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    Wyświetlanie 1-10 z 10
    Tytuł:
    Theatre reviews: Jovial Usurper in the Traditional Kyogen Style: Kuninusubito (based on Richard III) at the Setagaya Public Theatre, Tokyo
    Autorzy:
    Noda, Manabu
    Powiązania:
    https://bibliotekanauki.pl/articles/647958.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    theatre
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Shakespeare in Romania: The Meandering Road from Adoption to Adaptation
    Autorzy:
    Sirbulescu, Emil
    Powiązania:
    https://bibliotekanauki.pl/articles/647960.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    theatre
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    To love the Moor? The representation of Otherness in Spanish translations of Othello .
    Autorzy:
    Ezpeleta Piorno, Pilar
    Powiązania:
    https://bibliotekanauki.pl/articles/647962.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    theatre
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Towards Intercultural Dialogue with Shakespeare
    Autorzy:
    Colarusso, Dana Mafalda
    Powiązania:
    https://bibliotekanauki.pl/articles/647966.pdf
    Data publikacji:
    2009
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    theatre
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “I see it in my motion, have it not in my tongue”: The Slavic Sounds of Shakespeare Translations
    Autorzy:
    Cetera-Włodarczyk, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/888951.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Slavic translations
    organic poetry
    Opis:
    The paper sets to explore the specificity of the Slavic translations of Shakespeare with some special emphasis on the prosodic features of Slavic languages. Preceded by a general discussion of the sounds and rhythms of Slavic languages, the paper presents the historical overview of the translations strategies used by translators to deal with the challenges of Shakespeare’s iambic pentameter. Here some of the most important shaping factors are discussed such as the pressure of the Neoclassical and Romantic models or the influence of Schlegel’s doctrine of organic poetry. Secondly, the paper accounts for the establishment of the national canons of Shakespeare’s translations and their impact on the subsequent attempts at translation.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 119-131
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Some Remarks on Shall’s and a Hypothesis of its Origin
    Autorzy:
    Tomaszewska, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/888713.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    Jonson
    Shakespeare
    modals
    let’s idiom
    gramaticalisation
    Opis:
    The present study focuses on the origin of the idiom shall’s ‘shall we’ in two corpora: the online database The Collected Works of Shakespeare and a corpus of Ben Jonson works compiled on the basis of online html texts linked to the webpage Luminarium: Anthology of English Literature. The Works of Ben Jonson. The paper discusses available accounts of the issue offered by late nineteenth and early twentieth century linguists and juxtaposes them with new findings and observations. The author analyzes data concerning shall’s, shall us, shall we, let’s and let us to suggest a new hypothesis on the potential rise of shall’s, i.e. that the idiom resulted from a blending of shall we and let’s.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 147-162
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    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:
    “Listen to many, speak to a few”: Eduard Vojan’s Hamlet on the First Czech Stage
    Autorzy:
    Mišterová, Ivona
    Powiązania:
    https://bibliotekanauki.pl/articles/889076.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    Jaroslav Kvapil
    Eduard Vojan
    the National Theatre in Prague
    Opis:
    Hamlet has been frequently performed on the Czech stage, not only during the nineteenth century but also throughout the twentieth and twenty-first centuries. From 1905 until the end of his career at the National Theatre in Prague, Hamlet was also the mainstay of Jaroslav Kvapil’s repertoire. The aim of this paper is to concentrate on four productions of Hamlet at the National theatre in Prague in 1905, 1915, 1916, and 1920. In order to illustrate the critical reception of these four productions, the paper draws upon a range of period theatre reviews and critical commentaries. It attempts to show how directorial and acting choices have shaped the play in performance, by focusing in particular on Eduard Vojan’s renditions of Hamlet, set in different national contexts. Vojan (1853–1920) was one of the greatest Czech actors and performers of Shakespearean protagonists, famous for his deep, almost Protean insight into his characters. His portrayal of Hamlet (1905) still represents one of the best Shakespearean renditions on the Czech stage. Vojan discovered and skilfully interpreted Hamlet’s complicated character. His Danish prince was a lonely, sarcastic, and nonconforming individual opposing the world’s pettiness.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 107-117
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Thou mightst have done this without thy beard and gown”: William Shakespeare and the Language of Disguise
    Autorzy:
    Dale, James
    Powiązania:
    https://bibliotekanauki.pl/articles/888949.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    King Lear
    The Winter’s Tale
    Twelfth Night
    theatrical disguise
    Opis:
    William Shakespeare’s use of theatrical disguise can be assessed through the discourses his disguised characters employ, having significant ramifications at a socio-political, linguistic and metatheatrical level. In illustrating this view, I will explore the role(s) of Edgar in King Lear, drawing on the views of Stephen Greenblatt, Mikhail Bahktin and Ludwig Wittgenstein. I will then examine my conclusions and align them to Autolycus in The Winter’s Tale and Feste in Twelfth Night, while determining whether any recurring socio-political, linguistic and metatheatrical patterns emerge. Finally, I will determine whether it is possible to formulate a strategy of a language of disguise as Shakespeare saw it.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 81-95
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Seeing the Spider: The Jealous Rage of Exchange in The Winter’s Tale and Othello
    Autorzy:
    Innes, Paul
    Powiązania:
    https://bibliotekanauki.pl/articles/888736.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    The Winter’s Tale
    Othello
    social encoding of behaviour
    gender roles
    Opis:
    A venerable critical tradition has long flavoured the reception of Shakespeare’s plays with psychology. Characters are read as real people, and as a consequence, the plays are analysed from the starting point of an individual character’s inward personality. However, this literary reading of the plays fails to take into account not only the performance of character on the Renaissance stage but also the theatrical culture that predetermines forms of characterisation for that audience. The playing of roles within this drama needs to be continually re-investigated, and in the case of The Winter’s Tale and Othello, fully reimagined. The conventional ascription of the plot development entirely to the jealousy of both Leontes and Othello can accordingly be reworked. The modern obsession with psychology obscures a field of semantic forces that goes well beyond the purview of any individual to a social encoding of possible behaviours. This restores multiple potentialities to the plays in performance, freeing them from a narrow insistence that meaning is rooted entirely in the individual. This in turn provides a context for deeper analysis of gender roles and how they intersect with the impetus generated by patriarchal modes of inheritance.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 69-80
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-10 z 10

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