The Theatrical Representations and Their Vicissitudes in Early Modern and Modern English Literary Culture

我们的研究项目是考察早期现代和现代英国文化中的戏剧和戏剧的文化概念，分为两个部分：第一部分包括建立一些工作和分析原则，使数据处理易于管理和合理化;第二部分同时进行历史分析。第一个是完成一半，只留下数据库建设不完整（我们将进一步继续使用我们的分类系统，这一建设）。第二种是历史分析，它的结果是对莎士比亚的历史和文化重要性的一种新的认识。17世纪的英国出现了一些新的剧作家概念，这些概念与戏剧表现密不可分，使剧作家及其戏剧作品具有超越权威性，并独立于社会和历史背景。令我们惊讶的是， ...更多信息 这一概念在1623年出版的莎士比亚第一部戏剧集的首页上的一幅莎士比亚肖像画中得到了反映和体现。这种文化变迁影响深远，即使是今天的戏剧观念和剧作家观念，也部分受制于这种起源于十七世纪的观念。到了十八世纪，莎士比亚研究逐渐成熟和巩固，但随着我们对一些特殊案例的调查（冒名顶替的W-H爱尔兰事件），已经明显表明，这是一个伪造的、虚构的作家形象大量流传的历史时刻。这些形象，无论是纯粹想象的还是准客观的，都是某种文化冲动的指标，或者是按照该文化的社会历史形象塑造作者及其作品的基本本能。20世纪戏剧所经历的人类历史和文化的转型，使一些尚未被认识到的戏剧性因素得以显现，这些因素与性别和性别转型有着深刻的关系。一般来说，酷儿表演艺术的政治和诗学根本不是文化时尚，而是传统上赋予性别转变及其未知可能性文化特权的艺术的合理和逻辑结果。在这方面，爱情剧也不例外。少

Our research project which is to investigate the cultural concepts of theatre and drama in early modern and modern English Culture is divided into two parts: the first part consists of establishing some working and analytical principles which will make data processing manageable and rationalized ; the second part proceeding simultaneously consists of historical analysis. The first one is half accomplished only to leave data base construction incomplete (we will further continue this construction by using our classification system). The second one, historical analysis, results in an insight which will cast a definitely new light upon the historical and cultural importance of Shakespeare. The seventeenth-century England witnessed some now concepts of playwrights, concepts which inseparable form theatrical representations, made author-playwrights as well as their theatrical products transcendental authoritative, and independent from social and historical contexts. To our surprise, this ne … More w concept was reflected and produced in a portrait of Shakespeare printed on the front page of his first collection of plays published in 1623. This cultural change was extremely influential and even today's concepts of plays and playwrights are still partially under this seventeenth-century originated concept, In the eighteenth century Shakespearean studies became matured and consolidated, but as our investigation of some special case (the impostor W-H Ireland affair), has significantly shown, this was the historical moment in which forged and fictionalized images of authors were abundantly circulated. Those images, whether purely imaginative or quasi-objective, were an index to some cultural impulse, or basic instinct to shape authors and their products in that culture's socio-historical images. Hugely historical and cultural transformations the twentieth-century drama experienced have brought to light some theatrical and dramatic elements hitherto unrecognized, elements which are profoundly concerned with gender and gender transformation. Politics and poetics of queering performative arts in general are not culturally faddish at all but proper and logical results of those arts which have traditionally accorded cultural privileges upon gender transformation and its unknown possibilities. In this respect, Shakespearean dramas are not exceptional. Less