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Gender, anti-Semitism and temporality in medieval biblical drama
Author: Daisy Black

This book produces an important re-theorisation of the ways gender, time and Judaism have been considered in late medieval biblical drama. It employs theories of gender, performance, antisemitism, queer theory and periodisation to complicate readings of early theatre’s biblical matriarchs and patriarchs. It argues that the conflicts staged by these plays provide crucial evidence of the ways late medieval lay producers, performers and audiences were themselves encouraged to question, experience, manipulate and understand time. Interrogating medieval models of supersession and typology alongside more contemporary models of ‘queer’ and topological time, this book charts the conflicts staged between dramatic personae in plays that represent theological transitions or ruptures, such as the Incarnation, Flood, Nativity and Bethlehem slaughter. While these plays reflect a Christian preoccupation with what it asserted was a ‘superseded’ Jewish past, this book asks how these models are subverted when placed in dialogue with characters who experience alternative readings of time.

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Stories of lost children, ghosts and the endangered present in contemporary theatre

This book explores connections between theatre time, the historical moment, and fictional time. It argues that a crucial characteristic of contemporary British theatre is its preoccupation with instability and danger, and traces images of catastrophe and loss in a wide range of recent plays and productions. The diversity of the texts that are examined is a major strength of the book. In addition to plays by contemporary dramatists, the book analyses staged adaptations of novels, and productions of plays by Euripides, Strindberg and Priestley. A key focus is Stephen Daldry's award-winning revival of Priestley's An Inspector Calls, which is discussed in relation both to other Priestley ‘time’ plays and to Caryl Churchill's apocalyptic Far Away. Lost children are a recurring motif. Bryony Lavery's Frozen, for example, is explored in the context of the Soham murders, which took place while the play was in production at the National Theatre, whilst three virtually simultaneous productions of Euripides' Hecuba are interpreted with regard to the Beslan massacre of schoolchildren.

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The iconography of water in painting and photography
Vybarr Cregan-Reid

3961 Discovering Gilgamesh.qxd:Layout 1 24/6/13 12:49 Page 73 2 Capturing time: the iconography of water in painting and photography It is like trying to paint a soul.1 (Ruskin, on water in Modern Painters) T he plurality of Victorian ideas or beliefs about time is ably represented in the visual arts of the period. The ideological productivity of Victorian ideas concerning temporality came in part from a sort of dynamic energy; energy derived from their sheer difference to that which had preceded them. The vision of the distant past that circulated most

in Discovering Gilgamesh
R.M. Liuzza

Long before the invention of the mechanical clock, the monastic computes offered a model of time that was visible, durable, portable and objectifiable. The development of ‘temporal literacy’ among the Anglo-Saxons involved not only the measurement of time but also the ways in which the technologies used to measure and record time — from sundials and church bells to calendars and chronicles — worked to create and reorder cultural capital, and add new scope and range to the life of the imagination. Techniques of time measurement are deeply implicated in historical consciousness and the assertion of identity; this paper proposes some avenues of exploration for this topic among the Anglo-Saxons.

Bulletin of the John Rylands Library
Jerome de Groot

This article considers the childrens writer Alison Uttley, and, particularly, her engagements with debates regarding science and philosophy. Uttley is a well-known childrens author, most famous for writing the Little Grey Rabbit series (1929–75), but very little critical attention has been paid to her. She is also an important alumna of the University of Manchester, the second woman to graduate in Physics (1907). In particular, the article looks at her novel A Traveller in Time through the lens of her thinking on time, ethics, history and science. The article draws on manuscripts in the collection of the John Rylands Library to argue that Uttley‘s version of history and time-travel was deeply indebted to her scientific education and her friendship with the Australian philosopher Samuel Alexander.

Bulletin of the John Rylands Library
Open Access (free)
James Baldwin and Malcolm X
Mikko Tuhkanen

Taking its cue from recent scholarly work on the concept of time in African American literature, this essay argues that, while both James Baldwin and Malcolm X refuse gradualism and insist on “the now” as the moment of civil rights’ fulfillment, Baldwin also remains troubled by the narrowness assumed by a life, politics, or ethics limited to the present moment. In his engagement with Malcolm’s life and legacy—most notably in One Day, When I Was Lost, his screen adaptation of Malcolm’s autobiography—he works toward a temporal mode that would be both punctual and expansive. What he proposes as the operative time of chronoethics is an “untimely now”: he seeks to replace Malcolm’s unyielding punctuality with a different nowness, one that rejects both calls for “patience,” endemic to any politics that rests on the Enlightenment notion of “perfectibility,” and the breathless urgency that prevents the subject from seeing anything beyond the oppressive system he wants overthrown. Both thinkers find the promise of such untimeliness in their sojourns beyond the United States.

James Baldwin Review
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Michelangelo and Shakespeare
Jeremy Tambling

older narratives and Neoplatonising them. Michelangelo’s poems number, in complete and fragmentary forms, some 302, and contain several groups addressed to Cavalieri: according to the edition by Enzo Noè Girardi (1960), they are Nos 56–62, 72–84, 88–98, 101–108 and 259–260. At the same time, between 1534 and 1547, when she died, aged fifty-seven, Michelangelo wrote poems to

in On anachronism
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Peter Barry

11.  Time and place This chapter considers how time and place are represented in poetry. The gist of the argument is that time and place as repre­sented in poems can never be precisely aligned with time and place elsewhere in our experience. Poems often focus on a moment in the past at which a particular thought is represented as taking place, and they seek to recreate that moment within the moment of writing the poem. When a reader reads the poem, the thought is recreated again, within the reader’s mind. So time in poetry is always triple layered, comprising

in Reading poetry
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Queering the Nativity in the Towneley Second Shepherds’ Play
Daisy Black

This voice, wanting and unfulfilled in the now as it is conventionally construed, this voice whose desire requires, even demands, another kind of time beyond such linearity, empty and homogenous, is a queer voice. 1 MAK:   And ilke yere that commys to man She bryngys furth a lakan, And some yeres two. 2 Carolyn Dinshaw’s ground-breaking work How Soon is Now? provides an insight into how it might feel to be an anachronism in the Middle Ages. Identifying ‘forms of desirous, embodied being that are out of sync with the ordinary linear

in Play time
Emily and Arcite in A Midsummer Night’s Dream
Helen Barr

4 ‘Wrinkled deep in time’: Emily and Arcite in A Midsummer Night’s Dream When Theseus is offered the show of a drunken mob of women tearing the poet Orpheus limb from limb for his nuptial celebrations he dismisses it thus: That is an old device, and it was played When I from Thebes came last a conqueror. (A Midsummer Night’s Dream 5.1.50–1)1 How old and when? Theseus’s allusion to his own backstory presents a temporal puzzle. In Chaucer’s The Knight’s Tale, Theseus returns in triumph from his conquest of Thebes, after he has married his Amazonian bride

in Transporting Chaucer