The play is a prison: the discourse of Prison Shakespeare

Ward, Samuel; Connolly, Roy

doi:10.1080/14682761.2018.1560999

Cited by 1 publication

(1 citation statement)

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“…Thus, the novel has been investigated through the lens of literary theory, exploring possible interpretive keys such as: debates on adaptation and appropriation, along with the versatile issue of metatextual adaptation (Bartnicka 2021) and/or (meta)theatricality (Vanhaudenarde 2019, Rarenko 2021; treating it as a neo-Shakespearean retelling (Muñoz-Valdivieso 2017); proposing approaches that delve into postcolonialism and postmodernism (Puttaiah and Sowmya 2021); scrutinizing the trope of prison, also entailing concepts like Michel Foucault's heterotopia and Victor Turner's liminality, among others . Asserting its applicability for interdisciplinary approaches, the novel also poses issues of interart relations fruitful for film and media studies, as it may be discussed in connection with, and by references to, screen adaptations of The Tempest, entailing inter-and multimediality (Ciobanu 2021) or related to the global Shakespeare in prison phenomenon, involving drama pedagogy and prison education (Cavecchi 2017, Ward andConnolly 2020) . In a more general framework, the novel may be a point of interest for social studies and psychology, through its incursions into overlapping issues of culture and society, precarity and creativity, anxiety and trauma processing, etc .…”

Section: Margaret Atwood's Hag-seed -An Interpretive Hub At the Cross...mentioning

confidence: 99%

“A Sea Change into Something Rich and Strange.” Margaret Atwood’s Hag-Seed: A Metatextual Approach

Pál,

Pieldner

2023

Acta Universitatis Sapientiae, Philologica

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Ever since it was published, Margaret Atwood’s Hag-Seed (2016) has been scrutinized for its peculiar engagements with the Shakespearean pre-text at the cross-section of various discourses, from literary and media studies, through drama pedagogy, even to prison studies. Drawing on the prison metaphor from the original and recontextualizing it as a contemporary prison performance is just one of the multitudinous forms and ways in which The Tempest is incorporated into Atwood’s novel. Thus, though it is quite difficult to designate a sole term for what she (un)does with the classic, one striking issue anyone may encounter is its intertwining metatextuality which encapsulates many of its core interpretations as a rewriting and/or adaptation. The present paper aims at unravelling the many layers, means and functions of this particular type of metatextuality and/or metatheatricality found in the novel. We look at the polyphonic nexus of texts and contexts that defines Atwood’s novel as an experiment that reconsiders, with a gesture of metatextual homage, the prospects of rewriting – a practice Shakespeare himself was highly familiar with – in the contemporary age. Nested in the Genettean structuralist framework (Genette 1997 [1982]), our approach is meant to expand its applicability taking into consideration Deleuze and Guattari’s concept of rhizome to investigate Atwood’s rewriting as an instance of “rhizomatic metatextuality” as well as the strategies of interpretation, appropriation, and reconstruction in fan fiction rewriting (see Jenkins 1992). Placing metatextuality as the central interpretive key of the novel, we shall discuss the roles of theatre (and art, in general) represented in Hag-Seed as an aesthetic and art history account, as well as the status of the interpreter or the intended audience of both the novel and the play within.

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