Abstract
Making a case for an unintended Shakespearean return, this chapter argues that Coriolanus is refigured in the TV series Homeland. It is the fraught return of the soldier to his homeland and his turning against his home which is the most relevant Shakespearean plot element, cultural concern, and dramaturgical device taken up and serialised in Homeland in the context of post-9/11 (counter-)terrorism. The chapter reads the play and the series in the light of each other with a special focus on the tension between returning and turning, traumatisation, Derrida’s notion of the autoimmune reaction, serialised dramaturgies of political escalation, the religious semantisation of politics, and the meta-adaptational potential of spectral returns to an uncertain homeland.
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Notes
- 1.
This chapter is a revised and extended version of Wald (2019).
- 2.
In Hatufim, the most suspect Jewish prisoner of war, who has converted to Islam like Brody, is presumed dead for the entire first season. He returns to Israel only in the final episode of the second (and final) season. It turns out that he does not, as suspected, carry out an attack on his former homeland and only feigned his loyalty to its opponents. After this narrative closure, the final shots of Hatufim invite viewers to question the returnee’s loyalty to Israel once again. It is this narrative trajectory that Homeland unfolds in its first three seasons. The suggestion of a future development in Hatufim that resembles Homeland’s plot (which has, however, never been realised in a third season) is interesting because the position of original and adaptation are difficult to assign for the second season of the Israeli series: the first season of Homeland was broadcast in 2011 when the second season of Hatufim was still in production (Wünsch 2014–2015, 115).
- 3.
See Kelleter (2017) for a general account of authentication strategies in current TV series.
- 4.
On the contested role of Homeland in sociocultural communication regarding various aspects of post-9/11 warfare, see Steenberg and Tasker (2015), Negra and Lagerwey (2015), Bevan (2015), Castonguay (2015), and Koch (2014). Mittell suggests that “any attempt to account for Homeland’s political meanings must remain open and unfinished until the series concludes, as it has demonstrated a willingness to revisit and revise its politics quite drastically” (2015, 345).
- 5.
See Cartelli (2019, 215–253) for a discussion of van Hove’s production of Romeinse Tragedies for the Toneelgroep Amsterdam. Also of interest is the staging by James Hirsch at the Old Globe Theatre in San Diego in 1988, in which Coriolanus corresponds to Oliver North, an American Marine who illegally sold American arms to Muslim extremists in Iran, calling this venture ‘patriotic’ because he used the profits to support a right-wing group in Nicaragua (Holland 2013b, 102).
- 6.
I do not fully agree with Holderness’ description of this myth as “a peculiarly contemporary realisation of the classic man of war” (2014, 116), in which “war is a matter of human agency, and its outcome is dependent on the courage and hardihood of an individual combatant” (124). By contrast, I argue that the fate of Shakespeare’s Coriolanus and Homeland’s Brody are indicative of the failure of such notions of individual strength.
- 7.
“Martius Come I too late? / Cominius Ay, if you come not in the blood of others, / But mantled in your own” (1.6.28–29). As Watson observes, two scenes later, the blood is also presented as a mask, again questioning the identity of Coriolanus (2016, 187): “Coriolanus Alone I fought in your Corioles’ walls / And made what work I pleased. ‘Tis not my blood / Wherein thou seest me masked” (1.8.9–11).
- 8.
On the humility of the soldier, see Jorgensen (1995). On arrogance towards the plebeians, see Holderness (2014). For a psychoanalytic reading that emphasises Coriolanus’ quest for independence from the mother, see Adelman (1992) and Kahn (1997, 144–59). For the metatheatrical dimension, see Sanders (2006), Marshall (2000), and Marshall (2013).
- 9.
Accordingly, Coriolanus is described as an automated warrior: “from face to foot / he was a thing of blood, whose every motion / Was timed with dying cries” (2.2.106–108); “When he walks, he moves like an engine and the ground shrinks before his treading. He is able to pierce a corslet with his eye, talks like a knell, and his hum is a battery” (5.4.18–21).
- 10.
However, the first scene also already shows how the metaphor is led to its catachrestic limit, as the hierarchical body metaphor for the republic of Rome no longer works and is politically exploited in order to sedate the people. The body politic metaphor in Coriolanus has been discussed intensely; see Barker (1997), Adelman (1992), Jagendorf (1990), and Irish (2016) for the political dimensions as well as Sanders (2006) on the metatheatrical dimension of the play’s concern with embodiment.
- 11.
- 12.
As Emma Smith has argued, “Shakespeare’s final tragedy performs that inscrutability Hamlet talks about, debating and deferring the notion and location of personality and individual agency” (2016, 98). The constant deferral of insight into the protagonist’s identity and agency is used in the serial thriller format of Homeland to keep audiences engaged while postponing the answers they are looking for.
- 13.
For the relevance of references to Rome as both model and “highly precarious historical mirror” (Huhnholz 2010, 50) in the current political discourse in the US, see Speck and Sznaider (2003), Behrends (2006), and Huhnholz (2010). For a history of translatio imperii references to Rome in the US, see Malamud (2010) and Shalev (2009).
- 14.
See also Miller’s reading in the context of early modern forms of Roman triumphs: “Her triumph illustrates the destructiveness of a military state, and the awesome but ruthless survival power of Rome, converting the dea Roma and the suckling wolf of Rome’s foundation legend from nurturers to devourers” (2001, 139).
- 15.
This paragraph corresponds to my more extended argument in Wald (2018, 158–160).
- 16.
- 17.
Luc Boltanski has argued that the emergence of the detective and spy genres with their characteristic enigma went hand in hand with the foundation of the nation state: “The relation between reality and the state is at the heart of the analysis. Mysteries can be constituted as specific objects only by being detached from the background of a stabilized and predictable reality whose fragility is revealed by crimes. Now, it is to the nation-state as it developed in the nineteenth century that we owe the project of organizing and unifying reality, or, as sociology puts it today, of constructing reality, for a given population on a given territory” (2014, xv). The detective story thus questions, and ultimately reinforces, the nation state as the institution that guarantees a shared reality.
- 18.
Likewise, throughout Coriolanus “Rome and its traditions are associated with family ties, parentage” (Chernaik 2011, 167).
- 19.
As Albrecht Koschorke has shown, imaginations of the Holy Family in any case “do not occur in the realm of naturalistic gender relations. Rather, they belong to a logic of spirituality, a logic whose essential quality is the absence of sexuality and in which customary gender attributions fail. Built into the imagined order of Christianity is also the possibility of transcending and exchanging sexual identities” (2003, 12).
- 20.
Warburg contrasts “antiquarische Schale” (antique shell) and “sentimentalen Kern” (sentimental core) in the original German version of “Theatrical costumes for the interludes of 1589” (1998, 438).
- 21.
- 22.
In his speech of 16 September 2001, immediately after the attacks on the World Trade Center. Although Bush subsequently renounced this label after strong criticism, the political discourse around the War on Terror remained religiously semanticised and shows characteristics of the crusades, as Hinz (2015), Al-Zoby (2015), and Mahlandt (2015) have shown. As Jenny Mahlandt makes clear, this religious charge of the War on Terror should, however, be understood as part of the American civil or pseudo-religion, which is modelled on Judaism and Christianity but in its adaptation (at least ideally) is non-denominational.
Insofar as the War on Terror can be considered a partly secularised continuation of the medieval crusades, which sought the recapture of all formerly Roman, Christian-dominated territories (Hinz 2015, 13), both Coriolanus, which shows Rome in its early phase of imperial expansion and Christianisation, and Homeland can be seen as a starting point and a provisional end point of a historical and discursive movement.
- 23.
See Joughin (2002, 68), Goodland (2007), and Neill (2016, 8) on the pietà gesture in King Lear, where Lear holds dead Cordelia in his arms. As Katherine Goodland points out, via the pietà pose “[t]he audience is encouraged to weep with Lear, just as they had once been encouraged to weep with Mary for her suffering over her lost child” (2007, 64).
- 24.
Thanks to Sylvia Mieszkowski for the reference to Spooks.
- 25.
See also Anat Zanger’s discussion of the religious imagery used in Homeland. He argues that while “the Brody character evokes a Christ figure” through “the motifs of betrayal and crucifixion”, the actual scapegoat of the series is Carrie (2015, 739).
- 26.
Common translation of Sura 4:157 in the Qur’an (Shedinger 2012).
- 27.
See Reynolds (2009) for an overview of the debate.
- 28.
See Gorski (2017) for a discussion of the promise and perils of a revived American civil religion.
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Wald, C. (2020). Homeland and Coriolanus: Returns of the Soldier. In: Shakespeare’s Serial Returns in Complex TV . Reproducing Shakespeare. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-46851-4_5
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