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Full-Text Articles in Arts and Humanities
The Philanderer's Rebuttal, Robert A. Zordani
The Werewolf's Daughters, Robert A. Zordani
Foul Is Fair: What Shakespeare Really Thought About Lawyers, Judith Fischer
Foul Is Fair: What Shakespeare Really Thought About Lawyers, Judith Fischer
Judith D. Fischer
This is a discussion of the meaning and background behind some of Shakespeare's references to lawyers. It explains the common misinterpretation of the famous quotation “Let’s kill all the lawyers." The line actually compliments lawyers, indicating that those who want anarchy must first get rid of lawyers. Review of Daniel J. Kornstein’s book, Kill All the Lawyers? Shakespeare’s Legal Appeal (1994).
Have You Been Saved?, David L. Cooper
Jane Howell And Subverting Shakespeare: Where Do We Draw The Lines?, Linda Shenk
Jane Howell And Subverting Shakespeare: Where Do We Draw The Lines?, Linda Shenk
Linda Shenk
When Ralph Berry asks RSC director Bill Alexander to explain how a director chooses to do a Shakespearean play in a certain manner, Alexander replies: "For me, it all boils down to this: how best can I reveal this play, how best can I release my own perception of the play, my own feeling of what it's about, and what it says and why he wrote it" (Berry 178). To fulfill these goals, directors often choose to set a play in a different historical context, devise a thematic doubling scheme, and/or cut lines to emphasize a specific concept. Such decisions …
Ìgbò Enwē Ezè: Monarchical Power Vs The Democratic Ideal In Igbo Oral Narratives (Chapter 5), Chukwuma Azuonye
Ìgbò Enwē Ezè: Monarchical Power Vs The Democratic Ideal In Igbo Oral Narratives (Chapter 5), Chukwuma Azuonye
Chukwuma Azuonye
Azuonye sets out, through the representation of kings in Igbo tales, a picture on the one hand of legitimate authority and on the other of the abuse of power, two sides of the same coin. His discussion is directed along two lines. First, and most directly, he examines the nature of the picture of power relations painted in the tales insofar as it presents a 'democratic ideal'. Second, Azuonye sees the painting of that picture as part of the propagation of competing visions, 'the power of oral literature to sustain, through the selective process of mythic filtering, a particular type …
What’S In A Frame? The Medieval Textualization Of Traditional Storytelling, Bonnie Irwin
What’S In A Frame? The Medieval Textualization Of Traditional Storytelling, Bonnie Irwin
Bonnie Irwin
No abstract provided.
Taking One To Know One: Oscar Wilde And Narcissism, Steven Bruhm
Taking One To Know One: Oscar Wilde And Narcissism, Steven Bruhm
Steven Bruhm
No abstract provided.
“A New Source For Thomas Nashe’S The Choise Of Valentines.”, M. L. Stapleton
“A New Source For Thomas Nashe’S The Choise Of Valentines.”, M. L. Stapleton
M. L. Stapleton
No abstract provided.
"The Power To Hurt": Lincoln's Early Use Of Satire And Invective, Robert Bray
"The Power To Hurt": Lincoln's Early Use Of Satire And Invective, Robert Bray
Robert Bray
How did Abraham Lincoln become a great speaker and writer? How did he get from doggerel in a copybook to the mastery of the Lincoln-Douglas debates and the speeches of the presidential years? This is an abiding mystery in Lincoln biography, and its obscurity will probably never be dispelled fully.1Still, we cannot help wondering, and so we look for early signs of precocity and power in the boy "back home in Indiana" during the 1820s and the young man of the New Salem, Illinois, years from 1831 to 1837. We continue to search and speculate despite few and questionable sources …
Inclusio, Michael Theune
Inclusio, Michael Theune
Michael Theune
Originally published in The Iowa Journal for Cultural Studies and used with permission.
Being A Writer Vs. Being An Academic: A Conflict In Goals, Peter Elbow
Being A Writer Vs. Being An Academic: A Conflict In Goals, Peter Elbow
Peter Elbow
No abstract provided.
Cut On The Norman Bias: Fabulous Borders And Visual Glosses On The Bayeax Tapestry, Daniel Terkla
Cut On The Norman Bias: Fabulous Borders And Visual Glosses On The Bayeax Tapestry, Daniel Terkla
Daniel Terkla
Harold Godwinson, King of England for nine months in 1066, was undeniably an assertive opportunist - albeit a brave one -and perhaps a traitor; Edward the Confessor was a misguided monarch -or at least a bad judge of character-and William of Normandy was a righteous conqueror, a ruler asserting his legal right to the English crown. This, at least, is the interpretation of historical events presented by the Bayeux Tapestry, the late eleventh-century embroidery that Otto Pacht has called the ‘earliest work of secular art on a monumental scale which has survived from the Middle Ages.’3 In this study, I …
Negotiating The Paradigm: Literary Nominalism And The Theory And Practice Of Re-Reading Late Medieval Texts, Richard Utz
Negotiating The Paradigm: Literary Nominalism And The Theory And Practice Of Re-Reading Late Medieval Texts, Richard Utz
Richard Utz
No abstract provided.