I think your question puts really good pressure on what counts as “global” Shakespeare. Alexa raises this in our seminar. Language is imperfect and we need terms in order to dialog, but this question helps get at the challenges too.
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I’d planned on looking at Alexa’s work for this paper today. Thanks for reminding me about it!
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In part, by accounting for the multiplicity of every 'identity'? All 'global' made up of infinite locals, differently prioritized. Also, we're all at some remove, incl. Bhardwaj re. Kashmir. Wrote re. this in Omkara, how Poonam & I view Indu differently. [
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That’s exactly what I was thinking watching the film. There are no Kashmiri actors, all of the principals are also not Muslim. How does this remove help create art both does and does not interrogate the occupation? Who is free at the end?
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This book has my essay on Haider as challenge to the UDHR and as critique of international human rights orgs - might be of interest... https://www.amazon.com/Indian-Cinema-Beyond-Bollywood-Independent/dp/0815368607 …
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Thanks for this reference!
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Recently theorists have been talking about "glocal" in order to approach this important issue--great question.pic.twitter.com/76LeBMsJ9n
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Thanks for this!
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I somewhat naively taught this in a 21st c Bollywood class and we read both parts of Hamlet and extracts from Curfewed Nights. It offered some context + helped create discussions I wasn’t sure could happen in a first year writing seminar (but they did).
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Also because it was in a paratext/intertext unit, ended up also assigning relevant sections of the Geneva convention, Indian constitution— somewhat stilted conversations about how states enact violence legally. Oh, and a student analysed the film using a “glocal” framework.
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