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Staging England in the Elizabethan History Play: Performing National Identity by Ralf Hertel
Comparative Drama Pub Date : 2016-01-01 , DOI: 10.1353/cdr.2016.0007
Kristen Deiter

Ralf Hertel. Staging England in the Elizabethan History Play: Performing National Identity. Studies in Performance and Early Modern Drama. Farnham: Ashgate, 2014. Pp. ix + 271. $149.95. In Staging England in the Elizabethan History Play: Performing National Identity, Ralf Hertel argues that early modern English drama helped to shape "the collective imagination" and develop "the nation as imagined community" well before England became a "factual nation-state" (23). Englishness, he asserts, "is considered as something brought forth by the spectators who participate in the theatre event by becoming eye witnesses of sorts of the events staged and who engage in the Englishness displayed theatrically" (1). While Hertel, a Professor of English Literature and Culture at the University of Hamburg, Germany, acknowledges that he is "no historian" (28), he also usefully summarizes the historical debate about national identity and when it emerges. This political background is essential for understanding his book's contribution to the field. As Hertel emphasizes throughout the introduction, this study is "focused on the imagination of a national community, not on a nation which already has a fully functional political, legal or jurisdictional infrastructure" (21). Although the book fails to engage with much current scholarship, it demonstrates a reasonable connection between the historical drama of Shakespeare and his contemporaries and the idea of early modern English national identity. The introduction outlines historical theories of nationalism; explores contested meanings of terms such as nation, nation-building, and national consciousness; and presents debates surrounding the concept and emergence of English national identity. The body of the book comprises five parts, each titled for what Hertel calls "widely accepted components" in the shaping of national consciousness: Territory, History, Religion, Class, and Gender (28). Each part consists of two chapters: a discussion of theoretical perspectives and early modern English historical and political contexts, and a case study that applies these perspectives and contexts to interpret a late-Elizabethan English history play. Four of the plays are Shakespearean: Henry IV Part 1, Richard III, King John, and Henry VI Part 2; the fifth is Marlowe's Edward 11. The book also includes fourteen figures, through which the author locates the plays "in the context of non-fictional texts ... and cultural artefacts (such as maps or portraits)" (1). A bibliography and index follow the conclusion. Part 1, "Territory," analyzes England's transformation from a territory into a homeland, or a "site of historical, and historic, events" (35). Hertel emphasizes "the rise of cartography from the late 1570s onwards" (38) and the corresponding late-sixteenth-century development of chorography, both of which, he states, facilitated England's transformation into a homeland. He shows how Saxton, Camden, and Drayton incorporated images of people into their maps to illustrate the English people's connection to the land (45), and how the narrative aspect of early modern chorography similarly inserted people into places (47). The author then interprets the effects of the "cartographic revolution" in Henry IV Part 1 (49). Hertel demonstrates that this "centrifugal play" (58), with "scenes ... [set] all over England" (64), places the territory of England on the stage in various ways, from the play's wide range of English settings to its broad spectrum of English characters, many of whose names evoke the geography of England (66-68). In Part 2, "History," Hertel builds upon his claims in part 1 by arguing that "transforming space into national territory and terrain into homeland involves charging the topography with historical significance, providing the expanse of the land with a past, and adding a temporal dimension to the spatial one" (77). These two chapters focus upon the constructed nature of history and historical drama. …

中文翻译:

在伊丽莎白时代的历史剧中上演英格兰:拉尔夫·赫特尔(Ralf Hertel)表演民族身份

拉尔夫·赫特尔。在伊丽莎白时代的历史剧中上演英格兰:表演民族认同。表演和早期现代戏剧研究。法纳姆:阿什盖特,2014 年。Pp。ix + 271。149.95 美元。在伊丽莎白时代的历史剧中上演英格兰:表演民族认同,拉尔夫·赫特尔认为,早期现代英国戏剧有助于塑造“集体想象”并在英格兰成为“事实上的民族国家”之前发展“作为想象社区的民族”( 23)。他断言,英国性“被认为是由参与戏剧活动的观众通过成为各种上演事件的目击者并参与戏剧性展示的英国性而产生的东西”(1)。而德国汉堡大学英国文学与文化教授赫特尔,承认他“不是历史学家”(28),他还有益地总结了关于民族认同及其出现时间的历史辩论。这种政治背景对于理解他的书对该领域的贡献至关重要。正如 Hertel 在整个介绍中所强调的,这项研究“关注的是一个民族社区的想象力,而不是一个已经拥有功能齐全的政治、法律或司法基础设施的国家”(21)。尽管这本书没有涉及很多当前的学术研究,但它展示了莎士比亚及其同时代人的历史戏剧与早期现代英国民族认同的想法之间的合理联系。引言概述了民族主义的历史理论;探索诸如国家、国家建设、和民族意识;并围绕英国民族认同的概念和出现展开辩论。这本书的主体由五个部分组成,每个部分都以赫特尔所说的塑造民族意识的“广泛接受的组成部分”为标题:领土、历史、宗教、阶级和性别 (28)。每部分由两章组成:对理论观点和早期现代英国历史和政治背景的讨论,以及应用这些观点和背景来解释伊丽莎白时代晚期英国历史剧的案例研究。其中四部戏剧是莎士比亚的:亨利四世第 1 部分、理查三世、约翰国王和亨利六世第 2 部分;第五个是马洛的《爱德华 11》。这本书还包括十四个人物,作者通过这些人物定位戏剧“在非虚构文本的背景下...... 在亨利四世第 1 部分 (49)。赫特尔展示了这部“离心剧”(58),“场景……[场景]遍布英格兰”(64),以各种方式将英格兰领土置于舞台上,从剧中广泛的英语场景到其广泛的英文字符,其中许多名字唤起了英格兰的地理(66-68)。在第 2 部分“历史”中,赫特尔以他在第 1 部分中的主张为基础,认为“将空间转化为国家领土,将地形转化为家园,包括赋予地形以历史意义,为广阔的土地提供过去,并添加一个空间维度的时间维度”(77)。这两章着重于历史和历史戏剧的建构性。… 以各种方式将英格兰领土置于舞台上,从剧中广泛的英语环境到其广泛的英语角色,其中许多名字让人想起英格兰的地理(66-68)。在第 2 部分“历史”中,赫特尔以他在第 1 部分中的主张为基础,认为“将空间转化为国家领土,将地形转化为家园,包括赋予地形以历史意义,为广阔的土地提供过去,并添加一个空间维度的时间维度”(77)。这两章着重于历史和历史戏剧的建构性。… 以各种方式将英格兰领土置于舞台上,从剧中广泛的英语环境到其广泛的英语角色,其中许多名字让人想起英格兰的地理(66-68)。在第 2 部分“历史”中,赫特尔以他在第 1 部分中的主张为基础,认为“将空间转化为国家领土,将地形转化为家园,包括赋予地形以历史意义,为广阔的土地提供过去,并添加一个空间维度的时间维度”(77)。这两章着重于历史和历史戏剧的建构性。… 赫特尔在他的第 1 部分主张的基础上进一步论证,“将空间转化为国家领土,将地形转化为家园,包括赋予地形以历史意义,为广阔的土地提供过去,并为空间添加时间维度”( 77)。这两章着重于历史和历史戏剧的建构性。… 赫特尔在他的第 1 部分主张的基础上进一步论证,“将空间转化为国家领土,将地形转化为家园,包括赋予地形以历史意义,为广阔的土地提供过去,并为空间添加时间维度”( 77)。这两章着重于历史和历史戏剧的建构本质。…
更新日期:2016-01-01
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