Playing Nothing for Someone: Lear, Bottom, and Kenotic Integrity

Bouchard, Larry D.

doi:10.1093/litthe/fri018

Cited by 2 publications

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“…What critics reduce to nihilist emptiness, theologians try to construe as kenosis, but in both cases the concern with nothingness echoes Greenblatt's adage of a theatre taking over an 'emptied out' sacramental vision of reality. 31 On such views, language is caught in a binary of violence: either in overdetermination as a ploy to label and control, as it is in the beginning of the play, or forever condemned to fall short and be silenced by an otherworldly, indifferent divine. These interpretations of Lear suggest a case of 'theology and literature' haunted by a sense of language itself as having been 'emptied out'.…”

Section: Introductionmentioning

confidence: 99%

Poetics as Praise: ‘Theology and Literature’, Shakespeare and Doxology

Gerlier

2022

Modern Theology

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This essay challenges the assumption that ‘theology and literature’ deals with two sealed off orders of words, the former establishing a doctrinal ground to which the latter provides merely comparative or corroborative material. It argues instead that language itself, understood as a theological phenomenon, provides the ground through which these two disciplines coincide. This phenomenon can be encountered through a doxological reading of literature, in which the original presence of the Word in words can be encountered as a gift which calls for counter‐gifts. Looking at recent forays into Shakespeare criticism that engages with theology, I argue that a ‘secular’ conception of language prevents readers from encountering this theological phenomenon in the play. Through Oliver‐Thomas Venard's theological reading of Rimbaud, I show that even fiercely secular poetry seems inhabited by a call to recover a connection between words, world and the transcendent. Drawing on Nicholas of Cusa to argue that this connection is ultimately found in doxology, I conclude with a reading of King Lear which, both epitomising and supplementing this approach, shows that the play is inhabited by a call to find once again the profound connection between word and gift, and thus world and God.

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Section: Introductionmentioning

confidence: 99%

Poetics as Praise: ‘Theology and Literature’, Shakespeare and Doxology

Gerlier

2022

Modern Theology

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Hexenuronic acid in South African Eucalyptus hybrid clones: Optimization of the acid hydrolysis (A) stage

Andrew¹,

Grzeskowiak²,

Kerr³

2009

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Hexenuronic acid (HexA) is formed during kraft pulping by the conversion of 4-O-methyl-glucuronic acid groups in strong alkali conditions. HexA can be removed from the pulp by including an acid hydrolysis (A) stage in the bleaching sequence. Despite a significant body of work in this area, very little research has been carried out to examine HexA in pulps produced from South African-grown tree species under the conditions of the local pulp and paper industry. The objective of this paper, which is part of a broader study, was to determine the optimum conditions in the A-stage that resulted in maximum removal of HexA, but with minimum impact on the physical and chemical properties of the pulp after bleaching. For this purpose, oxygen delignified pulps produced from a Eucalyptus hybrid clone, E. grandis x E. urophylla, were subjected to acid hydrolysis at varied temperature and reaction times. The pH was kept constant at 3.5 for all experiments. The results showed that the A-stage was efficient in the removal of HexA; acid hydrolysis carried out at 125°C-180min removed as much as 98% of the HexA, resulting in a kappa number reduction of approximately 6 units.

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Playing Nothing for Someone: Lear, Bottom, and Kenotic Integrity

Cited by 2 publications

References 1 publication

Poetics as Praise: ‘Theology and Literature’, Shakespeare and Doxology

Poetics as Praise: ‘Theology and Literature’, Shakespeare and Doxology

Hexenuronic acid in South African Eucalyptus hybrid clones: Optimization of the acid hydrolysis (A) stage

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