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Morality plays such as Everyman were first produced in England during the latter half of the 15th century. Their fictional nature, however, clothed moral truths in line with Catholic doctrines. The main aim of these plays was to teach audiences lessons in Christian living and salvation. Although these plays initially have a Catholic background, this does not exclude them from providing valuable lessons in Christian teaching to Protestant believers of the 21st century. The major problem with these plays is their interpretation of theological concepts such as “saints”, “Adonia”, and “priests”, making it difficult for Protestant believers, the Sesotho audience, in this case, to understand Everyman translated in Sesotho and written from a Catholic perception of such concepts. This article seeks to address the most important question: How can a better translation of the morality play Everyman be offered to Sesotho-speaking Protestant believers? The answer to this question is that an adaptative translation of the morality play Everyman into Sesotho better addresses the needs of these Protestant believers. In addition, this kind of translation should also be performative. The study uses the research methodologies of translation adaptation, performance criticism, and the functionalist skopos theory within the broader theoretical framework of a complexity approach to translation.

Consumer researchers have tended to equate consumer moralism with normative condemnations of mainstream consumer culture. Consequently, little research has investigated the multifaceted forms of identity work that consumers can undertake through more diverse ideological forms of consumer moralism. To redress this theoretical gap, we analyze the adversarial consumer narratives through which a brand‐mediated moral conflict is enacted. We show that consumers’ moralistic identity work is culturally framed by the myth of the moral protagonist and further illuminate how consumers use this mythic structure to transform their ideological beliefs into dramatic narratives of identity. Our resulting theoretical framework explicates identity‐value–enhancing relationships among mythic structure, ideological meanings, and marketplace resources that have not been recognized by prior studies of consumer identity work.

Morality plays such as Everyman were first produced in England during the latter half of the 15th century. Their fictional nature, however, clothed moral truths in line with Catholic doctrines. The main aim of these plays was to teach audiences lessons in Christian living and salvation. Although these plays initially have a Catholic background, this does not exclude them from providing valuable lessons in Christian teaching to Protestant believers of the 21st century. The major problem with these plays is their interpretation of theological concepts such as “saints”, “Adonia”, and “priests”, making it difficult for Protestant believers, the Sesotho audience, in this case, to understand Everyman translated in Sesotho and written from a Catholic perception of such concepts. This article seeks to address the most important question: How can a better translation of the morality play Everyman be offered to Sesotho-speaking Protestant believers? The answer to this question is that an adaptative translation of the morality play Everyman into Sesotho better addresses the needs of these Protestant believers. In addition, this kind of translation should also be performative. The study uses the research methodologies of translation adaptation, performance criticism, and the functionalist skopos theory within the broader theoretical framework of a complexity approach to translation.

The scholarly literature on corruption has developed in separate disciplines, each of which has produced important insights, but each of which also has some crucial limitations. We bring these existing approaches together, and then we confront them against an ethnographic literature on corruption that over the last two decades has become extensive, but has never before been synthesized into an overarching framework. We argue that any corruption reform must meet three challenges. First, corruption persists because people need to engage in corruption to meet their needs. This is the resource challenge. Second, corruption persists because there is uncertainty over what constitutes a gift and what constitutes a bribe, as well as confusion over what is private and what is public. This is the definitional challenge. And third, corruption persists because of pressure to behave in ways that are considered moral according to alternative criteria, such as taking care of one’s kin, or standing up to legacies of racism and oppression. This is the alternative moralities challenge. We examine the strengths and weaknesses of existing approaches to corruption in meeting these three challenges.

The article presents a Latin adaptation of the medieval morality play of Elckerlijc / Everyman called Homulus. Its author, Christianus Ischyrius, used the original text only as a starting point, which he elaborated fully in its structure, number of characters, development of the plotline and, above all, the language and style of the play. As a result, the play of Homulus appears to be much more varied with respect to both style and content of the text. The characters and their actions are presented vividly with respect to everyday-life experiences of the audience, giving almost realistic feel at some instances. First published in 1536, the play also reflects the social and religious tensions in continental Europe of the time, e.g. the open criticism of the Church and its practices.

This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.

Nongovernmental organizations (NGOs) working in international development increasingly follow a neoliberalized management model, hiring professional employees to conduct the work of social transformation under a bureaucratic regime that sees the recruitment and retention of staff members as rational transactions between employer and employee. Such managerialist thinking holds that staff members represent bundles of skills and knowledge to be sorted and allocated according to the requirements of work, that they seek to exchange their labor for payment, and that they may justifiably be fired for misdeeds like misuse of materials, misrepresenting themselves, or poor work quality, as determined by the institution. I use the example of local staff members resigning and being fired from an international democratization intervention in postwar Angola to argue that some development professionals refuse to occupy such management-defined subject positions, asserting instead their independent moralities about the place of implementation staff in international development work. A central concern for these local staff is their presumed inferiority to international staff, a dichotomy increasingly mapped onto that of implementation vs. administration staff rather than local vs. international in the larger development industry. Development NGOs here misrecognize the resignations and firings of implementation staff as personal decisions or failures rather than as responses to structural inequalities within the industry, leaving intact unequal relations of power within the very profession meant to combat inequality on a global scale.

Este artículo analiza The Crucible (1953), de Arthur Miller, a través de una perspectiva nietzscheana. De hecho, la obra de Miller presenta un personaje principal cuya individualidad e interacción con su comunidad, en términos de teología y política, exige una revalorización de todos los valores, muy similar a como lo hiciera Friedrich Nietzsche en la Europa del siglo XIX. Para explorar las posibles conexiones entre las dos, en primer lugar, se analiza la idea de Nietzsche sobre el cristianismo en comparación con el tratamiento que da Proctor a la religión en la obra. Tanto Nietzsche como Miller coinciden al deconstruir el fanatismo auto-celebrador de sus respectivas comunidades por sus virulentos ataques contra los estándares morales individuales e introducir la figura de un Übermensch [\"superhombre\"] como modelo glorioso de las virtudes humanas. Por consiguiente, en segundo lugar, este trabajo demostrará cómo el Übermensch de Nietzsche puede ofrecer un paradigma apropiado para considerar la rebelión de Proctor contra la Iglesia establecida. Y, en tercer lugar, el concepto de Nietzsche del eterno retorno se usa para arrojar aún más luz sobre la visión de la vida de Proctor.

The nature of Renaissance allegory has been the subject of much investigation, notably by Spenserian scholars. The subject is now enlarged through a study of the plays of the Elizabethan Court dramatists of the 1580's and early 1590's, particularly the comedies of John Lyly. Mr. Saccio rejects the older \"topical readings\" of Lyly; by extensive interpretation of particular plays he describes three distinct kinds of allegorical operation apparent in successive phases of Lyly's career and suggests that they form an important paradigm of the development of English drama itself. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.