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Journal articles on the topic 'Shakespeare'
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1
Chatterjee, Arup K. "Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.
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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).
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Gallimore, Daniel. "Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century." Cahiers Élisabéthains: A Journal of English Renaissance Studies 111, no. 1 (July 2023): 42–57. http://dx.doi.org/10.1177/01847678231184547.
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Two adaptations of Shakespeare comedies between 2008 and 2010 by the Tokyo-based all-male Studio Life company coincided with the better-known all-male Shakespeares directed by Ninagawa Yukio (based just outside Tokyo) and a moment of rising awareness of gender issues in Japanese society. This article explores the role of Studio Life's (and Ninagawa's) translator Matsuoka Kazuko, arguing that just as the all-male format rendered the chauvinistic aspects of Shakespearean comedy more palatable to a mainly female audience, so too does Matsuoka's achievement as the first female translator of Shakespeare's complete plays reveal the possibility of a Japanese woman ‘becoming’ Shakespeare.
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Desmet, Christy. "Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 15–26. http://dx.doi.org/10.1515/mstap-2017-0002.
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This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.
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YANG, Qing. "Canonization and Variations of Shakespeare’s Work in China." Cultura 19, no. 2 (January 1, 2022): 115–29. http://dx.doi.org/10.3726/cul022022.0008.
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Abstract: In “Canonization and Variations of Shakespeare's Work in China,” Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master with abundant possibilities of interpretation and adaption today, Shakespeares (in the plural to indicate the multiple texts of Shakespeare) change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature(s) that has facilitated the canonization of Shakespeare’s work in China.
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Mohan, Anupama. "Transculturated Shakespeare: Malayalam cinema and new adaptive modes." Indian Theatre Journal 5, no. 1 (August 1, 2021): 73–85. http://dx.doi.org/10.1386/itj_00017_1.
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Malayalam cinema offers a unique body of work for scholars seeking to understand the heterogenous traditions of Indian engagement with Shakespeare. In this article, after a brief overview of the history of Malayalam reception of Shakespeare generally, I focus on the film adaptations of director Jayaraj (Kaliyāttam / Othello [1997]; Kannaki / Antony and Cleopatra [2002]; and Veeram / Hamlet [2017]). Of particular relevance is Jayaraj’s interest in Shakespeare’s female characters, whom he reshapes by immersing his adaptation in the local practices and idioms of Kerala culture, thus transforming the Shakespearean play-text thoroughly. The article examines the influence especially of kathāprasangam upon Jayaraj to understand what aspects of Shakespeare endure in Jayaraj’s films and what are transformed. By approaching the question of adaptation from the perspective of the emic and the etic, an apparatus made influential by linguist-anthropologist Kenneth Pike in his analysis of a cultural text, I examine why, in Malayalam, cinematic Shakespeares have seen greater commercial and critical success than Shakespeare in translation or literary adaptation. The article seeks to understand this disparity by closely reading some of the recurrent patterns that emerge in Shakespeare transculturated in the two domains of Malayalam literature (including translation) and film.
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Harrington, Garry. "“Whose Play is it?” Translating Shakespeare Into English." Linguaculture 1, no. 2 (December 30, 2010): 125–36. http://dx.doi.org/10.47743/lincu-2010-2-0248.
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The paper will look at contemporary published versions of the Shakespearean plays which purport to provide “simplified” or “modernized” readings. Gone are Shakespeare’s polysemy and heteroglossia, to be replaced by a single “meaning” of a given line which in effect goes beyond interpretation to constitute what is in effect a translation of sorts (and underscores consideration s which I think have a direct bearing on translating Shakespeare into other languages as well). This principle may best be illustrated at a close examination of two of Shakespeare’s most consistently twin-tongued characters, Prince Hal and Hamlet. My paper concludes with a short foray into 21st century “alternative” Shakespeares in English, with a particular focus upon recently emerging “rap” versions of some of the more famous passages.
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Ushakova, Olga M. "Masks and Soul: Shakespearean images in T.S. Eliot’s Poetry." Literature of the Americas, no. 15 (2023): 42–69. http://dx.doi.org/10.22455/2541-7894-2023-15-42-69.
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Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.
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Huertas-Martín, Víctor. "Hamlet Goes Legit." International Journal of English Studies 22, no. 1 (June 30, 2022): 41–61. http://dx.doi.org/10.6018/ijes.490781.
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Using Shakespeare’s criticism and archival theory as lenses, this article enlarges understandings of the interconnections between a complex television series and Shakespeare. Forming a Shakespearean archive, Sons of Anarchy (SOA), based on Hamlet and other plays by Shakespeare, is packed with Shakespearean allusions, rather than citations, whose impact in the overall work is yet to be explored. Shakespearean formations, identifiable in the series’ para-texts, episodes, and transmedia materials, add political weight to SOA. This intertextuality invites us to regard Shakespeare’s influence in complex television as transformative.
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CAHILL, PATRICIA A., and KIM F. HALL. "Forum: Shakespeare and Black America." Journal of American Studies 54, no. 1 (October 11, 2019): 1–11. http://dx.doi.org/10.1017/s0021875819000902.
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This introduction both models how one might read race, blackness, activism and Shakespeare and contextualizes the many “Shakespeares” that might be at work in the essays in this cluster, which emerge from the Shakespeare Association of America seminar Shakespeare and Black America. It suggests that scholars in this Shakespearean subfield have political, pedagogical and personal investments that both overlap with and diverge from Shakespeare study as traditionally understood. It addresses some of the complexities of performing, teaching and reading Shakespeare not as an agent of cultural dominion, but as part of resistance and activism in black America.
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Lewis, Seth. "The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (March 15, 2022): 53–69. http://dx.doi.org/10.18778/2083-8530.24.04.
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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
11
García-Periago, Rosa M. "The re-birth of Shakespeare in India: celebrating and Indianizing the Bard in 1964." Sederi, no. 22 (2012): 51–68. http://dx.doi.org/10.34136/sederi.2012.3.
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While the Tercentenary of Shakespeare’s death (1916) was hardly celebrated in India and marked the beginning of a period in which Shakespeare was hidden, the Quartercentenary of his birth (1964) spawned a large number of collections, theatre performances and even exhibitions to pay homage to the Bard. Although a special issue of the journal Indian Literature published in 1964 contributed to the re-emergence of Shakespeare, the most revolutionary projects in the making of a vernacular Shakespeare occurred on the Indian stage via Utpal Dutt’s Shakespearean productions in Bengali. Following Arjun Appadurai, this paper argues that Utpal Dutt’s Bengali theatre productions in 1964 participate in a “decolonization” of Shakespeare, consisting in liberating Shakespeare “the text” and Shakespeare “the author” from the bonds of the empire, from restrictive colonial associations. Two out of his three theatre performances produced in 1964 – Romeo and Juliet and Julius Caesar – are symptomatic of the effects of “glocalizing” the Shakespearean texts since the original place names and names of the characters are combined with the Bengali language and some unavoidable localization. Thus, Shakespeare’s Quartercentenary in India not only saw the re-emergence of the Bard, but also took its first steps in his indigenization.
12
Guerrero, Isabel. "Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral." Sederi, no. 27 (2017): 27–46. http://dx.doi.org/10.34136/sederi.2017.2.
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Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double purpose: first, to examine the abundance of Shakespeare in Almagro as a phenomenon that finds its explanation in factors ranging from Shakespeare’s popularity to the role of modern translation and, second, to focus on how Shakespearean productions at the Corral de Comedias have negotiated new meanings of Shakespeare in performance, generating an interplay between Renaissance and Golden Age venues in contemporary performance.
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Foster, Donald W. "A Funeral Elegy: W[illiam] S[hakespeare]'s “Best-Speaking Witnesses”." PMLA/Publications of the Modern Language Association of America 111, no. 5 (October 1996): 1080–105. http://dx.doi.org/10.2307/463152.
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A Funeral Elegy was written in February 1612 by “W. S.,” a poet of “name and credit” closely familiar with Shakespearean texts. The pamphlet was registered by a stationer, Thomas Thorp, whose livelihood depended chiefly on the Shakespeare-Jonson theatrical circle and who had published Shakespeare's Sonnets in 1609. Privately issued and surviving in just two copies, A Funeral Elegy received scant notice until 1989, when I first presented archival, statistical, and literary evidence that WS could be William Shakespeare. Focusing on intertextual evidence derived in part from new electronic resources, this essay addresses a vexing conundrum: the elegy is aesthetically disappointing and yet distinctively Shakespearean—a paradox that raises larger questions about attributional methodology and canonical theory. An emerging scholarly consensus supports a Shakespearean attribution for the elegy, though the poem challenges prevailing notions of what it is that makes Shakespeare “Shakespeare.”
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DADABHOY, AMBEREEN. "Wincing at Shakespeare: Looking B(l)ack at the Bard." Journal of American Studies 54, no. 1 (December 9, 2019): 82–88. http://dx.doi.org/10.1017/s0021875819002056.
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This article explores how black artists and intellectuals approach, challenge, and appropriate the works of William Shakespeare. Beginning with W. E. B. Du Bois's contention “I sit with Shakespeare and he winces not,” I examine how Keith Hamilton Cobb in American Moor interrogates Shakespeare's presentation of black identity. In particular, I suggest that modes of ambivalence undergird black American engagement with Shakespeare and that this ambivalence creates the space for black artists to interrogate Shakespeare's representation of blackness and white culture's gatekeeping of the Shakespearean text and its performance while also reimagining and recasting that representation to fit their contemporaneous needs.
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Sharon-Zisser, Shirley. "Thin(k)ging Shakespeare." Pragmatics and Cognition 17, no. 1 (February 18, 2009): 177–95. http://dx.doi.org/10.1075/pc.17.1.06sha.
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This review article examines three recent books which offer philosophical reflections on Shakespeare’s texts: Colin McGinn’s Shakespeare’s Philosophy, Anthony Nuttall’s Shakespeare as Thinker, and Tzachi Zamir’s Double Vision: Moral Philosophy and Shakespearean Drama. Taking as its points of departure Freudian-Lacanian psychoanalysis and Heideggerean philosophy, as well as Shakespearean stylistics, the article argues that, whereas the books examined approach the Shakespearean text with a rationalist and thematic conception of thinking as conscious and cognitive content, this conception is precisely what the Shakespearean text — in its being primarily a poetic work of art — objects to. Thrusting forth its style as object to thematization, making cognitive content leak, the Shakespearean text calls forth not thinking but thin(k)ging, a rememoration of an object always already lost.
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CORREDERA, VANESSA I. "“How Dey Goin’ to Kill Othello?!” Key & Peele and Shakespearean Universality." Journal of American Studies 54, no. 1 (December 9, 2019): 27–35. http://dx.doi.org/10.1017/s0021875819001981.
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Claims for Shakespearean universality often position Shakespeare's works as resonating with all people across all time. But how far can one take such a claim? A 2013 sketch on Comedy Central's Key & Peele, entitled “Othello Tis My Shite!”, uses satire precisely in order to challenge assertions of Shakespearean universality. I argue that the sketch – which follows two Renaissance Moors, Lashawnio and Martinzion, who attend Shakespeare's Othello – suggests that Shakespeare may find the limits of speaking for “all people” when depicting black masculinity. Yet the sketch's twist ending helpfully proposes the transformative potential in Shakespeare for more effective, authentic representation.
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Zhatkin, Dmitry, and Vera V. Serdechnaia. "THE IMAGE OF SHAKESPEARE AND SHAKESPEAREAN THEATRE IN SIGIZMUND KRZHIZHANOVSKY’S WORKS." Проблемы исторической поэтики 21, no. 2 (June 2023): 217–35. http://dx.doi.org/10.15393/j9.art.2023.12483.
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The authors analyze the corpus of Shakespearean and theater studies by a Russian writer and thinker Sigizmund Krzhizhanovsky (1887–1950), who wrote about Shakespeare since the 1920s. The purpose of the work was to review and streamline the principles of analysis of the image of Shakespeare and Shakespeare’s theater, Shakespeare’s dramaturgy in Krzhizhanovsky’s heritage, taking into account the newly discovered archival documents. The authors explore the works of Krzhizhanovsky as a kind of metatext, representing a look at Shakespeare from the standpoint of a figure of the Silver Age. Krzhizhanovsky, who did not follow the path of academic literary criticism or art criticism, in his essayistic studies evaluates the path of Shakespeare’s creativity and theater as a salvation from the temptation of metaphysical philosophy; he analyzes the nature of Shakespeare’s theater based on the concepts of time, ways of perception, gives a number of brilliant genre definitions for tragedy and comedy, explores the structure of Shakespeare’s play; he does all this in the context of his own time. At the same time, the authors detect certain dynamics: Krzhizhanovsky reasons about Shakespeare with global philosophical generalizations, where Shakespeare is a synonym for theater and theatricality; in the finale, in the 1940s, he goes deeper and focuses on private moments of creativity, such as Shakespeare’s “songs,” images of children in his plays, and so on.
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Reuss, Gabriella. "The chair leg and the stadium." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 11, 2018): 185–200. http://dx.doi.org/10.1177/0184767818767449.
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To contribute to the colourful palette of Europe’s noteworthy contemporary Shakespeares, this article analyses the unique approach to Shakespeare of the Hungarian director László Bagossy through case studies of two productions, The Tempest (2012) and Hamlet (2014). Bagossy’s Shakespearean productions peeled method acting off from Shakespeare for good and effectively demonstrated how a change in performance traditions (distancing, operatic, realist) can initiate a novel handling and reading of the familiar classics.
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Beloufa, Chahra. "The Speech Act of Thanking in Shakespeare: The Case of Romeo and Juliet and All’s Well that Ends Well." NOTION: Journal of Linguistics, Literature, and Culture 4, no. 1 (May 10, 2022): 9–22. http://dx.doi.org/10.12928/notion.v4i1.5750.
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Shakespeare’s written words are not innocent. Many individual words from his dramatic texts can be “obscure or impenetrable”. They are not only meant to embellish the scene and the context, yet their elaboration is aimed to set up meaning and effect. In this part, we will analyze and look at how this utterance operates in characters’ dialogues. We will try to highlight Shakespeare conventionalized thank you, which can be not only a sign of gratitude but a complex emotion that adds to the dramatic situation. In the construction of Shakespeare's dialogues in the plays, many linguistic features are omnipresent and do serve a variety of functions. From a linguistic perspective, thanking is a conversational routine such as advising, requesting and complementing, yet in the use of thanking expressions, there is genuine artistry that Shakespeare wittingly invented. Some words carry risks when negotiating actions. We might think primarily of insults, criticisms and curses. These negative speech acts are not the only damaging and threatening in speech, there is also thanksgiving, which can be regarded as an element bearing risks. The present study focuses on the speech act of thanking in the Shakespearean corpus. The word "thanks" and the formula "I thank you" occurred more than four hundred times in the 37 plays of Shakespeare. Was "thanking" a sincere speech act that acted in the fictional setting of the play? What are the reasons that lead to "thanks" in 16th century Shakespeare? Did Shakespeare succeed to use “thanks” as a successful performative speech act that acts when it is said, or are "thanks" a simple language ornament? To answer these questions, we are going to select specific scenes from Shakespeare's All's Well that Ends Well and Romeo and Juliet examining how the speech act of thanking operates in the plays.
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Werstíne, Paul. "Shakespeare, More or Less: A.W. Pollard and Twentieth-Century Shakespeare Editing." Florilegium 16, no. 1 (January 1999): 125–45. http://dx.doi.org/10.3138/flor.16.011.
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Those who have disputed Shakespeare's authorship of the plays and poems usually attributed to him have been inclined to name the eminent Shakespeare scholars who have vilified the anti-Stratfordian cause. In the Preface to his 1908 book The Shakes-peare Problem Restated, the urbane Sir Granville George Greenwood quoted Sidney Lee, then chair of Shakespeare's Birthplace Trust, mocking the Baconian theory as "foolish craze,' morbid psychology,' madhouse chatter" (vii) and John Churton Collins, chair of English Literature at the University of Birmingham, denouncing it as "ignorance and vanity" (viii). More recently, Charlton Ogburn has listed among the detractors of the Oxfordian theory Louis B. Wright, former director of the Folger Shakespeare Library (154, 161, 168); S. Schoenbaum, author of Shakespeare's Lives, which devotes one hundred pages "to denigration of...anti-Stratfordian articles and books" (152); and Harvard Shakespeare professors G. Blakemore Evans and Harry Levin (256-57). In view of the energy and labour expended by numerous prominent scholars defending Shakespearean authorship, it is not surprising to discover that this defence has influenced reception of Shakespeare's works and their editorial reproductions. This essay deals with the very successful resistance movement against the anti-Stratfordians that was led by A.W. Pollard from 1916 to 1923, and with the peculiar influence that Pollard's efforts have continued to exert, even upon today's Shakespeare editors.
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Schandl, Veronika. "“A rose by any other name”. Contemporary Hungarian Shakespeare Adaptations on Stage and in Cyberspace." Theatron 16, no. 4 (2022): 129–42. http://dx.doi.org/10.55502/the.2022.4.129.
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The essay is a survey of recent Hungarian Shakespeare adaptations. In the first part, the essay looks at adaptations that experiment with the Shakespearean text, yet they still market themselves as Shakespeare productions; while they keep most of the Shakespearean plotlines, they freely alter the structure of the Shakespearean texts, dismantle chronologies, shift language registers, and contextualize the plays in a contemporary Hungarian setting. Examples are Örkény Theatre’s 2019 Macbeth and The Shaxpeare Car Wash in Kertész Street. In the second part, the essay moves over to appropriations that are not straightforward rewritings of Shakespeare’s play; they use Shakespeare and the Shakespearean plotlines as cultural metaphors. The plays we discuss (Káva Cultural Workshop’s 2016 Lady Lear and Éva Enyedi’s 2018 Lear’s Death) both adapt King Lear, and strangely, they both appropriate the character of King Lear as a symbol to discuss aging in a contemporary setting. The final example the paper introduces is a Shakespeare burlesque, written by Zsolt Györei and Csaba Schlachtovszky, that premiered at the Gyula Shakespeare Festival in 2021. The essay contests that although the play camouflages itself as a 19th-century melodramatic tragedy, using reflective nostalgia, it becomes a voice of cultural plurality, healthy self-reflexivity and subversion.
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Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.
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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic technique. By the end of the century, the assimilation had advanced far enough for August Wilhelm von Schlegel, the famous translator of seventeen of Shakespeare's plays, to indulge in no slight national chauvinism: ‘I am eager’, he writes in a letter to his cotranslator Ludwig Tieck, ‘to have your letters on Shakespeare.… I hope you will prove, among other things, that Shakespeare wasn't English. I wonder how he came to dwell among the frosty, stupid souls on that brutal island? … The English critics understand nothing about Shakespeare.’ Even though Tieck failed to prove that Shakespeare was not of English birth, the conviction that Shakespeare was best understood by German rather than by English critics only grew in the course of the nineteenth century. Appropriately, it was in Germany that the first periodical devoted exclusively to Shakespeare, the Jahrbuch der Deutschen Shakespeare-Gesellschaft, was founded in 1865. Fifty years later, the German novelist Gerhart Hauptmann could still claim that ‘there is no people, not even the English, that has the same right to claim Shakespeare as the German. Shakespeare's characters are a part of our world, his soul has become one with ours: and though he was born and buried in England, Germany is the country where he truly lives.’
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Huertas Martín, Víctor. "Traumatic Redemption Chronotope as Theoretical Model to Study Serial Shakespeares." REDEN. Revista Española de Estudios Norteamericanos 1, no. 1 (November 30, 2019): 27–48. http://dx.doi.org/10.37536/reden.2019.1.1371.
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his article proposes a methodology to study Shakespearean intertexts in contemporary complex TV series. While the presence of Shakespeare’s inter-texts in contemporary complex TV seems ubiquitous, a sustained and theoretically focused academic study of the impact of Shakespeare in these works has not been produced. Reviewers and social media users’ comments have proposed readings of the series pointing at the importance of the series’ redemptive qualities. Taking Hannah Wolfe Eisner’s “Into the Middle of Things: Traumatic Redemption and the Politics of Form” as basis, I am presenting a theoretical model to study serial Shakespeares, with which I am referring to a limited corpus of American complex TV series appropriating Shakespeare’s texts, as narratives embedded in a cultural politics of trauma and redemption. Additionally, it shows that such series potentially work as guidelines to study the overall impact of traumatic redemption in other contemporary adaptations of Shakespearean plays.
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Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (December 1, 2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.
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This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against mimicking the Bard’s feminine models and offers a liberating space or a local ‘alternative wisdom and beauty’, in Ania Loomba’s expression, and a ‘challenge’, in Graham Holderness’s terminology, to Shakespeare. In Faqir’s novel, Shakespeare has been ‘Arabized’, in Ferial Ghazoul’s words, to revise and redefine new roles of the Arab Jordanian woman.
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Caputo, Nicoletta. "LOOKING FOR RICHARD III IN ROMANTIC TIMES: THOMAS BRIDGMAN'S AND WILLIAM CHARLES MACREADY'S ABORTIVE STAGE ADAPTATIONS." Theatre Survey 52, no. 2 (November 2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.
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In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakespeare is for all time precisely because he has relentlessly changed over time. The author and his texts have been unceasingly reinvented, and a virtually infinite number of “alternative Shakespeares” has come to embody specific contemporary issues and conflicts. As Jean Marsden put it in 1991, Shakespeare is the object of “an ongoing process of literary and cultural appropriation in which each new generation attempts to redefine Shakespeare's genius in contemporary terms, projecting its desires and anxieties onto his work.” This is true for both the “dramatic” Shakespeare and the “theatrical” Shakespeare: Shakespeare's plays have been as tirelessly reinterpreted on the page by scholars (and others) as they have been reinvented on the stage by actors and directors. The fate of King Richard III, however, is peculiar from this point of view, insofar as an often-denigrated Restoration revision of Shakespeare's play totally replaced the “original” one in the theatre and held the stage for nearly 200 years. This peculiarity acquires interesting overtones when we look at the treatment the staged play received at the hands of the Romantics, who, in spite of the bardolatry prevailing at the time and their often-vented disesteem for the adapted version, apparently missed their opportunity to make Shakespeare's original play speak for their own time.
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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.
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This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.
Full textAbstract:
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
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Cerdá, Juan F. "Contemporary Shakespearean direction in Spain." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (March 9, 2018): 28–40. http://dx.doi.org/10.1177/0184767818762194.
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This article seeks to enquire into different redistributions of Shakespeare’s aura and into different conceptions of authorship articulated around recent stagings of Shakespeare’s works in Spain. Faced, now, with the task of making Shakespeare relevant in a world of diversified cultural offers and a highly competitive cultural market, I inspect three trends in contemporary theatre direction: the universalizing, the localizing and the post-theatrical attitude. The essay reflects on how modern theatre directors negotiate Shakespearean drama and how they confront cultural heritage while at the same time strategically define their attitude towards Shakespeare to claim their own authorial space.
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Tang, Renfang. "East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 61–81. http://dx.doi.org/10.18778/2083-8530.20.06.
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This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.
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Shevchenko, E. A. "Shakespeare between Copperfield and Micawber. On the function of Shakespeare’s words in <i>David Copperfield</i>." Voprosy literatury, no. 6 (March 22, 2022): 117–35. http://dx.doi.org/10.31425/0042-8795-2021-6-117-135.
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The article explores the function of Shakespeare’s words as quoted by two characters of David Copperfield — David and Micawber. Each showing excellent memory of Shakespeare’s works, the two heroes embody opposing borrowing strategies. Whereas David carefully judges if the narrated subject matches a Shakespearean quote in its semantic and expressive power and may choose to adapt or altogether reject it upon reflection, Micawber borrows from Shakespeare almost unconsciously, at the same time showing a particular weakness for the most memorable and tragic lines. This inapt quoting oſten reduces Micawber to a bombastic thespian. The characters’ dialogue with Shakespeare is, in turn, one in which Dickens, famously fond of his great predecessor, is engaged himself through his novel. It appears, therefore, that the Shakespearean field brings the author closer to his characters. The novel’s references to Shakespeare’s plays which are analysed in this article were mentioned in V. Gager’s catalogue, yet remained hitherto unexplored in the comparative context and with regard to the novel.
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Serdechnaya, V. V., and D. N. Zhatkin. "Translation Strategies of M. Kuzmin in Translating Shakespeare." Nauchnyi dialog 12, no. 3 (April 28, 2023): 269–90. http://dx.doi.org/10.24224/2227-1295-2023-12-3-269-290.
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The article deals with the reception of the works of William Shakespeare in the translations of Mikhail Kuzmin (1872–1936). The relevance of the research is due to the insufficient study of the reception of Shakespeare’s work in the heritage of Kuzmin, including in his translation heritage. The novelty of the study lies in a comprehensive understanding of the place of Shakespeare in the creative activity of M. Kuzmin, including as a translator and theater critic; in the restoration of the Shakespearean context in the work of the author in question; in the analytical understanding of Kuzmin’s translation strategies in the context of new translations of Shakespeare in the USSR; in addressing the recently discovered translations of Shakespeare’s sonnets by Kuzmin, as well as in clarifying the literary and historical fate of these translations in the context of the original literary and musical creativity of Kuzmin himself. Particular attention is paid to the reconstruction of the Shakespearean context in the biography and work of Kuzmin using archival documents, as well as the analysis of the originality of his translation techniques and the study of the scientific value of the manuscript of 89 Shakespeare’s sonnets published in 2022 in his translation. It is noted that the attempted publication is only a project, as evidenced by the gross factual errors of the editors of the publication, the lack of the necessary scientific apparatus.
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Mouelhi, Oumeima. "The German Shakespeare." American International Journal of Humanities, Arts and Social Sciences 2, no. 1 (March 19, 2020): 9–17. http://dx.doi.org/10.46545/aijhass.v2i1.147.
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Over The past four hundred years, Shakespeare has played a significant role within a European framework, particularly, where a series of political events and ideologies were being shaped. The birth of the nation during the late 18th and 19th centuries, the first and second world wars, the process of European unification during the 1990s, are a case in point. This part challenges the idea of an all-encompassing universal Shakespeare by demonstrating that Shakespeare and his plays transmitted across different histories, languages, and traditions meant something significantly different in these geographical contexts. Rejecting the existence of a universally absolute and singular Shakespearean meaning, I attempt to demonstrate that Shakespeare is always what he is imagined to be in a cultural and historical context. The various local and national appropriations and the universality of the cultural icon, “Shakespeare”, clash in the daily practice of interpreting, performing, and teaching his plays. This paper discusses Shakespeare’s appropriation and performance in East Germany. It focuses on the theatrical production and its cultural context in this country.
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Hossain, Md Amir. "The Impact of Existentialism in Shakespeare’s Hamlet." Journal of English Language and Literature 3, no. 1 (February 28, 2014): 205–12. http://dx.doi.org/10.17722/jell.v3i1.40.
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This article attempts to treat Shakespeare as existentialism’s prolific precursor, as a writer who focuses on existentialist ideas in his own distinctive theatrical and poetic terms long before they were fully developed in the philosophical and literary terms of the 20th century. The plays of Shakespeare and existentialist philosophy are equally fascinated by issues such as authenticity and in-authenticity, freedom of thought, being and nothingness, authenticity, freedom, and self-becoming. In recent years, Shakespearean criticism has shied away from these fundamental existentialist concerns as reflected in his play, Hamlet, preferring to investigate the historical and cultural conditioning of human subjectivity. It aims to provide a sketch of existentialist thought and survey the influence of existentialism on readings of Shakespeare’s Hamlet. It also suggests that Shakespeare and modern existentialist philosophers and thinkers share a deep interest in the creative fusion of fiction and philosophy as the most faithful means of articulating the existentialist immediacy of experience and the philosophical quandaries. My attempt is to offer the critical viewpoints of Shakespearean critics, scholars, and some well-reputed existentialist philosophers and thinkers with a view to signifying existentialist readings of Shakespeare’s Hamlet.
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Singh, Jyotsna G. "Global Shakespeares: Journeys and Destinations." SEL Studies in English Literature 1500-1900 62, no. 1 (December 2022): 103–9. http://dx.doi.org/10.1353/sel.2022.a922560.
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Abstract: This piece examines Global Shakespeares as a worldwide phenomenon today, evident in the proliferating Shakespearean adaptations and appropriations. It begins with the premise that scholars and practitioners no longer approach the contextual coordinates of individual plays only within traditional English sources and Western performance histories; instead, their interest lies in global, intertextual, and cross-cultural mediations of Shakespeare in a dazzling array of languages, aesthetic traditions, and geopolitical fault lines across boundaries of nation, race, gender, and class hierarchies. Through this process the Global Shakespeares project enables us to read global cultural difference on the stage and screen as well as in texts with contextual depth, while enabling us to draw on local non-Western cultures to reinterpret Shakespeare.
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Terceiro, Danielle. "Graphic Novel Hamlet: Reaching Beyond Stage and Page." Borrowers and Lenders The Journal of Shakespeare Appropriations 15, no. 1 (September 11, 2023): 78–96. http://dx.doi.org/10.18274/bl.v15i1.328.
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The persistence, abundance, and diversity of Shakespearean adaptations across many media shows Shakespearean narratives to be “successful replicators,” the terminology proposed by Bortolotti and Hutcheon (2007). In the past decade, many graphic novel adaptations of Shakespeare’s plays have been produced. While graphic novels have their own affordances that allow the Shakespearean plays to be assembled for “performance” on the page, at the same time they open up connotations that would not be available in a conventional stage performance. The conventions of the comic book allow storyworlds to be opened, worlds that reach beyond the page and stage, and that exist on different narrative, or diegetic, levels. At the same time, a graphic novel adaptation can highlight the ephemeral nature of performance and the fragile network of human and nonhuman elements that hold together a Shakespeare narrative in performance —whether this performance is on the stage or the page. This article will examine and compare three graphic novel adaptations of Hamlet: Hamlet (Manga Shakespeare) by Richard Appignanesi and Emma Vieceli (2007) (hereafter referred to as Manga Shakespeare); Hamlet (No Fear Shakespeare Graphic Novels) by Neil Babra (2008) (hereafter referred to as No Fear); and Shakespeare’s Hamlet by Nicki Greenberg (2010). Together these texts show that graphic novels can use comic book conventions to tap into the “agency of adaption” that is inherent in dramatic pretexts. When creating a stage performance, a director must make creative decisions that move outside the explicit instructions of a dramatic text. There is a similar but more complicated agency at work when a dramatic text is brought together as a performance on a page. Shakespearean adaptations bring their own particular joy and complexity, as the pretexts themselves serve as invitations to partake in an intense flux of meaning and mixed ontologies.
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Holland, Peter. ""A Kind of Character in thy Life": Shakespeare and the Character of History." Sederi, no. 23 (2013): 7–31. http://dx.doi.org/10.34136/sederi.2013.1.
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This article explores the early modern concept of “character” – and Shakespeare’s use of the word – as a way to rethink the nature of Shakespearean biography. Through the material of evidence of Shakespeare’s character, his writing, I turn to the figuring of “history” in Shakespeare’s plays, the writing of letters (leaving traces of characters as writing), before finally imaging a different kind of Shakespeare biography.
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Hatfull, Ronan James, and Ronan Hatfull. "‘Excess of It’: Reviewing 'William Shakespeare’s Long Lost First Play (abridged)'." Exchanges: The Interdisciplinary Research Journal 4, no. 1 (October 31, 2016): 61–67. http://dx.doi.org/10.31273/eirj.v4i1.147.
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It is timely in 2016, the 400th anniversary of Shakespeare’s death, to consider his legacy as a figure ingrained within popular culture. This critical review will investigate one of the chief exponents and parodists of the dichotomy which Shakespeare symbolises between supposed ‘highbrow’ and ‘lowbrow’ culture: the Reduced Shakespeare Company, a comedic theatre troupe who, to use their own slogan of droll self-deprecation, have been ‘reducing expectations since 1981’.The review will investigate the company’s most recent and tenth production, William Shakespeare’s Long Lost First Play (abridged), as a template for considering Shakespearean parody, focusing on the contemporary process of adapting and condensing Shakespeare’s texts within a populist context.Debuted at the Folger Shakespeare Library in April 2016, the play was first performed in the United Kingdom in August 2016 as part of the Edinburgh Festival Fringe. It is those performances upon which this review focuses. It will also use primary material drawn from live interviews and rehearsal observations conducted with Reed Martin and Austin Tichenor, the company’s managing partners, co-directors, co-writers and performers.
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Sequeira Mendes, Maria. "Teatro Praga’s Omission of Shakespeare – An Intercultural Space." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 91–104. http://dx.doi.org/10.1515/mstap-2017-0007.
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Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.
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Fonseka, Edirisingha Arachchige Gamini. "Sustaining Tradition with Inspiration from Modernity: Countering Elitism in Teaching Shakespearean Drama." Moderna Språk 107, no. 2 (December 16, 2013): 90–98. http://dx.doi.org/10.58221/mosp.v107i2.8077.
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The tradition of teaching English Literature in most universities round the world has evolved in such a way that a degree programme in English is not considered complete without a component of Shakespearean drama. Yet the poetics and the noetics of the Shakespeare plays written in a 16th Century dialect have become bitter delicacies for most students, as the comprehension and personalization of Shakespeare texts remain an unresolved challenge. The traditional mechanism of teaching Shakespeare texts involves reading the lines with a glossary, comparing the meanings with influential critical interpretations, reflecting on the implications either diachronically or synchronically, and writing unguided essays on topics related to classroom discussions. Most students fail in these activities as they find it difficult to internalize the meanings conveyed by word and action in relation to the historical settings depicted in the plays. Hardly a stage production of a Shakespeare play takes place in their environments to give them an idea about the actual form of it and therefore they are destined to remain totally segregated from Shakespeare. Unfortunately, this turns Shakespeare scholarship into an elitist pastime, and invites undue controversies from students who feel fenced off from the process. In attempting to develop solutions to the problems of teaching Shakespearean drama faced in this way, so much inspiration can be drawn from the numerous cinematic productions of Shakespeare plays. They present not only approximate models for pronouncing the lines but also lively simulations of the persons and situations concerned. Cultural commodities developed in a spirit of modernity prove effective only if they preserve the essence of tradition. There are numerous films on Shakespeare, very articulate in this sense. Therefore, using a series of exemplars developed on Shakespeare’s Othello, this article demonstrates how inspiration can be drawn from modernity in countering elitism in teaching Shakespeare.
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Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (December 30, 2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.
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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.
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Novitz, Julian. "‘The Time Is out of Joint’: Interactivity and Player Agency in Videogame Adaptations of Hamlet." Arts 9, no. 4 (November 29, 2020): 122. http://dx.doi.org/10.3390/arts9040122.
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Although Shakespeare and his plays have been a frequent subject of videogame adaptations in the past, these have often been confined to either theatre-making games (which present the staging of Shakespeare plays using the mechanisms of strategy or simulation videogame genres) of education/trivia games that aim to familiarise players with Shakespeare’s texts. While references to Shakespeare abound in videogames, there have been relatively few attempts to directly adapt one of his plays into the form of an interactive videogame narrative, where the player controls one or more of the principal characters and can affect the outcome of the story. This paper will examine four videogame adaptations of Shakespeare’s Hamlet, whose differing approaches to player-agency and interactivity in relation to narrative of the classic play demonstrate the interactive potential of Shakespearean drama. While the player-driven overwriting or rewriting of the classic text may appear irreverent, it is, in each game, dependent on some conception the original play and the past tradition that it represents, which is translated into the contemporary medium of the videogame. This illustrates Jacques Derrida’s contention that the longevity and translatability of Shakespearean texts are due to their ‘spectral’ qualities, in that they allow the past to be re-examined through the lens of the present and vice versa.
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Lee, Hyon-u. "The Yard and Korean Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 39–52. http://dx.doi.org/10.2478/mstap-2013-0004.
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Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called “talchum (mask dance)” or “talnori (mask play).” The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modern theatre of Korea. And many Korean directors including Oh Tae-suk, Yang Jung-ung, Sohn Jin-chaek, Park Sung-hwan, and myself, have applied the yard techniques to their Shakespearean productions. Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, implies that Shakespeare's texts themselves have enough room for the yard.
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TAYLOR, ANTONY. "SHAKESPEARE AND RADICALISM: THE USES AND ABUSES OF SHAKESPEARE IN NINETEENTH-CENTURY POPULAR POLITICS." Historical Journal 45, no. 2 (June 2002): 357–79. http://dx.doi.org/10.1017/s0018246x0200242x.
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This article seeks to locate William Shakespeare in the traditions of nineteenth-century popular politics in Britain. The bards of radicalism are usually seen as the romantic poets, particularly Byron and Shelley. Nevertheless, Shakespeare's national standing, the lack of hard details about his life, and the subversive messages many radicals believed to have discovered in his plays allowed reformers to project him as a ‘son of the soil’, and to contest appropriations of him by the aristocratic patrons of events like the Shakespeare Tercentenary of 1864. Through the agitation surrounding this celebration, a link into a radical bardolatry is established that indicates the centrality of memories of Shakespeare's England to the popular platform. The article concludes with a consideration of the light shed by ‘Shakespearean radicalism’ on current debates about continuity between Chartism and liberalism in popular politics, and the role of memory and memorialization in the political culture of nineteenth-century plebeian reform movements.
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Marczak, Mariola. "Filmowe czytanie Szekspira. Adaptacja jako interpretacja. O książce "Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a", red. O. Katafiasz, Kraków 2017, ss. 434." Studia Filmoznawcze 39 (July 17, 2018): 173–83. http://dx.doi.org/10.19195/0860-116x.39.12.
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FILM READING OF SHAKESPEARE. ADAPTATION AS INTERPRETATIONThe text is a review of a book entitled Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a Mirrors and Echoes. Film Adaptation of William Shakespeare’s Works edited by Olga Katafiasz. The monograph is a compilation of studies and essays prepared by filmologists, theatre studies and culture studies scholars referring to various film adaptations of William Shakespeare’s works. At the beginning the reviewer reminds film theories concerning film adaptation and the output of filmology on the topic of film adaptations of Shakespeare’s works. The author situates the book in view within the map of past and update researches of both types and evaluates their quality as a part of them. She underlines that the variety of points of view and research approaches to Shakespeare himself and to his oeuvre in Olga Katafiasz’s elaboration highlight the distinctive place of Shakespeare in nowadays culture, including pop-culture. Moreover, the variety of scholar and artistic approaches to the master from Stratford reveals also cognitive and creative abilities of film art and makes clear cultural productivity and actuality of Shakespeare. The latter means first of all possible achievement of historical and cultural accommodation to different discourses as well as of being a tool of update cultural communication. Namely in Marczak’s opinion Mirrors and Echoes… provides a practical implementation of the film theory of adaptation as interpretation of the source text and endeavors to be a response to those who ask whether Shakespeare remains a vivid author, delivering important questions and important answers for human beings of 21st century.
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Upadhyay, Siddharth Shankar. "UP AND DOWN, UP AND DOWN: DUPING IN A MIDSUMMER NIGHT’S DREAM." Journal of English Language and Literature 09, no. 04 (2022): 29–34. http://dx.doi.org/10.54513/joell.2022.9405.
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Elizabethan audience had a taste for wit and an interest in discovering the artistry behind the invention and the execution of the joke. Duping is a dramatic device which satisfied this relish for the display of wit in the Elizabethan comedies. This paper argues that Shakespeare uses duping as a narrative technique in A Midsummer Night’s Dream to give the play its dramatic, structural and thematic unity. The paper discusses how Shakespeare’s comedies unlike traditional comedies of the time do not focus on the correction of human folly but rather offer a commentary on the human nature and turn toward the self. Shakespeare's humour is kind, and even when he uses a dupe storyline, he usually downplays the careless anger that he knows is at the root of the desire to mock. The dupe is not exploited like in other Elizabethan comedies. The dupe in Shakespeare offers a site for questioning and commenting on human behaviour. Shakespearean comedies become more than just crude mockery and laughter. They offer an insight about the human nature and help us come to terms with our own self.
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Seferyan, Sona. "Shakespeare and the Bible." Armenian Folia Anglistika 1, no. 1-2 (1) (October 17, 2005): 113–15. http://dx.doi.org/10.46991/afa/2005.1.1-2.113.
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In the Armenian reality the translations of Shakespeare’s works have been studied from diverse perspectives – text equivalence, choice of words, fidelity to style and poeticism. The Armenian classical translator Hovhannes Massehian was the first who investigated the imagery of the original and Biblical allusions. He revealed the Biblical language of Shakespeare and used Armenian equivalents in his interpretations. The most successful translations of 12 Shakespearean works by Massehyan confirm the invaluable contribution that the Armenian translator made in the history of the art of translation in Armenia.
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Mihara, Minoru. "Shakespearean Ballads in Thomas Percy’s Reliques of Ancient English Poetry: Transition from Oral Songs to Printed Historical Documents." Textual Cultures 10, no. 2 (October 18, 2018): 107–25. http://dx.doi.org/10.14434/textual.v10i2.22840.
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Thomas Percy’s ballad collection, Reliques of Ancient English Poetry, marks a point of intersection between balladry and Shakespeareana, which both went through a transitional phase from vocal performance to literary undertaking in the eighteenth century. In the Reliques, ballads that had been orally transmitted by minstrels were changed into validated printed sources for a scholarly project. This transition helped eighteenth-century editors gain a historical understanding of Shakespeare and emend his traditionally received texts. These editors were persuaded to use the ballads in the Reliques as reliable sources for their emendation since they were printed as authoritative documents that were useful for their academic editions of Shakespeare. They gained easy textual access to the printed ballads in the Reliques to search for contextual or emendatory materials. A comparison of four Shakespeare-related ballads in the Reliques (“King Cophetua and the Beggar-Maid,” “Take Thy Old Cloak about Thee,” “Willow, Willow, Willow,” and “The Passionate Shepherd to His Love”) to their counterparts in editions of Shakespeare reveals that the ballads that were printed as historical documents in the Reliques advanced the editors’ contextual illustration of Shakespeare and that they authorized the emendation of the textus receptus. This article focuses on the effect of the historical information provided by Percy’s printed ballads on George Steevens’s and Edmond Malone’s contextualization of Shakespeare and on their emendation of Shakespearean texts. In addition, it concentrates on the possibility that Edward Capell referred to Shakespearean ballads in Percy’s Reliques combined with old Quarto editions of Shakespeare’s works.
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Watson, Alex. "Shadowing Shakespeare." Critical Survey 33, no. 1 (March 1, 2021): 72–84. http://dx.doi.org/10.3167/cs.2021.330106.
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In his 1980 film Kagemusha or Shadow Warrior, Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to impersonate their recently deceased leader, Takeda Shingen. I examine Kagemusha as a critical engagement with Shakespeare’s English history plays and ‘shadow’ counterpart to Kurosawa’s trilogy of Shakespeare adaptations, Throne of Blood (1957), The Bad Sleep Well (1960) and Ran (1985). In keeping with Shakespeare’s dramatisation of English history, Kurosawa creatively reworks historical sources, incorporating stories of intergenerational rivalry and fulfilled prophecies, to depict the transition from medieval civil conflict to the early-modern nation-state. Kurosawa also deploys the motif of the double to explore the distinctively Shakespearean theme of power as performance, engaging in a dramatic examination of Machiavelli’s ideas about politics. I argue that Kurosawa’s use of the double posits a theory of influence, drawing on Japanese cultural traditions, in which doubling can achieve a form of transcendence through self-annihilation.
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Tatipang, Devilito P. "William Shakespeare and Modern English: To What Extent the Influence of Him in Modern English." Journal of English Language Teaching, Literature and Culture 1, no. 1 (March 25, 2022): 61–71. http://dx.doi.org/10.53682/jeltec.v1i1.3728.
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Shakespeare’s works at that time considered a work of high art. The influence of his work has been a source of inspiration for many artists to create paintings, operas and ballet performances. Studying Shakespeare is like studying life from multiple perspectives: psychological, political, philosophical, social, spiritual. The rhythms he uses in his words are reflected in the rhythms of our bodies. Known as the greatest English-language writer in history, and earning him the nickname of England's national poet, William Shakespeare is the author with the most-played theatrical work to date. More than four centuries since his death, William Shakespeare is still one of the greatest English playwrights. The tens of thousands of people who throng to see Shakespeare's plays will be able to hear the 1700 words created by Shakespeare. Many of his words are currently in use. Examples: "deafening" (deaf)," hush", "hurry" (quickly), " downstairs" (below), " gloomy" (sad), " lonely" (alone), "embrace" (hugs), " dawn" (twilight). The spelling used by Shakespeare was different from his time. Elizabethans spelled words as they were written, such as Latin and Indonesian. There is no "correct" way to spell. People write a word the way they want it to be spelled.
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Rayner, Francesca. "Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 27–41. http://dx.doi.org/10.1515/mstap-2017-0003.
Full textAbstract:
This article addresses the key role of performance space in mediating between cultural locations. It discusses two Portuguese performances of Shakespeare where audiences were invited to become part of the performance and the ways in which this dehierarchization of the performance space framed a cross-cultural encounter between a globalized text and a localized performance context. In Teatro Oficina’s 2012 King Lear, both audience and performers sat around a large table in a production which reflected upon questions of individual and collective responsibility in Shakespearean tragedy and in the wider political sphere. In the middle of this performance space hung a large cube onto which the translated text was projected, setting up a spatial tension between text and performance that also foregrounded the translocation of the Shakespearean text to a Portuguese performance context. In Tiago Rodrigues’ 2013 By Heart, ten members of the audience were invited onstage to learn Shakespeare’s Sonnet 30 “by heart and not by brain.”1 In doing so, Rodrigues emphasized the cultural embeddedness of Shakespearean texts in a wider European cultural context and operated a subtle shift from texts to performance as a privileged repository for the cultural memory of Shakespeare. The article explores how these spatial shifts signaled the possibility of enabling cross-cultural identifications with Shakespeare through performance.