Shakespearean Rhizomatics: Adaptation, Ethics, Value

Lanier, Douglas M.

doi:10.1057/9781137375773_2

Cited by 34 publications

(6 citation statements)

References 6 publications

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“…As the fields of comparative literary analysis, translation theory, and medievalism studies increasingly move away from models of textual “fidelity” that reinforce static distinctions between an “original” and a “derivative,” we hope this cluster will continue to pluralize modes through which we understand processes of linguistic transfer and cultural adaptation: whether it is the “being‐in‐common” of literary translation (Abel, ) that shapes Chaucerian compaignye across time; an ethics of translation as “advocacy” (Apter, ); a view of “rhizomatics” and non‐hierarchical relationships among cultural artifacts and among people (Lanier, ); “tradaptation,” a portmanteau of “translation” and “adaptation” used across Anglophone and Francophone scholarship (Guidère, , p. 20; Knutson, ); or “updatation,” the concurrent process of shifting a work from one medium into another and transporting the work from the past to the present (Kelly, , p. 141). Whatever critical paradigm is used, we maintain that an ethics of advocacy requires not speaking for (or on behalf of) anyone else but always speaking with (alongside) many voices and acting together in an ongoing endeavor to transform knowledge and to increase cultural awareness.…”

Section: Chaucer's Global Orbitsmentioning

confidence: 99%

Editors' introduction: Chaucer's global orbits and global communities

Barrington

Hsy

2018

Literature Compass

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Encompassing perspectives beyond what Braj B. Kachru terms the “Inner Circle” of Anglophone hegemony, this collection of essays presents a vivid and distinct opportunity to appreciate how Chaucer's The Canterbury Tales adapts to life across disparate languages (Persian, Brazilian Portuguese, Japanese, Danish, Spanish, Turkish, American Sign Language, and internal varieties of London English) while also moving across cultures (Shiite Iran, Brazilian Gauchoria, Tokyo academia, rural Denmark, Mexican universities, Ottoman Turkey, US Deaf culture, and London's multiethnic East End communities). The term compaignye, a quintessentially Chaucerian keyword absorbed into Middle English through Anglo‐French, suggests an intimate multitude of people sharing a common interest or purpose. To this end, our textual compaignye incorporates contributors who are academics in the traditional sense as well as authors and artists who operate alongside normative structures of the academy. Many of the compaignye's so‐called “nonacademics” have garnered prestigious awards for their creative work, and “amateur” cultural artifacts reveal that a deep love of Chaucerian material characterizes both academic and nonacademic endeavors. Such a compaignye, with its many forms of expertise, can expand our knowledge by creating “a vibrant resonance,” as Carolyn Dinshaw explains, between “amateur [popular] medievalism and professional [academic] medievalism.” As the fields of comparative literary analysis, translation theory, and medievalism studies increasingly move away from models of textual “fidelity” that reinforce static distinctions between an “original” and a “derivative,” we offer this cluster of essays as an example of the benefits gained by pluralizing the modes through which we understand processes of linguistic transfer and cultural adaptation.

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Section: Chaucer's Global Orbitsmentioning

confidence: 99%

Editors' introduction: Chaucer's global orbits and global communities

Barrington

Hsy

2018

Literature Compass

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“…7 As Douglas Lanier suggests, we should think of a Shakespearean adaptation 'in a multiplicity of relations to an ever-changing aggregate of adaptations' and traditions. 8 In this regard, In Othello is inevitably influenced by Indian adaptations of Othello produced immediately after the independence of the Indian nation in 1947 that include the famous climatic murder scene as a play-within-the-film. These workssuch as the Tamil films Anbu (dir.…”

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Fissured legacies in Roysten Abel's In Othello

García-Periago

2023

Cahiers Élisabéthains: A Journal of English Renaissance Studies

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In Othello (2003) offers both a critique and inadvertent affirmation of racial and colonial hierarchies and a reflection on the postcolonial nation. The film fosters Orientalist sensibilities via a fetishisation of ‘otherness’, in order to subvert it. It is a hybrid and ambivalent production in which the characters possess intersectional identities that are always multiple, in line with Hindu philosophy. This hybridity can also be observed in the mixture of traditions on which the film is based, and as such, it serves as a ‘rhizomatic interrelation’. The film shows how Shakespeare's play may provide a meditation on the Indian nation, where issue ssuch as transgressive romance, ostracisation, and gender roles remain unsettled.

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“…Instead, like the underground root system of rhizomatic plants, it is a horizontal, decentered multiplicity of subterranean roots which cross each other, bifurcating and recombining, breaking off and restarting […] What is more, a rhizome has no central organizing intelligence or point of origin; it may be entered at any point, and there is no a priori path through its web of connections. 7 …”

mentioning

confidence: 99%

Alien Shakespeares 2.0

Desmet¹

2017

shakespeare

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Shakespearean Rhizomatics: Adaptation, Ethics, Value

Cited by 34 publications

References 6 publications

Editors' introduction: Chaucer's global orbits and global communities

Editors' introduction: Chaucer's global orbits and global communities

Fissured legacies in Roysten Abel's In Othello

Alien Shakespeares 2.0

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