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    Tytuł:
    Gdy przekład zaciera ślady – Szekspir jako kryptokatolik i jego tłumacze
    Covering Tracks in Translation: Shakespeare as a Crypto-Catholic and His Translators
    Autorzy:
    Gomoła, Aleksander
    Powiązania:
    https://bibliotekanauki.pl/articles/1878693.pdf
    Data publikacji:
    2016
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    Szekspir
    przekład
    polskie przekłady Szekspira
    teoria lancasterska
    kryptokatolicyzm Szekspira
    Lancastrian Shakespeare
    translation
    Polish translations of Shakespeare
    Macbeth
    The Twelfth Night
    Shakespeare’s Sonnets
    Opis:
    L’article explore les traductions polonaises des extraits des pièces et sonnets de Shakespeare révélant, d’après les proposants de la théorie du « Lancastrian Shakespeare », ses sympathies pro-catholiques. La première partie présente les points les plus importants de la théorie lancastrienne et son impact sur l’interpretation de l’œuvre de Shakespeare. La partie suivante analyse les allusions à deux jésuites, Edmund Campion (La Nuit des rois) et Henry Garnet (Macbeth), ainsi qu’à Anne Line (La Tempête). Ces allusions sont analysées puisqu’elles apparaissent tant dans les traductions polonaises les plus connues (tels Słomczyński, Barańczak, Sito) que dans les traductions moins répandues (à savoir Dygat, Siwicka, Kamiński). De surcroît, le Sonnet no 73 est brièvement analysé. L’étude montre que certaines connotations du texte source sont gardées, lorsqu’elles se réfèrent à des éléments extratextuels; néanmoins, beaucoup de connotations, en particulier celles basées sur les jeux de mots, disparaissent.
    The article explores Polish translations of excerpts of selected Shakespeare’s plays and sonnets revealing, according to proponents of “Lancastrian Shakespeare” theory, his pro-Catholic sympathies to see to what extent historical-religious tropes to be found in them are retained in target texts. Allusions to Edmund Campion (The Twelfth Night), Henry Garnet (Macbeth), and Anne Line (The Tempest) are discussed as they appear both in most popular and less known Polish translations of Shakespeare. The analysis shows that certain allusions suggesting Shakespeare’s crypto-Catholicism are visible in Polish translations yet quite a few, especially double entendres, disappear.
    Artykuł analizuje polskie tłumaczenia wybranych fragmentów twórczości Szekspira wskazujących, według zwolenników teorii lancasterskiej, na jego kryptokatolicyzm. W części pierwszej przedstawia najważniejsze tezy teorii lancasterskiej i jej skutki dla interpretacji twórczości Szekspira. Później analizuje, jak w polskich tłumaczeniach oddano aluzje do dwóch jezuitów – Edmunda Campiona (Wieczór Trzech Króli) i Henry’ego Garneta (Makbet) oraz do Anny Line (Burza). W analizie uwzględniono tłumaczenia najpopularniejsze (Słomczyński, Barańczak, Sito), jak i mniej znane, w tym najnowsze (Dygat, Siwicka, Kamiński). Krótkiej analizie poddano także tłumaczenia Sonetu 73. Artykuł dowodzi, że przekłady polskie zachowują zazwyczaj konotacje oryginału, gdy te odnoszą się do elementów pozatekstualnych, zatarciu ulegają natomiast konotacje będące wynikiem gry słów lub związane ze strukturą języka oryginału.
    Źródło:
    Roczniki Humanistyczne; 2016, 64, 8; 159-178
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s "Macbeth" in the Ewe language of West Africa
    Autorzy:
    Agbozo, G. Edzordzi
    Powiązania:
    https://bibliotekanauki.pl/articles/648287.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Blege
    Ewe
    Macbeth
    Shakespeare
    translation
    West Africa
    Opis:
    The cultural turn in translation theory brought attention to the idea that translation is not a purely linguistic phenomenon but one that is also constrained by culture. The cultural turn considers translation as a rewriting of an original text. In this paper, I attempt to find reflections of the cultural turn in a translation into an African language. As such, the paper reads William Shakespeare’s Macbeth in the Ewe language of West Africa, Shakespeare ʄe Makbet, as rewriting. Walter Blege is the translator and the Bureau of Ghana Languages is the publisher of the target text meant for Ewe language audience in Ghana. The target text is for learning and acquiring the Ewe language especially in the area of developing reading comprehension skills. Following Andre Lefevere and Jeremy Munday, this paper suggests that Shakespeare ʄe Makbet is a rewritten text as it follows some cultural constraints in its translation. The study provides insight into the motivations for some of the translator/rewriter’s choices. Given the less attention paid to the Ewe language and many other African languages, the paper proposes translation as a socio-psychological tool for revitalizing interest in the learning and acquisition of African and other lesser-known languages.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 43-56
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “All’s Well that Ends Welles”: Orson Welles and the “Voodoo”<i>Macbeth</i>
    Autorzy:
    Sawyer, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/647971.pdf
    Data publikacji:
    2016-06-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    multicultural
    Caribbean
    Orson Welles
    nationality
    voodoo
    Shakespeare
    Macbeth
    race
    Opis:
    The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 87-103
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History
    Autorzy:
    Fabiszak, Jacek
    Powiązania:
    https://bibliotekanauki.pl/articles/888889.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Hamlet
    Macbeth
    Andrzej Wajda
    Polish theatre productions
    Opis:
    Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 97-106
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    What bloody film is this? "Macbeth" for our time
    Autorzy:
    Rasmus, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/648295.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    Macbeth
    Polanski
    Kurzel
    mise-en-scène
    children
    politics
    location
    conflict
    Brexit
    ISIS
    Opis:
    When Roman Polanski’s Macbeth hit the screens in 1971, its bloody imagery, pessimism, violence and nudity were often perceived as excessive or at least highly controversial. While the film was initially analysed mostly in relation to Polanski’s personal life, his past as a WWII child survivor and the husband of the murdered pregnant wife, Sharon Tate, in retrospect its bleak imagery speaks not only for his unique personal experience but also serves as a powerful comment on the American malaise, fears and paranoia that were triggered, amongst other things, by the brutal act of the Manson Family. We had to wait forty four years for another mainstream adaptation of the play and it is tempting not only to compare Kurzel’s Macbeth to its predecessor in terms of how more accepting we have become of graphic depictions of violence on screen but also to ask a more fundamental question: if in future years we were to historicise the new version, what would it tell us about the present moment? The paper proposes that despite its medieval setting and Scottish scenery, the film’s visual code seems to transgress any specific time or place. Imbued in mist, its location becomes more fluid and evocative of any barren and sterile landscape that we have come to associate with war. Seen against a larger backdrop of the current political climate with its growing nationalism and radicalism spanning from the Middle East, through Europe to the US, Kurzel’s Macbeth with its numerous bold textual interventions and powerful mise-en-scène offers a valid response to the current political crisis. His ultra brutal imagery and the portrayal of children echo Polanski’s final assertion of perpetuating violence, only this time, tragically and more pessimistically, with children as not only the victims of war but also its active players.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 115-128
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bezdomni zmarli: rzecz o Szekspirowskich widmach
    The homeless dead: the case of Shakespeare’s spectres
    Autorzy:
    Grzegorzewska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2012206.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    cmentarz
    Szekspir
    Hamlet
    Makbet
    widma
    obrzęd
    Dziady
    graveyard
    Shakespeare
    Macbeth
    spectres
    the custom of dziady
    Opis:
    The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 257-270
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Jeśli umiecie – mówcie: kim jesteście?”. O Wiedźmach w wybranych polskich inscenizacjach Makbeta
    „Speak if you can: what are you?”: on the Witches in selected Polish productions of Macbeth
    Autorzy:
    Kowalski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/2050825.pdf
    Data publikacji:
    2021-12-11
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Shakespeare
    Macbeth
    The Witches
    staging
    adaptation
    fantastic characters
    Szekspir
    Makbet
    Wiedźmy
    inscenizacja
    adaptacja
    postaci fantastyczne
    Opis:
    Rozważania prowadzone w artykule skupiają się na postaciach Wiedźm w Makbecie Williama Szekspira oraz trzech jego inscenizacjach z pierwszej dekady XXI wieku (wyreżyserowanych przez Andrzeja Wajdę, Grzegorza Jarzynę i Maję Kleczewską). Wychodząc od niejasnego statusu postaci w samej tragedii, autor analizuje wybrane sceny ukazujące różne sposoby interpretowania ich spotkań z tytułowym bohaterem ze współczesnej perspektywy oraz sygnalizuje korzyści, jakie dydaktyka szkolna może czerpać z odwoływania się do współczesnych inscenizacji Makbeta.
    The paper focuses on The Witches as they are depicted in Macbeth by William Shakespeare and in three Polish productions of the play from the first decade of the 21st century (directed by Andrzej Wajda, Grzegorz Jarzyna, and Maja Kleczewska). While pointing out an equivocal status of these characters in the tragedy, the author analyses selected scenes which present various ways of interpreting their encounters with the protagonist in contemporary perspective and suggests how literary education in school might benefit from referring to recent productions of Macbeth.
    Źródło:
    Polonistyka. Innowacje; 2021, 14; 163-172
    2450-6435
    Pojawia się w:
    Polonistyka. Innowacje
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Noh Creation of Shakespeare
    Autorzy:
    Munakata, Kuniyodhi
    Powiązania:
    https://bibliotekanauki.pl/articles/648142.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Noh
    Noh Shakespeare
    Zen
    Hamlet
    Othello
    Macbeth
    King Lear
    Cordelia
    Madam Reiko ADACHI
    Kuniyoshi Munakata UEDA
    Opis:
    This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 87-106
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Some Japanese Shakespeare Productions in 2014-15
    Autorzy:
    Kawai, Shoichiro
    Powiązania:
    https://bibliotekanauki.pl/articles/648150.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    adaptation
    Bunraku
    Kyogen
    Falstaff
    Much Ado about Nothing
    Macbeth
    Hamlet
    Japanese traditional theatre
    Yukio Ninagawa
    Opis:
    This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced by the writer himself in a theatre-in-the-round in his new translation. Another is a production of Macbeth arranged and directed by Mansai Nomura the Kyogen performer. All the characters besides Macbeth and Lady Macbeth were performed by the three witches, suggesting that the whole illusion was produced by the witches. It was highly acclaimed worldwide. Another is a production of Hamlet directed by Yukio Ninagawa, with Tatsuya Fujiwara in the title role. It was brought to the Barbican theatre. There were also many other Shakespeare productions to commemorate the 450th anniversary of Shakespeare’s birth.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 13-28
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Not Minding the Gap: Intercultural Shakespeare in Britain
    Autorzy:
    Panjwani, Varsha
    Powiązania:
    https://bibliotekanauki.pl/articles/647932.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Braisian (British Asian)
    Shakespeare
    mixed-heritage
    identity
    intercultural
    Tribe Arts
    Tara Arts
    Phizzical
    Macbeth
    Romeo and Juliet
    Cymbeline
    Darokhand
    Opis:
    The article takes issue with the perceived space/gap between the multiple identities of mixed-heritage groups, as most of these people often pick and choose elements from all of their identities and amalgamate them into a cross-cultural whole. In recent years, such mixed-heritage groups in the U.K. have increasingly found cultural expression in Shakespeare. Focusing specifically on a number of recent Shakespearean productions, by what I term Brasian (my preferred term for British-Asians as it suggests a more fused identity) theatre companies, the article demonstrates how these productions employ hybrid aesthetic styles, stories, and theatre forms to present a layered Braisian identity. It argues that these productions not only provide a nuanced understanding of the intercultural map of Britain but are also a rich breeding ground for innovative Shakespeare productions in the U.K.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 43-57
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth
    Autorzy:
    Palomo Berjaga, Vanessa
    Powiązania:
    https://bibliotekanauki.pl/articles/648034.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    William Shakespeare
    Macbeth
    Josep Maria de Sagarra
    Cebrià Montoliu
    Diego Ruiz
    Cèsar August Jordana
    Catalan translations
    linguistic analysis
    performability
    Opis:
    Josep Maria de Sagarra translated twenty-eight of Shakespeare’s plays into Catalan in the early forties, at a time when Catalan language and culture were suffering severe repression due to Franco’s regime. The manuscript of Macbeth by Sagarra is from 1942; and the first edition (an impressive hard-bound clandestine edition) is from 1946 or 1947. Before his translation, there were three other Catalan translations of Macbeth, produced by Cebrià Montoliu (1907), Diego Ruiz (1908) and Cèsar August Jordana (1928). The main purpose of this article is to show that Sagarra’s translations marked a turning point regarding the translation of Shakespeare’s works in Catalan culture. This is done by reflecting on both cultural and personal circumstances that led Sagarra to translate Shakespeare and by comparing Sagarra’s translation of Macbeth with the other three from the first half of the twentieth century.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 29-40
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kabbalah, "Dybbuks", and the Religious Posthuman in the Shakespearean Worlds of "Twin Peaks"
    Autorzy:
    Starks, Lisa S.
    Powiązania:
    https://bibliotekanauki.pl/articles/2048131.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Twin Peaks
    Twin Peaks: The Return, Fire Walk with Me
    Twin Peaks: The Missing Pieces, The Secret History of Twin Peaks
    Twin Peaks: The Final Dossier
    David Lynch
    Mark Frost
    Kabbalah
    religious posthuman
    Shakespeare
    Pericles
    The Tempest
    Hamlet
    Macbeth
    Opis:
    In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 29-52
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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