Medea in South Africa: Receptions of the Euripidean Tragedy from the 19th to the 21st Century

《美狄亚在南非：19世纪至21世纪欧里庇得斯悲剧的接受》

• 批准号: 2590838
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2590838
• 关键词: Medea; South; Africa; Receptions; Euripidean

This project researches the reception of Euripides' Medea in translation, adaptation, and performance in South Africa from the mid-19th century to the present day in Black African, Afrikaner, British, and multicultural contexts spanning the colonial, apartheid and post-apartheid periods. Part of this project involves investigating the manner in which Greek Tragedy has been weaponised in British, and particularly Dutch, hegemonic colonialism, and the cultural reinforcement of nationalist Afrikaner identity. It also examines the syncretisation of the myth of Medea with native Black South African mythology, narratology, history, and social reality. Of especial significance is the foregrounding of the narratives of migration, racial prejudice, and social, cultural, and ethnic exclusion in South African adaptations of the post-apartheid and new millennium era.African performances of Ancient Greek tragedies are beginning to receive scholarly attention, but there remain significant gaps. I hope to engage with Fleishman and Mbothwe's ongoing Mellon-funded project, Reimagining Tragedy from Africa and the Global South, which examines the postcolony through the frame of tragedy. Fleischmann and Reznek's radical production of Medea in 1994, the year of South Africa's transition to democracy, will be an important exemplum of post-apartheid theatre. Alongside the innovative use of polyglottism to represent colonial and post-colonial identity, I will explore issues of repatriation in the symbolic and emotive use of the landscape, as in van Woensel, Bakker, and Topper's MedEia (1998), in which the audience walks through the set of a shantytown as the play progresses. Methodologically, I will combine the approaches of performance studies with historicist contextualisation of the reception of Greek Tragedy in the socio-political, cultural, and academic realities in South Africa over the past 200 years. At the forefront of my research will be Black performance theory, including Young (2010); Rankine (2013); Luckett and Shaffer (2017); and Crémieux, Lemoine and Rocchi (2013), which uses Blackness as a theoretical lens for examining identity formation across disciplines. Moreover, my analysis will be informed by decolonial and postcolonial theory, to examine the ideological shaping of power relations and identity in 'indigenous South African hybrid' drama.My proposal is comprised of five provisional chapters, for which I will spend up to two terms researching each. Beginning in the 19th century, which saw the hardening of racialist and racist thinking, I will investigate the earliest recorded performances of Medea, burlesques, attended by British 'expatriates' in an insular, white supremacist community within the colony. A second chapter will examine productions in translation for British colonial audiences in the 20th century, beginning with Thorndike's performances of the text of Murray. For this segment of research, I will consult Murray's correspondence with colleagues in South Africa, amongst the Murray Papers in the Bodleian Library, relating to the production of his plays and his responses to the Boer War. The third chapter will focus on synthesising Afrikaans translations and performances, which were produced in an attempt to establish cultural prestige and status for their fledgling language. In a closely related fourth chapter, I will examine the role of Greek Tragedy and Classics in South African education and scholarship, frequently underpinned by colonial intents, with a particular focus on the study of Classics at Oxford by white South Africans on Rhodes Scholarships, and the work of Oxford-educated Classicists in South Africa, which contributed to the cultivation of racialist and segregationist attitudes. In the final and most important chapter, I will devote attention to multilingual, multicultural, and multiracial performances of Medea during and after apartheid, centralising Black decolonising scholarship in my analys

该项目研究了欧里庇得斯的《美狄亚》在南非从 19 世纪中叶至今在南非黑人、南非荷兰语、英国以及跨越殖民、种族隔离和后种族隔离时期的多元文化背景下的翻译、改编和表演的接受情况该项目的一部分涉及调查希腊悲剧在英国，特别是荷兰霸权殖民主义中被武器化的方式，以及民族主义南非荷兰人身份的文化强化。美狄亚神话与南非本土黑人神话、叙事学、历史和社会现实的融合，特别重要的是南非改编作品中对移民、种族偏见以及社会、文化和种族排斥的叙述的前景。后种族隔离和新千年时代。非洲的古希腊悲剧表演开始受到学术界的关注，但我希望与弗莱什曼和弗莱什曼进行交流。 Mbothwe 正在进行的由梅隆资助的项目“重新想象来自非洲和全球南方的悲剧”将成为一个重要的范例，该项目通过弗莱施曼和雷兹涅克在 1994 年（南非向民主过渡的那一年）激进制作的《美狄亚》来审视后殖民地。除了创新地使用多语言来代表殖民和后殖民身份之外，我还将探讨以下问题：景观的象征性和情感性运用中的回归，如范·沃恩塞尔、巴克和托珀的《MedEia》（1998），其中观众随着戏剧的进展穿过棚户区的布景。在方法上，我将结合表演的方法。我研究的前沿将是过去 200 年来南非社会政治、文化和学术现实中对希腊悲剧的接受的历史主义背景研究。黑人表现理论，包括 Young（2010）；Luckett 和 Shaffer（2017）；以及 Crémieux、Lemoine 和 Rocchi（2013），该理论使用黑人作为跨学科身份形成的理论视角。将以非殖民和后殖民理论为基础，研究“南非本土混血儿”戏剧中权力关系和身份的意识形态塑造。我的建议包括五个临时章节，我将花费最多两个学期的时间来研究从 19 世纪开始，当时种族主义和种族主义思想变得更加顽固，我将研究最早有记录的由英国“侨民”参加的滑稽表演。第二章将探讨 20 世纪为英国殖民地观众翻译的作品，首先是桑代克对默里的文本的表演。在研究部分，我将查阅穆雷与南非同事的信件，以及博德利图书馆的穆雷论文，内容涉及他的戏剧制作以及他对布尔战争的反应。第三章将重点综合南非荷兰语的翻译和表演。 ，这些作品的产生是为了为其刚刚起步的语言建立文化声望和地位。在密切相关的第四章中，我将研究希腊悲剧和古典文学在南非教育和学术中的作用，这些作用往往受到殖民意图的支持。特别关注南非白人通过罗德奖学金在牛津大学进行的古典学研究，以及南非受过牛津教育的古典学家的工作，这些工作有助于培养种族主义和种族隔离主义态度。在最后也是最重要的一章中，我将重点关注美狄亚在种族隔离期间和之后的多语言、多文化和多种族表演，在我的分析中集中黑人非殖民化奖学金