By Stratos E. Constantinidis
This can be an anthology representing the simplest of the 124 papers provided on the twenty ninth Comparative Drama convention (California nation college, Northridge). A three-day occasion, the convention drew students from seventy eight universities and schools from around the globe.
The papers integrated the following current examine approximately drama in eire, Greece, [England], japanese Europe, Korea, Japan and North the US.
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This can be an anthology representing the easiest of the 124 papers offered on the twenty ninth Comparative Drama convention (California nation collage, Northridge). A three-day occasion, the convention drew students from seventy eight universities and schools from worldwide. The papers integrated the following current study approximately drama in eire, Greece, [England], jap Europe, Korea, Japan and North the US.
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Near the play’s end, a blood-red carousel horse carries o› Riiran, mortally wounded by her own hand, on an eternal journey back and forth across the Straits of Korea. Her blood, shed for sake of both nations, seems to symbolize the essential sameness of Japanese and Koreans. ” (Kara ¡973:¡07). Riiran was played by Ri Reisen, then Kara’s wife and the lead actress of his Situation Theatre (Jôkyô gekijô). Ri portrayed a shaman-like character who eternally linked the fates and the peoples of Japan and Korea across 32 Text & Presentation, 2005 a body of water, imagined not as a barrier, but as a conduit.
Ironically, Luther says this just before launching a series of doubt-inducing, rhetorical questions that accuse Erasmus of skepticism. There are cross-currents in this interrogative activity of the period indeed, but this serves as evidence that people, no matter their persuasions, were aware of the signiﬁcance of the act of questioning. Keeping these styles of questioning in mind as we read early modern plays, we will get a rich layering of ironies and conﬂicts where our expectations are upset, the question does not get answered, the accused interrogates the judge, the scholar is proven ignorant, or the humanist, inhuman.
WAGNER: God in heaven knows. SECOND SCHOLAR: Why, dost not thou know then? WAGNER: Yes, I know; but that follows not.... SECOND SCHOLAR: Then you will not tell us? WAGNER: You are deceived, for I will tell you. 4–¡5]. Note the play of who knows and who does not: Wagner, a mere servant, outwits the savants with their own methods of argument. ” Notice that he defers the answer creating suspense and conﬂict while prolonging an imbalance of knowledge. Here again, the reputedly wise are left ignorant, their inferences denied, their questions unanswered, and their status impugned.
Text & Presentation 2005 by Stratos E. Constantinidis