only as a starting point, which he elaborated fully in its structure, number of characters, development of the plotline and, above all, the language and style of the play. As a result, the play of Homulus appears to be much more varied with respect to both style and content of the text. The characters and their actions are presented vividly with respect to everyday-life experiences of the audience, giving almost realistic feel at some instances. First published in 1536, the play also reflects the social and religious tensions in continental Europe of the time, e.g. the open criticism of the Church and its practices. [ABSTRACT FROM AUTHOR]

The present paper attempts to explore how Adiga, in his second novel Between the Assassinations (2008), depicts the journey of Indian society from aspirations to disillusionment by raising very vital issues of national importance such as corruption, terrorism, religious fanaticism, child labour and social discrimination on the grounds of caste, religion, class and gender through a story of 'everyman' of 'everytown' of the period of transition between the assassinations of Indira and Rajiv Gandhi viz. 1984 to 1991. The paper describes how Adiga presents a scathing critique of the individual vices such as deceit, hypocrisy, avarice and false pride in one's social status based on caste, religion and wealth and rotten religious, social and political systems which are working together for disintegration of human values and society as a whole. Adiga seems to implicitly suggest us to get rid of the individual vices, social evils and rotten systems through revolutionary social, economic, bureaucratic and political reforms. The issues raised by Adiga hold perpetual relevance for Indian society. [ABSTRACT FROM AUTHOR]

Five major scholars in the field discuss the significance of Philip Roth's brand new novella, Everyman. The roundtable participants focus on, among other issues, the overriding presence of death and dying in Roth's recent work, the nostalgic tone of the new novella, the nature of Roth's narrative voice in the text, and the place of Everyman within the context of Roth's overall canon. [ABSTRACT FROM AUTHOR]