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Caesar at the millennium
Andrew James Hartley

concerns as a distinctly temporal phenomenon. This seems to me perfectly appropriate, and not only as a necessary reassessment of Shakespeare’s place in contemporary culture. Perhaps more than for any other Shakespeare play, the legacy of Julius Caesar is bound to time and temporality, and not only because of its historical self-consciousness. As a classroom text the play has become a kind of memorial to

in Julius Caesar
Linguistic difference and cinematic medievalism
Carol O’Sullivan

the co-existence of languages, particularly Latin and the vernaculars, in medieval society; and, above all, in relation to the widespread cinematic depiction of the Middle Ages as a time of high mobility and intercultural contact. The present chapter will explore to what extent medieval film engages with questions of language, and to what extent these engagements may be distinctive. 2 Three principal

in Medieval film
Stoker, Coppola and the ‘new vampire’ film
Lindsey Scott

’s novel. In this context, Coppola’s Dracula helps us to recognise the similarities that exist between Stoker’s approach to the vampire and Meyer’s, and, in both cases, the outcome is at once compelling and conservative; all-encompassing, yet stifling. The twenty-first-century vampire may indeed have crossed oceans of time, but, despite the opportunities presented by this latest popular reworking to

in Open Graves, Open Minds
The Jacobean Antony and Cleopatra
Carol Chillington Rutter

One of the stories Shakespeare tells in Antony and Cleopatra is a political story of regime change, the translatio imperii that marks in geographical terms the progressive shift, historically, of the centre of geo-political and geo-cultural imperial power steadily westwards. Alexandria's fall is Rome's rise. Ordering his lieutenant, ‘Go forth, Agrippa, and begin the fight’, Caesar is announcing a new global settlement, ‘The time of universal peace is near’ (4.6.1,5) – prematurely, as it turns out, since, ironically, the battle he orders

in Antony and Cleopatra
Steve Sohmer

In Romeo and Juliet William Shakespeare marks the passage of time ‘with great precision’; why, then, can’t commentators ‘agree such a seemingly elementary chronological point as the number of days the plot covers’? 1 P.A. Daniel reckoned the action concluded on the sixth day; 2 John Munro argued for fewer than six; 3 Caroline Spurgeon 4 and G.B. Harrison 5 counted five; Harley

in Shakespeare for the wiser sort
Thomas A. Prendergast and Stephanie Trigg

Did it start with Bergson, or before? Space was treated as the dead, the fixed, the undialectical, the immobile. Time, on the contrary, was richness, fecundity, life, dialectic. Michel Foucault 1 The traditional ontology of the

in Affective medievalism
Paul Copeland

4 The negotiation of the revision of the Working Time Directive This second of the three case study chapters analyses the negotiations on the revision of the Working Time Directive (WTD). How much people work is an important and contested aspect of economic life. By some normative standards, working fewer hours is an important measure of the ‘good life’, to be weighed against growth, employment, and other measures of economic wellbeing (Burgoon and Baxandall, 2004: 439–440). In 1993 the WTD was introduced to regulate and harmonise working time across the EU. It

in EU enlargement, the clash of capitalisms and the European social dimension
Denis Flannery

10 Using Racine in 1990; or, translating theatre in time Denis Flannery I felt I’d have to be Racine to keep abreast of this convulsive trio, their switches of allegiance that seemed compacted in retrospect into little more than a day. (FS 398) Hoist the red curtain, grind the gears, Mysterium mechanicum, prepare the scene, A love-and-death spectacle, a veil of tears, Classic and tragic, as if penned by Racine!1 If your name were Jean Racine and if you had an interest in how your oeuvre meshed with historical understandings of ‘homosexuality’, then 1990 really

in Alan Hollinghurst
A Conversation with Bill V. Mullen, the author of James Baldwin: Living in Fire
William J. Maxwell and Bill V. Mullen

William J. Maxwell, editor of James Baldwin: The FBI File (2017), interviews Bill V. Mullen on his 2019 biography, James Baldwin: Living in Fire, along the way touching on both Baldwin’s early internationalism and his relevance to the current wave of racial discord and interracial possibility in the United States.

James Baldwin Review
Kuba Szreder

Radical segments of the projectariat aim at → repurposing time machines of artistic → circulation . The → common is not only a material or immaterial resource but also a different arrangement of the → apparatuses that regulate the flow of social time. Artistic circulation is organised into patterns of what we can call the speculative time complex, which remixes future, present and past, removing all the moments in which human reflectivity and agency could potentially unfold, a phenomenon analysed by Suhail Malik and Armen Avenessian in

in The ABC of the projectariat