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Tytuł:
Brown, Never Black: Othello on the Nazi Stage
Autorzy:
Bassey, Alessandra
Powiązania:
https://bibliotekanauki.pl/articles/1033519.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
Nazi Germany
Nazi Shakespeare
Blackface
Race
Representation
Shakespeare Production
Global Shakespeare
German Shakespeare
Theatre History
Opis:
This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 51-65
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:
Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces
Autorzy:
Desmet, Christy
Powiązania:
https://bibliotekanauki.pl/articles/647950.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Global Shakespeare
Local Shakespeare
Intercultural Shakespeare
Glocal Shakespeare
Dobson
Michael
Wilson
Robert Kennedy
Barucha
Rustom
Massai
Sonia
Isango Ensemble
Globe to Globe Hamlet
Laura Bohannon
“Shakespeare in the Bush”
Orkin
Martin
Opis:
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.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 15-26
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare in Chinese Cinema
Autorzy:
Wu, Hui
Powiązania:
https://bibliotekanauki.pl/articles/648128.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
film
Hamlet
Chinese cinema
Opis:
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006-Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 71-81
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“You have served me well:" The Shakespeare Empire in Central Europe
Autorzy:
Drábek, Pavel
Powiązania:
https://bibliotekanauki.pl/articles/39778311.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in Europe
travelling actors
Shakespeare in performance
Shakespeare in translation
adaptation
historiography
logocentrism
decolonisation
recrafting
Opis:
Shakespeare has often served as an instrument of cultural colonialism. In this essay I argue that the current practice of Shakespeare studies in many ways replicates this pattern. By priming the discourse through Shakespeare, it perpetuates logocentric regimes of knowledge that tend to impose reductive perspectives—such as the binaries of Shakespeare’s original–adaptation and that of the author–adapter, but also scripture–exegesis, London–province or London–Continent, centre–periphery and empire–colonial subjects. Drawing on case studies from five centuries—of sixteenth- and seventeenth-century travelling performers, through eighteenth-century German theatre, to twentieth- and twenty-first-century writing and performance, I argue for a need to revisit the logocentric and colonial epistemology. I call for breaking away from the critical heritage of the “Shakespeare Empire,” for reconceptualising how we use Shakespeare, and for refocusing our critical attentions to the thick descriptions of cultures and crafts that make and host Shakespeare.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 109-140
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"
Autorzy:
Laskowska-Hinz, Sabina
Powiązania:
https://bibliotekanauki.pl/articles/1033498.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Desdemona
William Shakespeare
Othello
Marian Nowiński
Shakespeare in visual arts
Opis:
The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 135-151
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Shakespeare is a Finnish national poet:” Developing Finnish Shakespeare Scholarship from the Enlightenment to the Twentieth Century
Autorzy:
Southgate, Laina
Powiązania:
https://bibliotekanauki.pl/articles/39767933.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Global Shakespeare Studies
Finland
Adaptation
Translation
Imperialism
Colonialism
Sweden
Russia
Opis:
In this article, I will take up the idea of “origins” as it pertains to Finnish Shakespeare during Finland’s time as an autonomous Grand Duchy of Russia from 1809-1917. While not technically the beginning of Shakespearean performances, the late eighteenth and early nineteenth centuries are the beginning of the rhetorical use of Shakespeare in public discourse used to establish cultural sovereignty distinct from Sweden and Russia. Beginning with a brief overview of Shakespearean mentions in the latter half of the eighteenth century, I will analyse the public discourse found in Finnish literary journals and newspaper articles in the 1810’s and 20’s. Following an analysis of J. F. Lagervall’s 1834 Ruunulinna, I will then briefly track how shifting attitudes towards translations such as those found in J. V. Snellman’s writings influenced the emerging Finnish literary and theatre tradition, most notably with Kaarlo Slöör and Paavo Cajendar’s Shakespeare translations and the establishment of the Finnish Theatre in 1871. Finally, an analysis of Juhani Aho’s untranslated essay in Gollancz’ 1916 A Book of Homage to Shakespeare will highlight the legacy of prior Finnish Shakespearean traditions, while also highlighting the limits of translation. Ultimately, I suggest that Shakespeare was appropriated early on as an accessible figure of resistance in the face of Swedish linguistic supremacy and the increasing threat of Russian assimilation and oppression.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 107-123
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hamlet Underground: Revisiting Shakespeare and Dostoevsky
Autorzy:
Thurman, Chris
Powiązania:
https://bibliotekanauki.pl/articles/648299.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Dostoevsky
Hamlet
Hamletism
underground
nihilism
Opis:
This is the first of a pair of articles that consider the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. Acknowledging Shakespeare’s well-known influence on Dostoevsky and paying close attention to similarities between the two texts, the author frames the comparison by reflecting on his own initial encounter with Dostoevsky in David Magarshack’s 1968 English translation. A discussion of previous Anglophone scholarly attempts to explore the resonance between the texts leads to a reading of textual echoes (using Magarshack’s translation). The wider phenomenon of Hamletism in the nineteenth century is introduced, complicating Dostoevsky’s national and generational context, and laying the groundwork for the second article-which questions the ‘universalist’ assumptions informing the English translator-reader contract.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 79-92
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Additional Dialogue by…Versions of Shakespeare in the World’s Multiplexes
Autorzy:
Paterson, Ronan
Powiązania:
https://bibliotekanauki.pl/articles/648136.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in film
cinema adaptation
genre adaptation
Shakespeare in multiplexes
Opis:
William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 53-69
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„... in jeder Zeile von Shakespeare handeln“ – Zur Problematik des fiktionalisierten ‚Genies‘. Ein Vergleich zwischen Johann Gottfried Herders Shakespeare-Aufsatz (1773) und Egon Friedells Shakespeare-Essay (1911)
„... in every line facing up to Shakespeare“ – On the difficulty of the fictionalized ‘genius’. Johann Gottfried Herder’s essay about Shakespeare (1773) as compared to Egon Friedell’s essay about Shakespeare (1911)
Autorzy:
Porath, Mike
Powiązania:
https://bibliotekanauki.pl/articles/1592360.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Szczeciński. Wydawnictwo Naukowe Uniwersytetu Szczecińskiego
Tematy:
Genie
Shakespeare
Herder
Friedell
genius
geniusz
Opis:
Der Begriff ‚Genie‘ verleitet zur Fiktionalisierung derjenigen Person, die für ein ‚Genie‘ gehalten wird. Dadurch kann häufig nicht mehr zwischen ‚Dichtung und Wahrheit‘ unterschieden werden. ‚Genie‘ fungiert daher besonders in der Literatur als Instrument, jemanden von einer bestimmten Idee zu überzeugen. Dieses Denkmuster von ‚Genie‘ ist seit dem 18. Jahrhundert bis in die Gegenwart prägend. Ein prägnantes Beispiel dafür ist der englische Dichter William Shakespeare, der sowohl in Herders (1773) als auch in Friedells (1911) Shakespeare-Essay im Sinne einer Idealisierung und Stilisierung oder Zeitkritik als ‚Genie‘ fiktionalisiert wird. Herder benutzt Shakespeare für sein poetologisches Programm im Sturm und Drang zur Herausstellung eines neuen, progressiven Dichtertypus. Friedell versucht, anhand von Shakespeare ein ganzes Zeitalter im Kontrast zu seiner Gegenwart zu Beginn des 20. Jahrhunderts zu exemplifizieren.
The term ‘genius’ induces to fictionalize the special person, who is considered to be a ‘genius’. As a consequence, it is often difficult to distinguish between fiction and truth. Therefore ‘genius’ is often used as a tool to convince somebody of a specific idea in literature. This thought pattern of ‘genius’ is formative since the 1700s until today. In these premises the English poet William Shakespeare is an incisive example: he is fictionalized as a ‘genius’ for the purpose of idealization and stylization or to analyze contemporary issues in Herder’s (1773) and Friedell’s (1911) essays about Shakespeare. Herder utilizes Shakespeare for his poetological scheme to underscore a new and progressive type of poet in the epoch of Sturm und Drang. Friedell tries to exemplify by reference to Shakespeare an entire era in contradistinction to his present age at the beginning of the 20th century.
Pojęcie ‘geniusza’ zachęca do fikcjonalizowania osób uważanych za ‘geniuszy’, wskutek czego trudno często odgraniczać między ‘zmyśleniem i prawdą’. ‘Geniusz’ funkcjonuje zatem szczególnie w literaturze jako instrument służący do przekonywania innych do określonych idei. Ten wzorzec myślowy dotyczący ‘geniusza’ dominuje od XVIII wieku do dzisiaj, czego najbardziej wyrazistym przykładem jest angielski twórca William Shakespeare, który zarówno w eseju Herdera (1773), jak i Friedella (1911) fikcjonalizowany jest w sensie idealizowania go bądź stylizacji na ‘geniusza’. Herder wykorzystuje Szekspira dla ukonstytuowania swojego programu literackiego w epoce ‘burzy i naporu’ do ukazania nowego, postępowego poety. Friedell próbuje poprzez postać Szekspira egzemplifikować nową epokę w kontraście do współczesnych mu czasów początku XX wieku.
Źródło:
Colloquia Germanica Stetinensia; 2019, 28; 83-100
2450-8543
2353-317X
Pojawia się w:
Colloquia Germanica Stetinensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare Comes to Indonesia
Autorzy:
Skupin, Michael
Powiązania:
https://bibliotekanauki.pl/articles/648192.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Sumardjo
Indonesian literature
translation
Raja Lear
Opis:
This paper discusses the circumstances of Shakespeare’s arrival in Indonesia via the translations of Trisno Sumardjo, published in the early 1950’s. Biographical material about the translator will be presented, and there will be a discussion of the characteristics the Indonesian language and of Indonesian verse which would determine the expectations of his readers, such as rhyme, meter and style, that would influence his renderings of the poetic passages in the Bard’s plays. These are illustrated in a sampling of passages from As You Like It, A Midsummer Night’s Dream, Macbeth and The Merchant of Venice. The Dutch translation of L. A. J. Burgersdijk was an indirect influence on the translations, and not always for the good. The paper concludes with a lengthy discussion of the extremely difficult problems that Sumardjo encountered in his translation of King Lear. This Lear was not published during the translator’s lifetime, Sumardjo’s prestige notwithstanding because he was not satisfied with the solutions he proposed.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 99-119
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare in History, History through Shakespeare: Caliban by the Yellow Sands
Autorzy:
Śmiałkowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/648281.pdf
Data publikacji:
2007
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Opis:
Percy MacKaye’s community masque, Caliban by the Yellow Sands, was performed in front of thousands of spectators between May 24th and June 5th, 1916 at New York Lewisohn Stadium, as part of American celebrations of the three-hundredth anniversary of Shakespeare’s death. The play is a fascinating example of a Shakespearean appropriation intended for a particular historical moment and specific socio-political purposes. Not only does it comment on America’s contemporary situation, but also intervenes in it, proposing solutions to current problems, most notably the huge increase of immigration from Southern and Eastern Europe. This paper investigates two interconnected methods which Caliban by the Yellow Sands employs to respond to the historical moment: the play’s representations of history and its uses of Shakespeare and the Shakespearean canon. It argues that, while the main thrust of the masque is an attempt to harness Shakespeare’s cultural authority in the service of promoting American cohesion based on the alleged supremacy of the Anglo-Saxon cultural heritage, the text reveals significant ambiguities and contradictions that this operation produces. Shakespeare’s art is shown as a force that can both liberate and subjugate, and Shakespeare as a curiously insubstantial and malleable figure, whose work only fully comes into being with each interpretation and is available for different kinds of appropriation. Despite glorifying the Bard, the masque simultaneously empties him of inherent meaning and transfers his power to those who interpret him.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2007, 4
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira
Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare
Autorzy:
Śliwińska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1039093.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Upstart Crow
Shakespeare in Love
biography
biographism
mystification
deception
Opis:
Śliwińska Anna, Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira [Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 323–339. ISSN 1644-6763. DOI 10.14746/pt.2019.32.17. The article focuses on two productions (the TV series Upstart Crow and the feature film Shakespeare in Love), which present the life of the famous playwright in an unusual way. It also looks at matters related to the practice of writing biographies of famous people, as well as biographism, which is treated by the makers of the aforementioned productions in a deceptive and hypothetical way. Finally, the question is asked regarding the function of deception and mystification, which were consciously used in the process of creating Shakespeare’s biographies in the two examples analysed.
Źródło:
Przestrzenie Teorii; 2019, 32; 323-339
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare and the Demonization of Fairies
Autorzy:
Spyra, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/641669.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
fairies
Protestant Reformation
Thomas Hobbes
Opis:
The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 194-213
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Tales from Shakespeare” Charlesa i Mary Lambów. Transpozycja intersemiotyczna dramatów Szekspirowskich – jej przyczyny, metody i konsekwencje
“Tales from Shakespeare” by Charles and Mary Lamb. Intersemiotic Transposition of Shakespeare’s Plays – Its Reasons, Methods and Consequences
Autorzy:
Pruszak, Michał
Powiązania:
https://bibliotekanauki.pl/articles/545271.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Gdański. Wydział Filologiczny
Tematy:
literature for children
Shakespeare
Tales from Shakespeare
Charles and Mary lamb
adaptation
narration
Opis:
Tales from Shakespeare by Charles and Mary Lamb (1809) is one of the earliest examples of Shakespeare’s plays transformed into texts dedicated to the young readers. The procedures, which the authors used during the transposition of the works of Shakespeare, have become commonplace for this kind of activities and are noticeable even today – not only in the case of literary adaptations. The Lambs’ book consists of twenty short tales based on Shakespeare’s plays. This article’s aim is to discuss a few aspects of Lambs’ work: what the main aim the authors wanted to achieve was, how they referred to the perceptual abilities of the children and to the zeitgeist of nineteenth-century England, what tools they used to succeed – and what the effects of Lambs’ project were.
Źródło:
Jednak Książki. Gdańskie Czasopismo Humanistyczne; 2017, 7; 111-132
2353-4699
Pojawia się w:
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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:
Modernity and Tradition in Shakespeare’s Asianization
Autorzy:
Yang, Lingui
Powiązania:
https://bibliotekanauki.pl/articles/648207.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
Asian tradition
modernity
Opis:
Do Marjorie Garber’s premises that Shakespeare makes modern culture and that modern culture makes Shakespeare apply to his reception in Asian contexts? Shakespeare’s Asianization, namely adaptation of certain Shakespeare elements into traditional forms of local cultures, seems to testify to his timelessness in timeliness. However, his statuses in modern Asia are much more complicated. The complexity lies not only in such a cross-cultural phenomenon as the Asianizing practice, but in the Shakespearization of Asia-the idealization of him as a modern cultural icon in a universalizing celebration of his authority in many sectors of modern Asian cultures. Yet, the very entities of Asia, Shakespeare, modernity, and tradition must be problematized before we approach such complexities. I ask questions about Shakespeare’s roles in Asian conceptions of modernity and about the relationship between his literary heritage and Asian traditions. To address these questions, I will discuss this timeliness in Asian cultures with a focus on Shakespeare adaptations in Asian forms, which showcase various indigenous approaches to his text-from the elitist legacy maintaining to the popularist re-imagining. Asian practices of doing Shakespeare have involved other issues. For instance, whether or not the colonial legacies and postcolonial re-inventions in the dissemination of his works in Asian cultures confirm or subvert the various myths about both the Bard and modernity in most time of the 20th century; in what ways Shakespeare has been used as at once a negotiating agent and negotiated subject in the processes of the prince’s translations and adaptations into Asian languages, costumes, landscapes, cultures and traditions.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 5-10
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Turkish Shakespeare Studies: An Origins Story
Autorzy:
Öğütcü, Murat
Powiązania:
https://bibliotekanauki.pl/articles/39769992.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Turkey
higher education
Shakespeare studies
curriculum
Opis:
Shakespeare is among the most important non-Turkish authors in Turkey and has become an indispensable part of the theatre repertory and the educational curricula. Yet, the origins of Shakespeare studies have a complicated legacy dating back to the imperialistic motivations of foreign schools in Ottoman Turkey. However, starting with the republican period, Shakespeare productions and studies were utilised to spread the progressive reforms of the republic that were maintained through the theatres and the various universities primarily set in Istanbul and in Ankara. Accordingly, this article will explore the origins of the academic study of Shakespeare in Turkey.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 83-105
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/648044.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
cabaret performance
parody
digital Shakespeare
Opis:
Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 81-93
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Yard and Korean Shakespeare
Autorzy:
Lee, Hyon-u
Powiązania:
https://bibliotekanauki.pl/articles/648138.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
yard
Globe Theatre
traditional Korean theatre
Shakespeare
Opis:
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.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 39-52
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Foreword: What Is Shakespeare? Who Is He? And When Is Shakespeare Himself Again?
Autorzy:
Clayton, Tom
Powiązania:
https://bibliotekanauki.pl/articles/648248.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 11-15
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hamlet. Dir. Simon Godwin. Royal Shakespeare Company. Royal Shakespeare Theatre, Stratford-upon-Avon, UK
Autorzy:
Byington, Danielle Nicole
Powiązania:
https://bibliotekanauki.pl/articles/960529.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 195-197
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare’s representations of rape
Autorzy:
Kujawińska Courtney, Krystyna
Powiązania:
https://bibliotekanauki.pl/articles/571950.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Wydział Neofilologii
Tematy:
Shakespeare
rape
Lucrece
suicide
patriarchy
gender politics
Elizabethan England
Opis:
The essay surveys representations of rape in selected Shakespeare’s works. The subject fascinated Shakespeare throughout his career. It appeared for the first time in his early narrative poem “The rape of Lucrece” and in one of his first tragedies “Titus Andronicus”. Though his later works, unlike these two, do not represent sexual assaults upon women graphically, rape is present in almost all his Roman and history plays (e.g. “Coriolanus”, “Henry V”, “Henry VI”), comedies (e.g. “A midsummer night’s dream”, “Measure for measure”) and romances (e.g. “Cymbeline”, “Pericles”, “The tempest”). Since in Shakespeare’s England the social structure prioritized male power, women were treated as men’s property. Any accomplished or attempted sexual violation of women polarized male legal and emotional bonding, and it also disrupted and/or empowered homosocial solidarity. A preliminary study of the presence and dramatic use of rape shows a distinctive evolution in Shakespeare’s attitude to this omnipresent subject. One reason for this change might be a shift in the legal classification of rape in Elizabethan England: from a crime against (male) property to a crime against an individual.
Źródło:
Acta Philologica; 2016, 49; 91-98
0065-1524
Pojawia się w:
Acta Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Archive and the Digital Age: Field Notes from the Pedagogical Front
Autorzy:
Makaryk, Irena R.
Hemingway, Ann
Powiązania:
https://bibliotekanauki.pl/articles/648252.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Digital Humanities
Hamlet
Shakespeare reception
teaching Shakespeare
Shakespeare in Canada
Opis:
The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 23-36
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bacon, Shakespeare i utopia sprawiedliwości
Autorzy:
Kowalcze-Pawlik, Anna
Powiązania:
https://bibliotekanauki.pl/articles/638944.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Bacon Francis, Shakespeare William, sprawiedliwość, utopia, utopia krytyczna
Opis:
Bacon, Shakespeare and the Utopia of JusticeThe article describes the functioning of “justice to come” in the English early modern culture in the light of Francis Bacon’s essay “Of Revenge” and the analysis of Act I of William Shakespeare’s Titus Andronicus. It demonstrates that reflection on the utopia of justice is not limited to one literary genre only, but permeates other texts created in the era when the questions about perfect state and ideal ruler were especially pertinent.
Źródło:
Wielogłos; 2014, 3(21)
2084-395X
Pojawia się w:
Wielogłos
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-25 z 389

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