http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
- 中文 을 입력하시려면 zhongwen을 입력하시고 space를누르시면됩니다.
- 北京 을 입력하시려면 beijing을 입력하시고 space를 누르시면 됩니다.
RISS 인기검색어
- 검색키워드
- 저자 : Ivan Canadas (검색결과 6 건)
- 무료
- 기관 내 무료
- 유료
-
The Power of Money: From Horace to Jonson and Quevedo
Ivan Canadas 한국중세근세영문학회 2016 중세르네상스 영문학 Vol.24 No.1
This paper examines the Classical motif of the power of money as found in Horace’s satire of materialism (Sat. I.1, II.3, Ep. I.2, I.6) and the use of this motif in the satires of Ben Jonson (Volp. I.1, The Forest: 'Robert Wroth', 'Countess of Rutland', Misc. 'The Power of Gold') and some Spanish poets of the same period: Rioja (“To Wealth”), Fernández de Andrada (“Moral Epistle to Fabio”) and, especially, the satirist Francisco de Quevedo (Son, Let. Sat., vi,vii,viii,xviii, and “Poderoso caballero es don Dinero”). These poets wrote from similar positions in the conservative opposition to the loosening of the traditional social hierarchy—something that is borne out by an examination of their use of the Classical motif of the power of money. Their work exhibits a dual concern to satirise both specific transgressions of the traditional social order and the cultural changes—i.e.: the rise of a materialist ethos—associated with such transgression.
-
Abjection and Sacrifice in Christos Tsiolkas’ “Merciless Gods” (2014)
( Ivan Canadas ) 한국영어영문학회 2019 영어 영문학 Vol.65 No.3
This paper examines “Merciless Gods” (2014) by Australian writer- Christos Tsiolkas, whose novels include Loaded (1995), Dead Europe (2005), The Slap (2008) and Barracuda (2013), all since adapted for film or television. Tsiolkas’ fiction delves into contemporary social issues, often in an urban or suburban Australian setting, withcharacters who often reflect Tsiolkas’ own homosexual identity and his upbringing in ethnically-diverse Melbourne. A complex narrative, “Merciless Gods” questions our world’s capacity to preserve social cohesion in the face of inequality andself-absorption. As an unnamed narrator recalls a confessional party game which unfolded among old friends, his framework of successive narratives leads to a climactic revelation which shattered the group’s unity and left each friend individually, personally, shaken after one of them, Vince, claimed to have committed a horridcrime in a remote, foreign land. However, intellectual games of abjection, sublimation, sacrifice and redemption―and, conversely, condemnation and ostracism―arguably reveal the monster among the innocent as art’s Gnostic savior, suggesting that Vince and the unnamed narrator are an ironic, dualistic projection of Tsiolkas himself― a willing scapegoat, sacrificing self for his friends’, and readers’, moral purification.
-
What is in a Heroine’s Name? Beatrice-Joanna in The Changeling
Ivan Canadas 한국중세근세영문학회 2012 중세르네상스 영문학 Vol.20 No.1
This article discusses the significance of the name of the female protagonist of Middleton and Rowley’s The Changeling, and addresses the play’s engagement with early modern discourses of gender, patriarchal authority, rank and national identity. It identifies literary allusions, both to Dante’s Beatrice, and to Joan of Arc, as depicted in Shakespeare’s Henry VI, Part I. It considers The Changeling (1622) in relation to the revenge tragedy subgenre for which Thomas Kyd’s The Spanish Tragedy (ca. mid-1580s; pub. 1592) had established a pattern for dramatists around thirty years prior to the writing of The Changeling. That Kyd’s play also shares The Changeling’s Spanish setting—within a tradition of perverse, Italianate settings in English drama—is of considerable importance to a proper understanding of the Middleton-Tourneur play, its plot, and the villainous couple at its heart: De Flores and the female villain, Beatrice-Joanna. Such dramatic conventions involving the setting were, moreover, topically aggravated through widespread Protestant animosities against a proposed marriage alliance—the ‘Spanish Match’ crisis—between Spain and England in the 1620s, as noted by other critics. Lastly, a case is presented, involving the historical, Spanish queen figure of Juana la loca—Joan(na) the Mad (1479-1555)—which highlights the roles of gender-conflict, madness and marriage alliances with England, pertinent in the context of The Changeling’s themes and of the play’s setting in Alicante, also the place of residence of the English merchant, John Reynolds, author of the play’s source.
-
-
The Shadow of Virgil and Augustus on Chaucer’s House of Fame
Ivan Canadas 한국중세근세영문학회 2010 중세르네상스 영문학 Vol.18 No.1
In Chaucer’s House of Fame, the narrator describes statues of Virgil and of Ovid (1481-87), the lines long-interpreted as implying the predominance of Mars over Jupiter in the Aeneid. It is apparent, however, that Chaucer—ironic in his use of “auctorite,” and familiar with a range of contrasts between Virgil and Ovid—particularly with the latter’s irreverent, subversive and carnivalesque approach to imperial myths in the Heroides and Fasti—in fact, described those statues to comment incisively on Virgil’s role in bolstering the political prestige of Augustus, first Roman emperor. Furthermore, Virgil’s exaltation of Augustus’s authority by implicit analogy with “pius Aeneas” was consistent and complementary with Augustus’s own self-construction in the Res Gestae Divi Augusti, which appealed to the Latin concept of auctoritas and to the ideals of filial piety and symbolic fatherhood to mystify the princeps’ authoritarian usurpation of political power. Thus, also, Chaucer’s equivalent use of Middle-English term, auctorite, and his symbolic descriptions of the statues of Virgil and Ovid, highlight new evidence of Chaucer’s ironic perspective of political and literary authority.
-
Ivan Canadas 한국고전중세르네상스영문학회 2021 중세근세영문학 Vol.31 No.2
Plebeian heroes, and their dignity, status and social aspirations, in early modern England and Spain, are illustrated in two representative works, Thomas Deloney’s romance, Jack of Newbury (1597), which celebrates a weaver’s success, including his meetings with royals, and Lope de Vega’s El villano en su rincón (1614), a bittersweet comedia about a proud, wealthy peasant, who has the (mis)fortune to meet his king. The present paper examines a significant pattern of commonalities between the protagonists, who bridge the gap between the ordinary commoner and members of the gentry and nobility above, and how their status, desires and claims are described and depicted by others or expressed by the characters themselves, particularly when they address their monarchs. By these means, this paper highlights how these two works reflect the differences in social significance, aspirations and anxieties surrounding the emergent, so-called “middling sort” in England, and its lesssuccessful, Spanish analogue.
KISS연관 검색어 추천
이 검색어로 많이 본 자료
활용도 높은 자료
