DOCSLIB.ORG

“From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“From Strange to Stranger”: the Problem of Romance on the Shakespearean Stage “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English and the Designated Emphasis in Renaissance and Early Modern Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jeffrey Knapp, Chair Professor Oliver Arnold Professor David Landreth Professor Timothy Hampton Summer 2018 “From strange to stranger”: The Problem of Romance on the Shakespearean Stage © 2018 by Aileen Young Liu 1 Abstract “From strange to stranger”: The Problem of Romance on the Shakespearean Stage by Aileen Young Liu Doctor of Philosophy in English Designated Emphasis in Renaissance and Early Modern Studies University of California, Berkeley Professor Jeffrey Knapp, Chair Long scorned for their strange inconsistencies and implausibilities, Shakespeare’s romance plays have enjoyed a robust critical reconsideration in the twentieth and twenty-first centuries. But in the course of reclaiming Pericles, The Winter’s Tale, Cymbeline, and The Tempest as significant works of art, this revisionary critical tradition has effaced the very qualities that make these plays so important to our understanding of Shakespeare’s career and to the development of English Renaissance drama: their belatedness and their overt strangeness. While Shakespeare’s earlier plays take pains to integrate and subsume their narrative romance sources into dramatic form, his late romance plays take exactly the opposite approach: they foreground, even exacerbate, the tension between romance and drama. Verisimilitude is a challenge endemic to theater as an embodied medium, but Shakespeare’s romance plays brazenly alert their audiences to the incredible. When a corpse is miraculously revived in Pericles, a bystander muses, “Is not this strange?” When Time comes onstage to skip the plot of The Winter’s Tale ahead by sixteen years, he defensively admits that the audience might view this gap as a “crime” against the dramatic unities. After hearing that three Britons defeated the entire Roman army in Cymbeline, a lord says, “This was strange chance.” After a string of improbable events in The Tempest, Alonso complains that “they strengthen / From strange to stranger.” “From strange to stranger”: The Problem of Romance on the Shakespearean Stage offers a novel perspective on these issues by showing how Shakespeare’s romance plays conscientiously revive a dramatic genre that had fallen into disuse and disrepute as an abjuration of the highly coherent and unified dramaturgy that superseded it. Because of its otherworldliness and endlessness, romance was derided by opponents and defenders of imaginative literature as indecorous, incredible, and idle. When combined with drama, which was considered exceptionally suasive and therefore dangerous, romance seemed to its critics to present more than technical problems; it presented ethical problems as well. Although overwhelmingly popular in the early decades of the English playhouses, romance had largely disappeared from the stage by the 1590s as English drama became more sophisticated, unified, and realistic. 2 Looking at moments in Shakespeare’s romance plays that draw our attention to their generic belatedness and formal strangenesses, this dissertation demonstrates that Shakespeare revives romance as a dramatic genre in order to pose ethical questions about community and representation through apparently technical questions of genre and decorum. I show how Pericles argues for the cultivation of virtue through promiscuous mingling; how The Winter’s Tale pathologizes absolute autonomy—which Sir Philip Sidney famously claims in The Defence of Poesy (1595) for the poet and the poet alone—as destructively tyrannical; and how Cymbeline seeks multiplicity and plurality as an alternative to hegemonic unity to fashion the new British empire in relation to Rome. Finally, I explain why The Tempest ostentatiously employs dramatic strategies for unifying a play, only to conclude with Prospero’s gesture of release. Rejecting sophistication, mastery, and hegemonic unity, Shakespeare embraces romance’s expansiveness of time, place, and action, and opens up drama to become more ethically and aesthetically capacious in its representational possibilities. i And this thinking [poetically], fed by the present, works with the “thought fragments” it can wrest from the past and gather about itself. Like a pearl diver who descends to the bottom of the sea, not to excavate the bottom and bring it to light but to pry loose the rich and the strange, the pearls and the coral in the depths, and to carry them to the surface, this thinking delves into the depths of the past—but not in order to resuscitate it the way it was and to contribute to the renewal of extinct ages. What guides this thinking is the conviction that although the living is subject to the ruin of the time, the process of decay is at the same time a process of crystallization, that in the depth of the sea, into which sinks and is dissolved what once was alive, some things “suffer a sea-change” and survive in new crystallized forms and shapes that remain immune to the elements, as though they waited only for the pearl diver who one day will come down to them and bring them up into the world of the living—as “thought fragments,” as something “rich and strange,” and perhaps even as everlasting Urphänomene. —Hannah Arendt, Introduction to Walter Benjamin’s Illuminations ii Table of Contents Acknowledgments iii Introduction iv Romance Onstage in Renaissance England viii Solving the ‘Problem’ of Shakespeare’s Romance Plays xi Overview xv Chapter One: “As good as rotten”: The Virtue of Corruption in Pericles 1 “This was a goodly person / Till the disaster”: Textual and Moral Corruption 4 “A lady / Much less in blood than virtue”: Marina in the Brothel 7 “Wholesome iniquity”: Lysimachus in the Brothel 14 “Thou beget’st him that did thee beget”: Incest and Romance 19 Chapter Two: “That wide gap”: Disunified Time in The Winter’s Tale 27 “Methoughts I did recoil / Twenty-three years”: Mingling Times 31 “That wide gap”: Disunified Time 40 “’Tis time; descend; be stone no more”: Hermione’s Return 44 Chapter Three: “The same dead thing alive”: Plural Perspective in Cymbeline 56 “He yokes / A smiling with a sigh”: Mingling Genres 59 “Rather to wonder at the things you hear / Than to work any”: Genre Confusion 66 “This fierce abridgement”: Collective Storytelling 74 “Although the victor, we submit”: Political Multiplicity 84 Chapter Four: “Single I’ll resolve you”: Unities and Endlessness in The Tempest 98 “Which to you shall seem probable”: The Ends of the Unities 102 “Canst thou remember?”: The Unities 107 “I’ll deliver all”: The End 120 Bibliography 130 iii Acknowledgments First, thank you to Jeff Knapp. I have benefitted enormously from his formidable talents as a thinker, writer, and critic. If my prose is tighter and clearer, if my thinking is sharper and more rigorous, it is thanks to him and his tireless commitment to my work. To Oliver Arnold, who opened many doors for me and saw the potential in every one of my half-formed thoughts. He always made me believe I was up to the task at hand. To Dave Landreth, who helped me get the lay of the land of our discipline and of my own research interests. At crucial junctures of my studies at Berkeley, he guided me through. To Tim Hampton, whose class in my first year of graduate school put me in contact with some of the best thinkers of the European Renaissance and some of the best graduate students at Berkeley. Their company I treasure still. Portions of this project were shared with audiences at the Shakespeare Association of America, the Renaissance Society of America, and Bates College; and with the following groups at the University of California at Berkeley: the Designated Emphasis in Renaissance and Early Modern Studies, Berkeley Connect in English, the Medieval and Early Modern Colloquium, and Jeff Knapp’s dissertation group. I am grateful to everyone for their questions, criticisms, and suggestions, which profoundly shaped this project. Many faculty members at Berkeley supported and encouraged my development as a scholar and a teacher. Thank you to Elizabeth Abel, Albert Ascoli, Ivonne del Valle, Eric Falci, Kevis Goodman, Dori Hale, Lyn Hejinian, Steve Justice, Victoria Kahn, David Marno, Scott Saul, Katie Snyder, and James Grantham Turner. Thanks also to Kristen Boye, Kelly Anne Brown, Chris Ott, Linda von Hoene, and Jen Hykes Willson, for supporting and celebrating my professional development at Berkeley and beyond. And to my students at Berkeley, especially the students of English R1B in Spring 2015, Berkeley Connect in 2016–17, and English N117S in Summer 2017, for challenging me to be better than my best and reminding me of what’s important. I feel extraordinarily lucky to have had kind, smart, generous friends and colleagues at Berkeley. Spencer Strub and José Villagrana: the hurlyburly’s done, the battle’s lost and won. Thank you for our fellowship. Linda Louie: your very goodness, and your company, o’erpays all I can do. Thank you for showing us the way. Jeehyun Choi: the readiness is all! Thank you for our nourishing conversations. Thanks also to Brandon Callender, Shannon Chamberlain, Rosalind Diaz, Bernardo Hinojosa, Sarah Johnson, Antonio Juan-Marcos, Mehak Khan, Margaret Kolb, Serena Le, Jen Lorden, Raffi Magarik, Shokoofeh Rajabzadeh, Jonathan Shelley, Jason Treviño, Diana Wise, Wendy Xin, and Sam Zeitlin, for filling my time here with laughter and joy. Finally, thank you to my parents, Ning Li and Zhi Liu, and my sister, Addy Liu. I love you and I hope to make you proud in everything I do. iv / Introduction Introduction HENSLOWE. It’s a crowd-tickler—mistaken identities, a shipwreck, a pirate king, a bit with a dog, and love triumphant.
Load more

Recommended publications
  • — 1 — 1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, Private Collection) the Tempest (1611) Is the Last P
    1. Class Title 1 (Simon Keenlyside) 2. Waterhouse: Miranda (1916, private collection) The Tempest (1611) is the last play which Shakespeare wrote alone. It has been described as the most musical of his works, on account of the number of songs in the text, the interpolated masque in the last act, and because it works less through cause and effect than through enchantment, an intrinsically musical quality. It is the only play for which we have any of the original stage music. And according to Wikipedia, it has inspired over four dozen operatic or musical settings. As early as the mid-seventeenth century, managements were adapting the play as a kind of masque, rather than performing the original. 3. Ariel’s Tempest in Columbia I’m also somewhat familiar with it myself. I directed the first performance of The Tempest by American composer Lee Hoiby in the late 1980s, and wrote my own adaptation in 2011 for composer Douglas Allan Buchanan, a 60-minute condensation that we toured to young audiences all over Maryland. 4. Round table discussion at the Met But the version we are watching today is the work of the two people in the middle of this picture: composer/conductor Thomas Adès (b.1971) and the Australian playwright Meredith Oakes (b.1946), seen here with Met General Manager Peter Gelb and stage director Robert Lepage. The picture comes from an intermission feature in the Met’s 2012 Live-in-HD transmission of the opera; I thought of playing it, but it is hard to hear and rather light on information.
    [Show full text]
  • “Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
    “Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man.
    [Show full text]
  • Section 2. Jack Pine (Pinus Banksiana)
    SECTION 2. JACK PINE - 57 Section 2. Jack pine (Pinus banksiana) 1. Taxonomy and use 1.1. Taxonomy The largest genus in the family Pinaceae, Pinus L., which consists of about 110 pine species, occurs naturally through much of the Northern Hemisphere, from the far north to the cooler montane tropics (Peterson, 1980; Richardson, 1998). Two subgenera are usually recognised: hard pines (generally with much resin, wood close-grained, sheath of a leaf fascicle persistent, two fibrovascular bundles per needle — the diploxylon pines); and soft, or white pines (generally little resin, wood coarse-grained, sheath sheds early, one fibrovascular bundle in a needle — the haploxylon pines). These subgenera are called respectively subg. Pinus and subg. Strobus (Little and Critchfield, 1969; Price et al., 1998). Occasionally, one to about half the species (20 spp.) in subg. Strobus are classified instead in a variable subg. Ducampopinus. Jack pine (Pinus banksiana Lamb.) and its close relative lodgepole pine (Pinus contorta Dougl. Ex Loud.) are in subg. Pinus, subsection Contortae, which is classified either in section Trifoliis or a larger section Pinus (Little and Critchfield, 1969; Price et al., 1998). Additionally, subsect. Contortae usually includes Virginia pine (P. virginiana) and sand pine (P. clausa), which are in southeastern USA. Jack pine has two quite short (2-5 cm) stiff needles per fascicle (cluster) and lopsided (asymmetric) cones that curve toward the branch tip, and the cone scales often have a tiny prickle at each tip (Kral, 1993). Non-taxonomic ecological or biological variants of jack pine have been described, including dwarf, pendulous, and prostrate forms, having variegated needle colouration, and with unusual branching habits (Rudolph and Yeatman, 1982).
    [Show full text]
  • Caliban's Use of Language in Shakespeare's the Tempest
    fi4 Notions Vol.6 No3 2015 (P) ISSN t 097G5247, (epSSN: 239*7239 Caliban's Use of Language in Shakespearers The Tbmpest You taught me language, and my profit on,t Is I know how to curse. The red plague rid you For learning me your language! (Act I, Scene II, The Tempest) ..The Richard Eyre, a distinguished English director said, life of the plays is in the language, not alongside ig or underneath i1. f'sslings and thoughts are released at the moment of speech. An Elizabethan audience would have responded to the pulse, the rhythms, the shapes, sounds, and above all meanings, within the consistent ten- syllable, five- stress lines of blank verse. They were an audience who listened,,. (Shakespeareb Language 4) At the outset, the audience has to make a distinction between some modern connotations ofthe word 'language, and those current in Shakespeare's day, when language was neither neutal nor purely verbal. A neutral view of language is typified by such statements as Saussure,s remark: From the excursions made into regions bordering upon linguistics, there emerges a negative lesson, but one which...supports the fundamental thesis of this course: the only true object of study in linguistics is the language, considered in itself and for its own sake. (Course inGeneral Linguistics) Such an empirical approachwas alientothe sixteenth and earlier seventeenth centuries, where all concems of life were moralizod, including language, in so far as most writers looked for ways of integrating their subject with the current dominant Christian concepts. Language and knowledge has been the key to power on the island in the play.
    [Show full text]
  • A Stylistic Approach to the God of Small Things Written by Arundhati Roy
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2007 A stylistic approach to the God of Small Things written by Arundhati Roy Wing Yi, Monica CHAN Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons Recommended Citation Chan, W. Y. M. (2007). A stylistic approach to the God of Small Things written by Arundhati Roy (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/eng_etd.2 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY CHAN WING YI MONICA MPHIL LINGNAN UNIVERSITY 2007 A STYLISTIC APPROACH TO THE GOD OF SMALL THINGS WRITTEN BY ARUNDHATI ROY by CHAN Wing Yi Monica A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2007 ABSTRACT A Stylistic Approach to The God of Small Things written by Arundhati Roy by CHAN Wing Yi Monica Master of Philosophy This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy.
    [Show full text]
  • Module A: Tempest and Hag-Seed Essay
    MODULE A: TEMPEST AND HAG-SEED ESSAY • Textual conversations allow audiences to understand and appreciate changes in attitudes and values over time, by considering the resonances and dissonances that exist between texts. • This is evident when comparing William Shakespeare’s tragicomedy, The Tempest, with Margaret Atwood’s postmodernist appropriation, Hag- Seed. • Both composers communicate the different attitudes and perspectives towards similar concepts of humanity, exploring values of x in their respective context. • Ultimately, this enhances our understanding of these ideas, while also demonstrating how perspectives on social and historical contexts can change over time. • The Tempest explores themes of power and literal imprisonment through its setting and characters. • This is evident in Prospero’s enslavement of Caliban, a native of the island, who is referred to as a “poisonous slave, got by the devil himself”. • Prospero’s use of derogatory language and animalistic imagery, symbolises the negative attitudes of colonisers towards natives in the 1600s. • Caliban’s submissiveness, which is due to a paralysing fear of Prospero’s magic, “I must obey. His art is of such power”, further symbolises this power imbalance between colonisers and natives. • Power and imprisonment are further explored through Prospero. Prospero himself, experiences the retribution of power after being exiled by his “unlawful brother”, Antonio. • Prospero presents Antonio as a brother “so perfidious!”, symbolising his anger and desire for vengeance after 12 years of being imprisoned on the island. • The opening stage directions ‘a tempestuous noise of thunder and lightning’ symbolically introduces the disruption to natural order of the Jacobean chain of being through Prospero’s sovereign overthrow, stimulating the desire for revenge.
    [Show full text]
  • August 2012 Newsletter
    August 2012 Newsletter ------------------------------------ Yesterday & Today Records P.O.Box 54 Miranda NSW 2228 Phone: (02) 95311710 Email:[email protected] www.yesterdayandtoday.com.au ------------------------------------------------ Postage Australia post is essentially the world’s most expensive service. We aim to break even on postage and will use the best method to minimise costs. One good innovation is the introduction of the “POST PLUS” satchels, which replace the old red satchels and include a tracking number. Available in 3 sizes they are 500 grams ($7.50) 3kgs ($11.50) 5kgs ($14.50) P & P. The latter 2 are perfect for larger interstate packages as anything over 500 grams even is going to cost more than $11.50. We can take a cd out of a case to reduce costs. Basically 1 cd still $2. 2cds $3 and rest as they will fit. Again Australia Post have this ludicrous notion that if a package can fit through a certain slot on a card it goes as a letter whereas if it doesn’t it is classified as a “parcel” and can cost up to 5 times as much. One day I will send a letter to the Minister for Trade as their policies are distinctly prejudicial to commerce. Out here they make massive profits but offer a very poor number of services and charge top dollar for what they do provide. Still, the mail mostly always gets there. But until ssuch times as their local monopoly remains, things won’t be much different. ----------------------------------------------- For those long term customers and anyone receiving these newsletters for the first time we have several walk in sales per year, with the next being Saturday August 25th.
    [Show full text]
  • A Translation of the Linnaean Dissertation the Invisible World
    BJHS 49(3): 353–382, September 2016. © British Society for the History of Science 2016 doi:10.1017/S0007087416000637 A translation of the Linnaean dissertation The Invisible World JANIS ANTONOVICS* AND JACOBUS KRITZINGER** Abstract. This study presents the first translation from Latin to English of the Linnaean disser- tation Mundus invisibilis or The Invisible World, submitted by Johannes Roos in 1769. The dissertation highlights Linnaeus’s conviction that infectious diseases could be transmitted by living organisms, too small to be seen. Biographies of Linnaeus often fail to mention that Linnaeus was correct in ascribing the cause of diseases such as measles, smallpox and syphilis to living organisms. The dissertation itself reviews the work of many microscopists, especially on zoophytes and insects, marvelling at the many unexpected discoveries. It then discusses and quotes at length the observations of Münchhausen suggesting that spores from fungi causing plant diseases germinate to produce animalcules, an observation that Linnaeus claimed to have confirmed. The dissertation then draws parallels between these findings and the conta- giousness of many human diseases, and urges further studies of this ‘invisible world’ since, as Roos avers, microscopic organisms may cause more destruction than occurs in all wars. Introduction Here we present the first translation from Latin to English of the Linnaean dissertation published in 1767 by Johannes Roos (1745–1828) entitled Dissertatio academica mundum invisibilem, breviter delineatura and republished by Carl Linnaeus (1707– 1778) several years later in the Amoenitates academicae under the title Mundus invisibi- lis or The Invisible World.1 Roos was a student of Linnaeus, and the dissertation is important in highlighting Linnaeus’s conviction that infectious diseases could be trans- mitted by living organisms.
    [Show full text]
  • Greek Theory of Tragedy: Aristotle's Poetics
    Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity.
    [Show full text]
  • The Tempest by William Shake Peare an SFA School Ofnleau-E Production W
    Stephen F. Austin State University College of Fine Arts and School of Theatre present TilE TEMEST ~ ?()~cS~ Produced by the SFA School of Theatre Nov. 15-19, 2005, 7:30 p.m. W.M. Turner Auditorium Sponsored in part by MAKE THE ROAD YOUR CANVAS. THE DRIVE, YOUR WORK OF ART. The University Series 2005-2006 The Hottest Ticket in Town! The Art Center and Griffith Gallery are open Tuesday through Sunday, 12:30-5 p.m. All performance at 7:30 p.m. September 9 - October 16 SFA FacuLt)' Exhibitioll The AJt Center eptember 16 - October 16 Barry Alldersoll: Epic Escapism & Suspellsion Griffith Gallely and chool ofAJt Gallely o lober 15 Stars alld Stripes Forel1er: A Patriotic Review featUJ;ng the FA A Cappella Choir W. M. Tumer AuditOl;um October 27 Betty BuckLey: Deep ill the Heart W. M. TUl11er Auditorium November 15 -19 The Tempest by William Shake peare an SFA School ofnleau-e Production W. M. TumerAuditOl;UJll November 29 The Salzburg Mariollettes pl-esenting Tile Magic Flute by W. A. MOZm1 W. M. Tumer AuditOl;um January 31 Ballet Hispallico W. M. TumerAuditorium February 8 - March 26 III the Path ofthe Blaue Reiter Gemlan Expressionist Portfolios. l1;nts and Books Griffith Gallery February 21 - 25 The ight ofthe Igualla by Tennes ee Williams an SFA chool ofTheau'e Production W. M. Tumer Auditorium March 6 Salzburg Chamber Soloists with Piallist Alldreas Kleill W. M. TumerAuditorium March 23 Los Hombres Calielltes W. M. Tumer Auditorium April 6 - 8 SFA Opera an SFA School of Music and School ofTheau'e l1'oduction W.
    [Show full text]
  • Dear ARC Family, We Hope You Are Staying
    Dear ARC Family, We hope you are staying safe during these uncertain times. Please know we are working to ensure your well being and safety going forward. You are not forgotten as we are thinking of you. Do not despair, as we are in contact with the Governor’s Office and CDCR as we work to keep you safe. We need to work together now more than ever to create change. During this pandemic, we want to hear from you, and know what life is like, so we can help amplify your voices and the current state of life inside prison. Please write to us, tell us what you’re feeling, how you are coping, what needs to be done to keep you healthy and safe, and with any other concerns. Please write to us at ATTN: #Covid19 Submission, 1320 E. 7th Street, Suite 260, Los Angeles, CA 90021. Please include your preferred name or if you would like to remain anonymous. Please also let us know if you would like your publication to include your CDCR Number and location. Submissions may be used on ARC social media or posted on the ARC website, in addition to being eligible for the next Inside Newsletter. Please note that your submission is not guaranteed publication. We look forward to hearing from you. Please stay safe! Anti-Recidivism Coalition (ARC) INSIDE NEWSLETTER Issue #7 / March 2020 In This Issue 1 Letter from Sam Lewis, ARC’s Executive Director 2 Policy Updates 3 Pelican Bay Graduation ARC’S ED SAM LEWIS WITH BOARD MEMBER CHARITY AND SACRAMENTO MEMBER CHARITY AND SACRAMENTO LEWIS WITH BOARD ARC’S ED SAM PRISON.
    [Show full text]
  • And Margaret Atwood's Novel Hag-Seed
    The textual conversation between William Shakespeare’s play The Tempest (1611) and Margaret Atwood’s novel Hag-Seed (2016) positions readers to realise how individuals must move on from the past in order to achieve fulfilment. Readers recognise how introspection and accepting the past is necessary in order to reconcile with loss and how to achieve freedom, individuals must overcome their restrictive, seemingly predestined capacities. Atwood’s appropriation of The Tempest allows contemporary audiences to gain true insight into the timeless values of self-reflection, reconciliation and challenging one’s destiny. The textual conversation between The Tempest and Hag-Seed facilitates readers’ appreciation of how introspection and accepting the past is necessary in order to reconcile with loss. In The Tempest, Shakespeare advocates how Prospero’s introspection as he moves on from his preoccupation with revenge, prompts compassion and forgiveness. Shakespeare responds to the rise of Renaissance Humanism during the Jacobean Era, celebrating human control over one’s fate and display of virtues such as empathy and self-enquiry. Shakespeare characterises exiled Duke of Milan Prospero as unwilling to acknowledge how his usurpation by his brother Antonio resulted from preoccupations with magic as he accuses Antonio of being the metaphorical "ivy which had hid my princely trunk” to emphasise his loss and victimise himself. Shakespeare establishes Prospero’s anger towards his past betrayal in the supernatural stage directions [Enter several strange shapes, bringing in a banquet…] and [...the banquet vanishes], revealing how he uses magic to humiliate and punish the shipwrecked Royal Court. However, Shakespeare exposes how Prospero’s belief that revenge is justified is challenged by spirit Ariel in “if you now beheld them, your affections would become tender….
    [Show full text]