In this article, I compare the modern translations of lines (675-702) of Beowulf in Seamus Heaney's 2000 translation, Roy Luizza's 1999 translation, and Edwin Morgan's 1952 translation. I begin with Morgan's text since it is the earliest translation and ends with Heaney's translation, as it is the most recent one. My evaluations for the three texts take into consideration the syntax, the poetic dictions and the approach used by Haney, Luizza and Morgan. I choose these lines in particular because these lines describe the confrontation with Grendel, and because an evaluation of the translations of the entire epic would be an overwhelming task. The article begins with a brief introduction to Old English structure and typological descriptions so we understand the challenge the aforementioned translators of Beowulf have met as they worked on the original manuscript and be able to acutely evaluate the final product of their translations of the aforementioned lines.
This research deals with the aftermath of Covid-19 and its impact over some aspects of western metaphysics such as literacy and the human freedom. Speech has been privileged over writing for hundreds of years in the western thought. The human freedom is also considered a main pillar of the western metaphysics. These key aspects of western metaphysics have been challenged and questioned seriously by Poststructuralists and Marxists who argue for privileging the written form of words over utterances and the false status of human freedom. Although these issues have been subjects for rigorous debate in modernism and poststructuralism, western metaphysics has never been challenged, as it is the case since Covid-19 has broken out few months ago. The pandemic has forced us to adopt new habits, which have ultimately changed and demolished some basic aspects of western metaphysics. The human freedom, literacy, digital literacy and student-teacher relationship before and after Covid-19 are reevaluated and reconsidered to show the devastating consequences of the pandemic over western metaphysics.
<p>A colleague of mine claimed that he read somewhere that a former secretary of the Swedish Institute, which awards the Nobel prizes— commented that American writers were less likely to win the award since their work was isolated and not representative of universal experience. But Eugene O’Neil and other American playwrights were named Nobel Laureates. Thus, I write this article in defense of the universality of American drama. Beginning with a discussion of what might be regarded as defining elements of universality as it has been rendered in literature, and more specifically how it operates to make drama relevant and significant for world literature, I examine the work of prominent American playwrights as Arthur Miller, O’Neil, Tennessee Williams, Susan Glaspell, and Edward Albee. I argue that their work establishes a precedent for American drama as a particularly representative expression of aspects of a universal human condition. I relate their work to universal contexts. I shed light on the historical background of some of the plays discussed to argue that American writers are no less talented than other international playwrights who dramatized some historical precedents in their work and their plays present no less universal aspects. </p>
This study aims to evaluate the commodified brother-sister relationship in Early Modern drama. It examines three different samples from three major playwrights of this time period: Isabella and Claudio in William Shakespeare’s Measure for Measure (1603), Charles and Susan in Thomas Heywood’s A Woman Killed with Kindness (1603), and Giovanni and Annabella in John Ford’s Tis Pity She’s a Whore (1632). The three aforementioned cases are closely evaluated through a Marxist-feminist lens. The study finds out that the brothers in the three examined plays are not very different since they all encourage their sisters to sacrifice their chastity to achieve some sort of personal interest. Interestingly enough, the sisters vary in their responses to their brothers’ requests of offering their bodies to help their brothers. Obviously, Shakespeare offers the ideal version of a sister who does everything in her power to save a brother. Yet, she refuses to offer her body in return to his freedom in spite of her brother’s desperate calls to offer her virginity to Angelo to save the former’s life. Susan of Heywood is also similar to Isabella of Shakespeare since she refuses to sell herself in return to the money needed to save her brother. However, Ford offers the ugliest version of a brother-sister relationship. The brother wants to have a love affair with his sister who yields to his sexual advances and eventually gets pregnant.
This paper explores the negative patterns of dramatizing academic professors in two American plays: David Mamet's Oleanna (1992) and R. A. Gurney's Human Events (2001). My research considers the adaptation of professors and the way they are represented through their actions, behaviors, and relationships with students, friends, and the surrounding comunity in the two aforementioned plays. It seems to me that sex, alcoholism and teaching incompetency might be the major attributes related to male and female professors in recent and contemporary American theater.
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