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Il s’agit de tracer l’influence de François de Belleforest sur William Shakespeare à travers le personnage de Gertrude (nommé « Geruthe » chez Belleforest) dans la pièce Hamlet. S’appuyant sur la légende danoise originale de Saxo Grammaticus (Historia Danica), c’est Belleforest dans les Histoires tragiques qui donne une voix à celle qui est à la fois mère du protagoniste (se nommant « Amleth » chez Belleforest) et reine du Danemark. Par la suite, Shakespeare élabore et approfondit le portrait de Gertrude. S’inspirant largement de l’exemple de Belleforest, le dramaturge élisabéthain met en valeur la rupture psychologique entre Hamlet et sa mère, soulignant surtout l’évolution de leur rapport qui passe du conflit à la réconciliation au cours de la tragédie. La représentation belleforestienne de Geruthe comprend aussi son rôle ambigu dans les nombreux complots du roi contre Amleth. Ces manigances sont adaptées par Shakespeare pour augmenter la tension du drame et pour faire de Gertrude elle-même un personnage tragique.

I compare Christopher Lasch's thought to specific features that research in political science attributes to contemporary populism. Lasch openly favoured a historical form of populism but is rarely considered when current forms of populism are discussed. The research literature characterizes populism as superficially tied to democracy while undermining it, as committed to the moral binary of people and elites, and as intellectually "thin" because it does not engage with the complex theories that ground other ideologies. These characters make populism incoherent and inimical to democracy. Lasch manifests all three characters while connecting them to a sustained worldview. Humans' awareness of death is the core feature that makes them rational, ethical and equal. Attempts to dilute that awareness are inimical to the equality at democracy's basis. Experts and professionals encourage this dilution by promising remedies and progress. Democracy depends on ordinary people who resist elites and their complex phraseologies. Résumé: Je compare la pensée de Christopher Lasch aux caractéristiques spécifiques que la recherche en sciences politiques attribue au populisme contemporain. Lasch a ouvertement favorisé une forme historique de populisme, mais il est rarement pris en compte lorsque l'on discute des formes actuelles de populisme. La littérature caractérise le populisme comme étant superficiellement lié à la démocratie tout en la minant, comme étant engagé dans la binaire morale du peuple et des élites, et comme étant intellectuellement « mince » parce qu'il ne s'engage pas dans les théories complexes qui fondent d'autres idéologies. Ces personnages rendent le populisme incohérent et hostile à la démocratie. Lasch manifeste ces trois caractères tout en les reliant à une vision du monde durable. La conscience de la mort chez les humains est la caractéristique essentielle qui les rend rationnels, éthiques et égaux. Les tentatives de dilution de cette conscience vont à l'encontre de l'égalité qui est à la base de la démocratie. Les experts et les professionnels encouragent cette dilution en promettant des remèdes et des progrès. La démocratie dépend des gens ordinaires qui résistent aux élites et à leurs phraséologies complexes. [ABSTRACT FROM AUTHOR]

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The decline of tragedy is one of the greatest tragedies of modernity. While many scholars exclaim that tragedy has been dead, Raymond Williams points out that it is not an eternal metaphysical event, but is plural and dynamic, a series of experiences, a tradition. Williams' rethinking of tragedy provides a historical perspective on the cultural meanings. What matters are the traditions, emotions, and experiences of the time in which the tragedy is set, and the superimposed series of accidents and imbalances that create this type of tragic experience. That is, tragedy is not a static narrative of grief, but a textual creativity. This article will examine this argument in the context of Chinese Revolutionary Drama. The White-Haired Girl (Bai Mao Nv) is a famous tragedy born a hundred years ago in China that depicts the tragic fate of the poor. During the Communist Revolution, it was adapted by the propaganda department of the Communist Party as a tragedy of class oppression and extended to the whole country as a symbol of emotional mobilization. After 1978, the tragedy was forgotten as an outdated revolutionary legacy. However, the experience and texts of the The White-Haired Girl are still active in Chinese social networks today. This complex process is not only historical but also emotional. The aims of this article are the following: (1) to reveal the constructive relationship between creativity, revolution, and emotion; (2) to present the process of interconstruction between tragedy as context and tragedy as metaphor for revolution; and (3) to place creativity in the context of specific cultural and historical changes and observe its dynamic significance. [ABSTRACT FROM AUTHOR]

Cet article explore les stratégies d’empowerment des personnages féminins dans les tragédies romaines de Corneille, en se concentrant sur Sabine d’Horace et Émilie de Cinna. En utilisant le concept d’empowerment comme cadre analytique, l’auteur examine comment ces héroïnes parviennent à s’affirmer dans un contexte patriarcal. Malgré les normes sociales restrictives, Sabine et Émilie incarnent une lutte pour l’autonomie et l’émancipation, combinant subtilement des traits de caractère en apparence contradictoires. À travers une analyse des actions et des discours de ces personnages, l’article met en lumière leurs efforts pour s’émanciper et exercer leur pouvoir. Cette étude offre ainsi un nouvel éclairage sur la représentation de la féminité et du pouvoir dans le théâtre de Corneille, tout en fournissant une compréhension approfondie des mécanismes d’empowerment utilisés par les femmes dans les pièces romaines du dramaturge. Abstract This article explores the empowerment strategies of female characters in Corneille’s Roman tragedies, focusing on Sabine in Horace and Émilie in Cinna. Using empowerment as an analytical framework, the author examines how these heroines assert themselves in a patriarchal context. Despite restrictive social norms, Sabine and Émilie embody a struggle for autonomy and emancipation, subtly combining seemingly contradictory character traits. Through an analysis of their actions and discourse, the article sheds light on their efforts to emancipate themselves and exert their power. This study thus offers a new perspective on the representation of femininity and power in Corneille’s theater, while providing an in-depth understanding of the empowerment mechanisms used by women in the playwright’s Roman plays.

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Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics 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 Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

El trabajo propone distintas aperturas exegéticas del personaje de Caliban de la obra de teatro Una tempestad (adaptación para el teatro negro de La tempestad de Shakespeare) de Aimé Césaire. En un primer momento, se detiene en la estrategia crítica ficcional de la escritura de Césaire la cual es conceptualizada como "calibanesca" en relación a la nomenclatura y la filosofía metropolitana. A continuación, se analiza la figuración particular de la tragedia en la mentada pieza teatral, considerando la exigencia cesaireana de reanudar el conflicto colonial entre Próspero y Caliban. Después se discute la imagen/estereotipo del monstruo Caliban y su reescritura estratégica por parte del poeta martiniqués, destacando, asimismo, la importancia del cuerpo en dicho movimiento. Finalmente se problematiza la particularidad del Caliban negro de Una tempestad y su autonombramiento como X, concluyendo cómo en este ejercicio se abre una agencia descolonizadora trágica del cuerpo capaz de interrumpir el monopolio occidental de la lengua y los efectos coloniales de los estereotipos que construye. The work proposes different exegetical openings of the character of Caliban from the play A Tempest (Based on Shakespeare's 'The Tempest;' Adaptation for a Black Theatre) by Aimé Césaire. At first, it focuses on the fictional critical strategy of Césaire's writing, which is conceptualized as "Calibanesque" concerning nomenclature and metropolitan philosophy. Next, the particular figuration of the tragedy in the aforementioned theatrical piece is analyzed, considering the Cesairean demand to resume the colonial conflict between Prospero and Caliban. Afterward, the image/stereotype of the monster Caliban and its strategic rewriting by the Martinican poet are discussed, also highlighting the importance of the body in this movement. Finally, the particularity of the black Caliban from A Tempest and his self-appointment as X is problematized, concluding how in this exercise a tragic decolonizing agency of the body is opened, capable of interrupting the Western monopoly of language and the colonial effects of the stereotypes it builds. Cet article propose différentes ouvertures exégétiques du personnage de Caliban de la pièce La Une tempête (d'après 'La Tempête' de William Shakespeare: adaptation pour un théâtre nègre) d'Aimé Césaire. Dans un premier temps, il s'intéresse à la stratégie critique fictionnelle de l'écriture de Césaire, conceptualisée comme «calibanesque» par rapport à la nomenclature et à la philosophie métropolitaine. Ensuite, la figuration particulière de la tragédie dans la pièce théâtrale susmentionnée est analysée, compte tenu de la demande césarienne de reprendre le conflit colonial entre Prospero et Caliban. Ensuite, l'image/stéréotype du monstre Caliban et sa réécriture stratégique par le poète martiniquais sont abordées, soulignant également l'importance du corps dans ce mouvement. Enfin, la particularité du Caliban noir de A Tempest et son auto-proclamation en tant que X est problématisée, concluant comment dans cet exercice s'ouvre une tragique instance décolonisatrice du corps, capable d'interrompre le monopole occidental du langage et les effets coloniaux de la stéréotypes qu'il construit. [ABSTRACT FROM AUTHOR]

This article gives an account of a philosophical discussion of death and the meaning of life. In Part 1 the focus is on a conversation between the author of this article and Anton van Niekerk after the publication of the latter’s book Die dood en die sin van die lewe (Death and the meaning of life) in 2017. Because of Van Niekerk’s huge influence in the discipline of philosophy, not only in South Africa but also internationally, and because this book is probably the most important one on the subject that has yet appeared in Afrikaans, this article further explores the theme of death and the meaning of life. In the conversation referred to above the following questions were put to Van Niekerk, who responded as comprehensively as time allowed: (i) What is life? Meaning: Before one can talk about death, should one try to define life? (ii) Is death the most decisive, or the most real, attribute of life? (iii) Isn’t death a very morbid subject to research? How should we think about death with the current knowledge at our disposal (after all, we do not know everything)? (iv) Some people say: Religion is necessary to live meaningfully; others claim that death takes away the meaning of life. What is your view? (v) Is there an instinctive, evolving need to (want to) experience meaning in life? (vi) What was the inspiration for your writing this book? The question of the meaning of life is probably one of the most important questions in philosophy, but did other matters inspire you as well? (vii) How does one deal with death, especially once it has crossed the threshold of one’s home? (viii) Every one of us probably fears and rebels against death. Why, and does it make any sense to fear death? (ix) How should we think about life after death? Where does this idea come from? How would people of faith know they were dealing with a Deity if there were life after death? Is eternal life really such an attractive option? (x) Will the day come when human beings will overcome death (not in the spiritual sense of the word)? (xi) What are your thoughts on assisted dying? (xii) Death remains a mystery, but how do you see it? (xii) As death remains a tragic event, is there anything worse than death that can happen to a human being? (xiv) When would one be able to say one’s life has meaning? All these questions relate to the content of Van Niekerk’s book. Part 2 of the article focuses on Vincent Brümmer’s religio-philosophic thoughts on Van Niekerk’s book. Shortly before his death, Brümmer sent Van Niekerk those thoughts, and in the correspondence he touched upon, among other things, our human limitations, our temporality and mortality, and the problems associated with the limitations of our human existence. He argued that many people try to deny the finitude of their earthly existence by assuming that death involves only the body and not the so-called “immortal soul”. This view posed a problem for him, and he acknowledged that, in this respect and in the absence of any clarity on the matter, he was agnostic. Furthermore, not only a human being’s earthly life ends at some point, but also the earth itself – and our solar system and all the others. He described the four phases one’s life normally goes through from birth to death and joined Jean-Paul Sartre in distinguishing between the body one is and the body one has. For Brümmer the transition to the proverbial autumn of one’s life (the last of the four phases) is radically different from the transition between the other phases. He emphasised the difficulty of the detachment process brought on by death and stressed that one does not think about (one’s) death enough because one often is too busy. He also struggled with Van Niekerk’s argument that life is a tragedy in the face of death, but shared Van Niekerk’s distinction between problems and mysteries, even though he found it difficult to understand Van Niekerk’s explanation of mysteries. In the last section of Part 2 of the article, Van Niekerk, in his reply to Brümmer, appreciates Brümmer’s grasping the fact that life was as essential a part of the book’s content as death. Although the title of the book might give the impression that it is about death, it actually is about life, but then life outlined against the background of the ever-present death. He finds Brümmer’s analysis of the four phases of life both illuminative and problematic. Yet this fourphase model expresses something of what Van Niekerk means by a meaningful life. Upon rereading Brümmer’s correspondence, it struck Van Niekerk again that the theme of corporeality is very important for any reflection on the meaning of life and death, and that one of the mysteries of human existence lies in the fact that one can say of oneself that one is a body and one has a body. He points out how important detachment (highlighted by Brümmer), brought about by one’s approaching death, in the last phase of life is. Van Niekerk concludes his reply by maintaining his claim that life ending in death is indeed a tragedy – a claim not supported by Brümmer – but a tragedy that has the potential to mediate meaning. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Portugal is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

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Copyright of Strategic Universe Journal / Univers Strategic is the property of Dimitrie Cantemir Christian University, Institute for Security 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.)

Si dans Mort d’Oluwémi d’Ajumako, Oluwémi dirige son peuple d’une main d’airain et refuse de jouer au jeu de l’administration politique en place, Dieudonné désire dans Dieu nous l’a donné en découdre avec le système colonial et ses conséquences mais n’arrive pas à joindre son peuple à ses idées révolutionnaires. Ces deux pièces de théâtre de Maryse Condé permettent de toucher non uniquement à deux modes de résistance et de gestion du fait historique colonial mais surtout à une résistance hétérogène au sein des sujets colonisés. Cet article examine les stratégies épistémologiques et socio-discursives employées par les sujets colonisés pour construire leurs identités individuelle et collective ainsi que la possibilité de dépasser, en s’appuyant sur la réflexion théorique de Hamid Dabashi, les tendances à restreindre l’identité postcoloniale à la polarité colonisateur et colonisé.

This article examines The Wire (HBO, 2002–8) and The Shield (FX, 2002–8) and the extent to which they employ particular attributes of new television in order to engage with notions of determined behaviour familiar from literary naturalism (and, through them, important contemporary political ideologies). The Wire and The Shield are part of a growing body of neo-naturalist works in contemporary American culture. Like Dexter and Breaking Bad, they portray the actions of their protagonists as heavily determined by outside forces. But while The Shield's deterministic naturalism tends to lend tacit support for more authoritarian social control, The Wire's use of similar architecture is a means to advocate for urgent institutional reform. [ABSTRACT FROM AUTHOR]

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Cris rituels, auloí et tambourins sont mentionnés à plusieurs reprises dans le texte des Bacchantes d’Euripide. La pièce crée ainsi un univers sonore fictif, un tissu de références auditives qui se superpose à la musique réellement perçue par les spectateurs, dans le contexte de la première performance aux Dionysies à Athènes. Notre étude articule ces deux espaces sonores, en analysant en particulier le rôle de l’aulós. Cet instrument présente en effet une apparente contradiction: il est ce qui donne rythme et mélodie au festival athénien, mais il est aussi l’un des emblèmes du culte étranger. Nous montrons comment la configuration des sonorités propres aux Bacchantes multiplie les références sonores, et crée un espace sonore qui est un espace de médiation et de conciliation des identités.

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Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute 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.)

Si le mythe de Persée, son exploit contre la Méduse et son union avec Andromède sont célèbres, les textes grecs archaïques et classiques, qui le relatent, le sont beaucoup moins. La poésie archaïque (Hésiode et pseudo-Hésiode) nous a conservé des traces intéressantes de ces récits mais la version la plus complète de ces aventures nous est livrée par deux fragments de Phérécyde, mythographe athénien, peu connus et peu accessibles, puisqu’ils nous sont rapportés par des scholies. Les trois grands Tragiques : Eschyle, Sophocle et Euripide avaient écrit plusieurs pièces autour de ce héros, il ne nous en reste que des fragments, dont un choix a été ici retenu, afin de les regrouper et de les traduire ensemble pour la première fois. Par ailleurs, Aristophane, le fameux Comique, parodie dans ses Thesmophories le chef-d’œuvre, sans doute, de ces tragédies : Andromède d’Euripide. Ses vers, et ceux parodiés du Tragique, redonnés par les scholiastes, nous permettent d’entrevoir un peu de cette beauté perdue. - While the myth of Parseus’, his fight against the Medusa and his union with Andromeda are well known, the archaic and classical Greek texts that tell the story are much less known. The archaic poetry (Hesiod and pseudo-Hesiod) have kept interesting traces of these stories, but the most complete version of these adventures can be found in two fragments by Pherecydes, Athenian mythography writer who is little known and not easily accessible because they can only be found in the scholia. The three great tragedy writers Aeschylus, Sophocles, Euripides have written several plays about this hero, but we are left only with some fragments which we have collected together and translated for the first time. Otherwise Aristophanes, the famous comic writer, parodies in his Thesmophories, the without a doubt masterpiece of these tragedies: Andromeda by Euripides. His verses, and his parodies of the Tragedies, given back by the scholars, bring us the opportunity to see this lost beauty.

Cet article a pour objectif d’étudier la question de la théâtralité par le registre pathétique dans L’Orphelin de la Chine (1755). Cette tragédie de Voltaire s’inspire de la tragédie chinoise L’Orphelin de la maison de Tchao, première pièce chinoise introduite en France au XVIIIe siècle en 1735. Ignorant la bienséance occidentale, cette tragédie chinoise comprend des monstruosités et de nombreux effets violents. Même si les habitudes prises d’ensanglanter la scène dans la pièce chinoise contredisent les règles de bienséance, elles influencent à un certain niveau la conception spectaculaire de Voltaire. Il recourt au registre pathétique pour cultiver le spectaculaire dans la représentation de l’action, tout en manifestant une source de modernisation, celle de la théâtralité par la violence morale et non physique.

Le drame de Mayerling a inspiré de nombreuses œuvres de fictions. Les faits, d’ailleurs s’y prêtent : le 30 janvier 1889, Rodolphe – le prince héritier, marié, de la famille Habsbourg – est trouvé mort dans des circonstances mystérieuses dans un lit de son pavillon de chasse, à Mayerling, à côté d’une femme, elle aussi sans vie. Les versions officieuses et officielle(s) se diffusent immédiatement. Au début des années 1920, G.A. Borgese s’est consacré à ce drame en écrivant deux livres sur les faits : La tragedia di Mayerling, texte en prose, et L’Arciduca, une pièce de théâtre, parcourent l’un la vie entière des deux héros, l’autre la dernière nuit des deux amants, en tentant d’analyser et reconstruire ce qui a réellement poussé ces deux aristocrates à se donner une mort commune.

Sammanfattning Genom en diskussion av en sketch ur en komediföreställning kommer jag att lyfta fram humorns och komedins relation till skepticismen som tema i Stanley Cavells filosofi. I The Claim of Reason utvecklar Cavell ett samband mellan skepticism och tragedi. Kopplingen mellan komedi och skepticism förblir mer antydd, och då i termer av ett slags symmetri med tragedi. Jag menar att när vi låter humor och komedin ta plats i relation till den skeptiska problematiken så kommer en asymmetri att visa sig mellan tragedi och komedi. Detta har att göra med komedin och humorns förmåga att innefatta och erkänna den smärta som finns i det tragiska. Jag diskuterar Cavells begrepp om erkännande (acknowledgment) och hävdar att begreppet behöver modifieras när vi talar om det slags erkännande som finns i en viss typ av humor.

À la fin de Médée, La Péruse fait tenir à l’héroïne des propos particulièrement inquiétants, puisqu’elle indique que le spectacle qui vient d’avoir lieu pourra « [apprendre] à [son] sexe à se pouvoir vanger » (La Péruse, 1990 [s.d.] : 42). Comment comprendre ces vers? On peut conclure à l’ironie du dramaturge, puisque Médée, infanticide et régicide, ne saurait être sérieusement érigée en exemple. Néanmoins, si on se met à l’écoute de la Colchidienne, on peut observer d’autres résultats : La Péruse semble insister sur les pouvoirs de la parole féminine, si bien que Médée pourrait apprendre aux femmes non le meurtre, mais la puissance des mots.

Cet article s’intéresse à la construction de l’ethos, tout à la fois féminin et royal, du personnage éponyme dans la tragédie Laodamie, reine d’Épire de Catherine Bernard, créée en 1689 à la Comédie-Française, de même qu’à la tension générée par le conflit entre cet ethos et le pathos. Si ce pathos perturbe la « tranquillité » de la reine tout au long de l’action dramatique, celle-ci n’en parvient pas moins à le tenir en bride – mais au prix d’un immense effort – au profit de la raison, qui lui dicte de contrôler des passions qui entrent en contradiction avec les exigences de sa fonction.

The text of Euripides’ Bacchae mentions several times ritual shouts, auloí and drums. The theater play thus creates a fictitious sound universe, a fabric of auditory references that overlaps with the music actually perceived by the audience, in the context of the first performance at the Dionysia in Athens. Our study articulates these two sonorous spaces, by analyzing in particular the role of the aulós. This instrument indeed presents an apparent contradiction: it is what gives rhythm and melody to the Athenian festival, but it is also one of the emblems of the foreign cult. We show how the configuration of the sounds in the Bacchae multiplies the sound references, and creates a soundscape where identities are mediated and reconciled. [ABSTRACT FROM AUTHOR]

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Who is Antigone for modern man? The author takes the Hegelian interpretation as the background against which contemporary readings of Antigone appear. She emphasizes the fact that in the now popular readings, Antigone is — as in Judith Butler’s interpretation — a spokeswoman of the wretched and disadvantaged. Even though Butler retains Antigone’s heroic nature she places it in the service of the disadvantaged. In Mary C. Rawlinson’s reading, her heroic individuality is openly criticized, or this aspect is tempered as in the case of Bonnie Honig’s interpretation. In this context, Ismene’s rehabilitation is especially telling. Stressing Ismene as the true heroin, the authors focus on the openness for compromise and willingness to transform Antigone’s rage into new opportunities. The author takes this to be a confirmation of Hegel’s death of tragedy in modernity. Despite the popularity of Antigone today, the Greek heroin loses its grandiosity and monstrosity. The (post) modern Antigone now appears as a prosaic character fit to inhabit a modernity that shows more understanding for the innocence of the victim than the ambiguity of the hero.

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Copyright of BAU Journal - Society, Culture & Human Behavior is the property of Beirut Arab University 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.)