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Soft cover. Condition: Fine. Autumn 2017 Volume 44 Issue 1 1?Julia Jarcho Cold Theory, Cruel Theater: Staging the Death Drive with Lee Edelman and Hedda Gabler The queer figures Edelman analyzes in No Future are fictional characters from literature and film; they don?t have to ?make the choice to accede? to figuring the drive as queer because they simply are such figures. This is where the question of medium might begin to make a difference. Theater?s figures are never fully given in advance; in theater, figuring or embodying is something people always have to figure out how to do. In fact, there are two stage figures who do receive passing consideration in No Future: Antigone and?in a footnote?Kate from The Taming of the Shrew. These characters? turns within No Future are anomalous, not only in that they come from plays, but more strikingly in that they are the only female queers to appear in the book. I want to suggest that this conjuction of gender and genre opens onto an especially promising mode of pursuing Edelman?s ethical project. To show this, I?ll bring a third theatrical female into play and give her more stage time than her two predecessors get in No Future: Hedda Tesman n?e Gabler, the iconic antiheroine of Henrik Ibsen?s 1890 drama. 17?Daniel Boyarin The Concept of Cultural Translation in American Religious Studies New Testament scholar Edwin Judge has enjoined: ?When one encounters the word ?religion? in a translation of an ancient text. First, cross out the word whenever it occurs. Next, find a copy of the text in question in its original language and see what word (if any) is being translated by ?religion.? Third, come up with a different translation: ?It almost doesn?t matter what. Anything besides ?religion.?? In the philological tradition, the Greek word most often cited as meaning ?religion? isthr?skeia, and that is how the word has been routinely translated. In a multiyear research project just published as a book cowritten with my colleague in Roman studies, Carlin A.
