Cute Shakespeare?
Hugh Grady's Shakespeare and Impure Aesthetics (2012), for example, probes some of the same borderline cases in Kant, such as the attractive and the charming, that Ngai takes up in her analysis, and Richard Burt was an early adapter of infantile affects to Shakespeare studies in his sex and med...
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Veröffentlicht in: | Journal for early modern cultural studies 2016-07, Vol.16 (3), p.1-12 |
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Sprache: | eng |
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Zusammenfassung: | Hugh Grady's Shakespeare and Impure Aesthetics (2012), for example, probes some of the same borderline cases in Kant, such as the attractive and the charming, that Ngai takes up in her analysis, and Richard Burt was an early adapter of infantile affects to Shakespeare studies in his sex and media exposé, Unspeakable ShaXXXspeares: Queer Theory and American Kiddie Culture (1998), which included a transnational as well as intermedial dimension.2 In forthcoming work, Julian Yates uses Ngai to test (taste) the cuteness of oranges: "it's certainly handy, lends itself to the hand, befriends handedness, naturalizes itself to the fact of hands. [...]Ellen Mackay, who asked a series of provocative questions at the original panel, has offered a response. In Kenneth Macmillan's choreography of the Prokofiev ballet, Juliet often enters with a stuffed animal.5 In a 2015 performance in Orange County, Juliet, played by tiny teen actress and gymnast Nikki SooHoo (The Lovely Bones; Stick It) entered wearing a Hello Kitty backpack, tracing the circuit between Shakespearean and Asian cutifications documented by Ryuta Minami (Romeo and Juliet).6 Also in this volume, Viola Timm takes up D. W. Winnicott's theory of the transitional object-emblematized above all by teddy bears-as a key to the cute:7 The symbolic order inherited from the mother and placed in a relation between the internal and external world through the experience of the transitional object is much richer, infinitely variable, and more satisfying than the communal symbolic order. Thread, ladder, and hair, cute objects that both promise connectivity and preserve minor distances, belong to and figure the erotic and generic lability of the drama, their delicacy gilding and padding the sadomasochistic edge of the transitional object.9 Juliet's waltz among transitional stages of development carries the play along with it, as it ebbs and flows among medieval, Renaissance, and modern moments, churning up alluvial sources and depositing them in new media formations, including mass-marketed ones: |
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ISSN: | 1531-0485 1553-3786 1553-3786 |
DOI: | 10.1353/jem.2016.0017 |