الممارسات اللّغويّة
Volume 14, Numéro 2, Pages 364-413
2023-12-10
‘conversing’ With Shakespeare: Rewriting/appropriating The Tempest (1611) From Twenty-first Century Eyes In Katharine Duckett’s Miranda In Milan (2019)
Authors : Cherifi Ahcene . Khelifa Arezki .
Abstract
This article seeks to examine the wide range of ways Katharine Duckett’s Miranda in Milan (2019) has rewritten and readjusted William Shakespeare’s The Tempest (1611). The latter has been remodelled through the former to suit a quite different background and, most importantly, an era with a divergent readership which is sensitive to political correctness issues. With our bearings grounded in Mikhail Bakhtin’s dialogism, precisely borrowing his concept ‘overt polemic,’ we argue that Duckett has appealed to Shakespeare’s play, for inspiration, while writing her sequel that has launched an overt polemic towards its source. She has adapted, thereby, the seventeenth century masterpiece to the twenty-first century by not only altering and revising it, but also by appropriating almost every single aspect of its entire story. The ultra corrosive and aggressive process of the novel has resulted in a text that has been caught in a dialogue with The Tempest against which visible discontent has been voiced. This clash might be apparent through the novel’s treatment of the self/other, coloniser/colonised and Prospero/Caliban dualities; in addition to the narrative perspective, characters, plot, civilising mission, racial dimension and colonialism which have all been cast from a new outlook. Duckett’s text has even brought into light the issue of women’s marginal role to which they have been confined in the play; it has, on a similar vein, pondered other questions in relation to the second decade of the current century.
Keywords
Shakespeare’s The Tempest ; Duckett’s Miranda in Milan ; dialogism ; overt polemic ; aggressive appropriation
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