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Initially reduced to a display of sexual frustration by Postmodern critics, Christina Rossetti's aesthetics of renunciation found a place among scholars in the late-twentieth and early twenty-first century as a praiseworthy representation of her spiritual strength and critique of patriarchal standards. Still, these scholars saw Rossetti's renunciation as a passive, inward-looking virtue reflective of her own self-abnegating and reclusive way of life. This study revisits Rossetti's aesthetics of renunciation to argue that Rossetti's use of female self-sacrifice is not meant to be read as passivity but as a powerful force that can liberate women from oppression by patriarchal forces and empower them. Additionally, this study uncovers how Rossetti conceived an active and heroic female self-sacrifice that not only exudes spirituality but also has emancipatory potential for women in the temporal life. This is done through the analysis of two understudied poems, \"The Convent Threshold\" (1862), which features a renunciatory fallen woman and \"A Royal Princess\" (1866), which features a Christlike martyr. The poems are analysed through the lens of feminist theology to foreground Rossetti's feminist revisionist use of typological symbolism. This study thus contributes to the body of knowledge by examining Rossetti's poetics of female self-sacrifice from novel perspectives and through lesser-studied works while suggesting its importance to our understanding of female self-sacrifice in Southeast Asia.

[...]the Federal Constitution notes \"the special position of the Malays\" (Article 153) and enshrines the position of Malay royalty as ceremonial heads of state, Islam as the official religion, and Malay as the official language. [...]directives from the National Registration Department ensure their Chinese surnames are retained, albeit transformed into middle names, to the end that their Chinese identities remain clear on all official documents, lest they access the economic privileges accorded to Malays (Hew 126–36). [...]Daniel/Othello, like most Chinese-Muslims in Malaysia, is \"a social anomaly that exists in an ethnic limbo\" (Nagata, \"The Chinese-Muslims\" 102–3).1 Although Daniel/Othello's Chineseness remains an indelible social marker, the devaluation of his ethnic heritage proves central to his personal sense of identity. [...]the site vacated by the 'Chinese punters' is occupied by 'Bumiputera speculators,' represented by Petronas, the National Petroleum Corporation, which is primarily a Bumiputera concern\" in what \"can be symbolically interpreted as an act of rewriting the landscape, the re-placing of a Chinese site with Malay Islam-inspired towers\" (Gomes 132). [...]whereas Othello's unique speech patterns mark his difference from the Venetian community and unveil his loss of self-control and dignity when trapped in Iago's web of deceit, Daniel/Othello's slippage from formal Malay to Cantonese reveals the shattering of his carefully-constructed social identity.

This article examines the spaces of commensality represented in Thomas Middleton and Thomas Dekker's The Roaring Girl. It discusses the expansion of the public dining scene in early modern London and nature of different establishments such as taverns, ordinaries, and alehouses. It highlights the impact of these spaces on patterns of sociability and on the construction of social identity, as well as the frequent association of victualling houses and playhouses within the cultural geography of the time. Whereas discussion of the play's attitude toward the social upheaval of Jacobean society has frequently focused on Moll's transvestism and the intersection of gender and class hierarchies, I show how the play's portrayal of public dining both upholds and upends the traditional organization of society. This, in turn, celebrates the opportunities for sociability and self-fashioning at the Fortune playhouse, where The Roaring Girl was staged.

[...]the juxtaposition of Chua's plain skirt and top and the ornate opera costumes of the courtly characters also provided a subtle commentary on the action of the play, suggesting that the Weird Sisters did not belong to the political world of Scotland, but were intruding on it. [...]Chin's handling of 1.2 revealed the potential riches of using Chinese Opera elements in a Shakespearean production. [...]Cheong repeatedly presented his speeches in a gruff and snarling tone more suggestive of Much Ado's Don John taking simple pleasure in his malignancy than the conflicted protagonist of Macbeth.

Shakespeare's \"The Merchant of Venice,\" presented on March 2, 2012, is reviewed.

The play's fifth act was leftout entirely. [...]the performance ended with the defeated usurer walking slowly out of the courtroom, a single spotlight illuminating his hunched shoulders and bent figure on an otherwise darkened stage. Kien Kee Lim's posturing was at odds with Soon Heng Lim's more understated style and overshadowed Shylock's psychological transformation in this crucial scene. [...]the production suffered most from the actors' decision to direct themselves.

First, the younger ones in church respectfully added the tag \"che che\" (big sister) to my name. Then I noticed that not only did they look increasingly mature, they were coming closer to my eye level. Before I knew it, parents cradling tots in their arms were training them to call me \"auntie\". The truth finally sank in a few days ago. Attending a church youth camp, I found myself on the edge of things instead of in the centre. While 15- year-olds were chattering nineteen to the dozen and singing at the top of their voices, I was engaged in a quiet conversation on varsities and degrees. Plus, I was blinking back sleep and wishing that someone, for goodness sake, would turn down the radio and give me some peace. While the self- same chatterers were stuffing their faces with potato chips and the like, yours truly was huddled up with lukewarm Chinese tea and a packet of high- calcium biscuits, nursing a nasty cold.