Explore the vast range of titles available.

Departing from the idea that the Tragic/Heroic art can be aesthetically demonstrated and not be seen as alien or remote in almost every literary text because it can be construed in so many ways, this article proposes a tentative contribution to this continual questioning of the dominant classical interpretations of the tragic/heroic in two Faulknerian novels: Sanctuary and Go Down, Moses and in two plays by Eugene O'Neill: Anna Christie and Chris Christophersen. Despite the fact that when read for the first time these works would manifest almost no connectedness with tragedy as art, this article will assert the argument and emphasize the need to decode the tragic/heroic aesthetic evolvement in all these works within the literary context of the beginning of the twentieth century. Taking note of the changing artistic patterns of the tragic/heroic, it also discusses the tragic/heroic in relation to some central issues like class, race or the gendered place of women and the male constructed prejudices within the American society. Using August Strindberg's and Henri Bergson's aesthetic redefinitions of the tragic/heroic destiny of man at two different ages, we will bring into awareness how women were obliged to submit to patriarchal discriminatory morals, and also how different theoretical and philosophical views can interact and evince the constant dialogue with the writing practices of both authors, and make the tragic/heroic evolve into new artistic dimension.

My article proposes to study the use of language by individuals to construct their identity under the colonialist, imperial mainstream discourse of England in early twentieth century Ireland. The study puts emphasis on two major aspects. The first shows the way language is adopted as a personal strategy of inverting and of combating the imposed identity canons of the colonial power. The second aspect is concerned with language as a tool in the perpetual edification of an individual's never-stable identity. In order to conduct this issue, I have proposed to analyze two tragedies by John Millington Synge as samples of the Irish identity quest against the English hegemony. I have relied on W. B. Yeats theatrical ideals because he underlined the paramount importance of language over the actor and scenery in theatre performance, and on Julia Kristeva's post-modern criticism to demonstrate theatre and language appropriations of the Irish people in creating a literary and cultural movement of their own, the Irish Revival. As a conclusion, I have reiterated that language is a very important mean for a people to promote their identity.

This article seeks to examine the wide range of ways Katharine Duckett's Miranda in Milan (2019) has rewritten and readjusted William Shakespeare's The Tempest (1611). The latter has been remodelled through the former to suit a quite different background and, most importantly, an era with a divergent readership which is sensitive to political correctness issues. With our bearings grounded in Mikhail Bakhtin's dialogism, precisely borrowing his concept 'overt polemic,' we argue that Duckett has appealed to Shakespeare's play, for inspiration, while writing her sequel that has launched an overt polemic towards its source. She has adapted, thereby, the seventeenth century masterpiece to the twenty-first century by not only altering and revising it, but also by appropriating almost every single aspect of its entire story. The ultra corrosive and aggressive process of the novel has resulted in a text that has been caught in a dialogue with The Tempest against which visible discontent has been voiced. This clash might be apparent through the novel's treatment of the self/other, coloniser/colonised and Prospero/Caliban dualities; in addition to the narrative perspective, characters, plot, civilising mission, racial dimension and colonialism which have all been cast from a new outlook. Duckett's text has even brought into light the issue of women's marginal role to which they have been confined in the play; it has, on a similar vein, pondered other questions in relation to the second decade of the current century.