Who’s the Stranger? Jews, Women, and Bastards in Daniel Deronda

2020 ◽  
pp. 180-210
Keyword(s):  
2013 ◽  
Vol 3 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Anne Harris

This essay draws upon the author’s performance script Fall and Walter Benjamin’s The Arcades Project as a provocation for considering the ways performance texts provide a threshold for somatic inquiry, and for recognizing the limits of scholarly analysis that does not take up performance-as-inquiry. Set at the Empire State Building, this essay embodies the connections and missed possibilities between strangers and intimates in the context of urban modern life. Fall’s protagonist is positioned within a landscape of capitalist exchange, but defies this matrix to offer instead a gift at the threshold of life/death, virtual/real, and love/loss. Through somatic inquiry and witnessing as threshold experiences, the protagonist (as Benjamin’s flaneur) moves through urban space and time, proving that both scholarship and performance remain irrevocably embodied, and as such invariably tethered to the visceral, the stranger, risk, and death.


1969 ◽  
Vol 24 (3) ◽  
pp. 317-334
Author(s):  
Shirley Frank Levenson
Keyword(s):  

2019 ◽  
Vol 13 (1) ◽  
pp. 105-124
Author(s):  
Áron Telegdi-Csetri ◽  
◽  
Viorela Ducu ◽  
Keyword(s):  

2019 ◽  
pp. 290-295
Author(s):  
E. I. Samorodnitskaya

The monograph by the Canadian scholar Marilyn Orr examines George Eliot’s oeuvre from the viewpoint of theopoetics. The author analyses the writer’s novels in chronological order, paying special attention to the problem of religious influence. The search of the form in the novel Adam Bede is interpreted as a search for ways to implement the writer’s own ideas, while Felix Holt, the Radicalis shown as an attempt to create a non-religious saint; in Middlemarch, the scholar continues, Eliot concentrated on depiction of a priest’s social role in a novel; finally, in Daniel Deronda we see an emphasized prevalence of the characters’ spiritual life over accuracy and truthfulness of narration, breaking the mold of realism. Orr’s methodology opens up new ways to look at the familiar classical texts, but it is not free of certain limitations (detailed examples provided in the review).


Author(s):  
Elizabeth Shannon

Study abroad begins long before students leave their own shores. The moment that children enter daycare, nursery school, or kindergarten for the first time, they are in foreign territory, and all their antennae are out, testing, absorbing, learning. They begin to develop the first of their many multiple identities. They are no longer "Johnny" or "Sarah" whom everyone knows and loves at home, but Johnny or Sarah whom no one knows nor initially cares about, and they have to figure out what kind of a new identity they will develop so the danger zone becomes as safe as home.  Leaving familiar surroundings- the sounds, smells, safety, and food of home- and realizing, quite abruptly, that they must learn to adapt to the demands and needs of strangers, is the first and the most challenging "trip abroad" they will ever take. They will use the same set of skills, more mature, more polished (we hope) when they arrive on a foreign campus and move in with a host family or into an international dormitory.  Learning to make the journey with ease, whether it is on the first day of school or the day a plane drops one in a foreign field, is a necessary accomplishment. We have to make friends out of our peers; we have to gain the respect of our teachers; we have to develop curiosity and concern about the people around us. The stranger they seem, the more there is to learn. To fear diversity is to fear life itself. As the world becomes smaller and more integrated, the more crucial this accomplishment grows. 


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