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whose clash mirror[ed] the postmodern collision of styles in Taymor’s visual design’ (461). For the arrival of the Roman army at the Colosseum, Goldenthal used ‘Korean musical instruments’ (Nochimson, 49) that swelled into ‘a full male chorus and sweeping symphonic grandness’. A ‘boogie-cool jazz amalgam’ (Taymor, Illustrated , 182) underscored the clash between supporters of the Emperor’s two sons, as well as the raucous wedding party for Saturninus and Tamora. The humiliation of various characters was accompanied by
. He made hay out of an account of American soldiers (‘boys’) who had been executed by communists in Korea, indirectly suggesting that support for Mankiewicz was support for the perpetrators of such atrocities. He pretended to suggest personal disinterest and implied the beneficence of the board in offering the membership a vote on Mankiewicz’s recall, suggesting (like Antony with Caesar’s will) that
into the conviction that America was inhabited by internal enemies, threatening the American way of life. This fostered conspiracy fantasies in which it became difficult to tell a real American from a false one. Everyone could potentially be the enemy, having skilfully assumed the guise of a friend. As a result, a clear distinction between ‘us v. them’, so characteristic for the actual theatres of war in Korea, Vietnam, and Afghanistan, had steadily come to be replaced by a far more ambiguous opposition between ‘us v. ourselves’. 22 The rich array of disguises
own fictional world, with an array of clone texts. David Mitchell’s Cloud Atlas (2004), which comprises six nested short stories, is full of literary echoes, both of individual works and of broader generic traditions. 63 Many readers will find the chronologically penultimate section, ‘An Orison of Sonmi’, set in a bleakly dystopian future Korea, especially familiar, as it contains a disproportionate