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Do Marjorie Garber’s premises that Shakespeare makes modern culture and that modern culture makes Shakespeare apply to his reception in Asian contexts? Shakespeare’s Asianization, namely adaptation of certain Shakespeare elements into traditional forms of local cultures, seems to testify to his timelessness in timeliness. However, his statuses in modern Asia are much more complicated. The complexity lies not only in such a cross-cultural phenomenon as the Asianizing practice, but in the Shakespearization of Asia-the idealization of him as a modern cultural icon in a universalizing celebration of his authority in many sectors of modern Asian cultures. Yet, the very entities of Asia, Shakespeare, modernity, and tradition must be problematized before we approach such complexities. I ask questions about Shakespeare’s roles in Asian conceptions of modernity and about the relationship between his literary heritage and Asian traditions. To address these questions, I will discuss this timeliness in Asian cultures with a focus on Shakespeare adaptations in Asian forms, which showcase various indigenous approaches to his text-from the elitist legacy maintaining to the popularist re-imagining. Asian practices of doing Shakespeare have involved other issues. For instance, whether or not the colonial legacies and postcolonial re-inventions in the dissemination of his works in Asian cultures confirm or subvert the various myths about both the Bard and modernity in most time of the 20th century; in what ways Shakespeare has been used as at once a negotiating agent and negotiated subject in the processes of the prince’s translations and adaptations into Asian languages, costumes, landscapes, cultures and traditions.
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This paper will explore the way that the poetry of David Jones, while generally recognised as being modernist, nevertheless promotes a continuation of the Western literary tradition (as opposed to more revolutionary strands of modernism), but does this while introducing a self-conscious understanding of the role and workings of tradition, an element lacking in pre-modern traditional literature. Other figures with a similar interest in the viability of a self-consciously understood practice of (literary or philosophical) tradition, in continuity with pre-modern tradition, but in modern conditions (Thomas Mann, John Henry Newman, Alasdair MacIntyre), will also be discussed.
The “burden of the past” (W. J. Bate) has persistently remained in the focus of poets’ attention across various periods of the history of Western poetry. Questions of tradition, historical belatedness, and “anxieti[es] of influence” (H. Bloom) have fueled both theorists and practitioners of poetry. The English Pindaric tradition confronts these questions uniquely. It has shown consciousness of its own historicity from the beginning. The vocation of the Pindaric poet and his relation to the inimitable master, Pindar, persist as central themes throughout the reception history. They contribute to the evolution of a tradition where poets increasingly question the possibility of autonomous poetic creation.
Gabriela Manea, Elena Matei, Iuliana Vijulie, Marian Marin, Octavian Cocos and Adrian Tiscovschi
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In his influential essay “Tradition and the Individual Talent,” T. S. Eliot emphasizes the significance of tradition as well as the inevitability of the present talent of the artist. He argues that every artist has his own original and individual themes and techniques that separate him from and link him with his predecessors at the same time. Anne Sexton, the Confessional American woman poet, is a good example that proves this everlasting notion of the allusion to “the dead poets” of the past together with the inevitable existence of the innovative original talent of the poet. Chiefly, Sexton is labeled “Confessional” and is compared with the most remarkable Confessional poets. However, the Confessional mode is not a new movement; it has its roots in the British tradition of the Metaphysical lyrics. It is also manifest in the American tradition of Puritan Poetry. Moreover, Confessional themes and techniques can be seen in the poetry of some Modernists. Meanwhile, Anne Sexton’s exceptional Confessional “individual talent” makes her a unique Confessional poet: the uncommon imperfect raw confessions, the unconventional bold sexual imagery, the fearful and astonishing religious symbols and the excessive degrees of “impersonality” are all characteristic examples of Sexton’s creative Confessional art.
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