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    Wyświetlanie 1-12 z 12
    Tytuł:
    A Crack in the Shell: Reading a Few Lines from King Lear
    Autorzy:
    Sławek, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/888875.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    William Shakespeare
    King Lear
    violence and justice
    Opis:
    The article takes up the theme of Agamben’s violence without a form of justice and reads Shakespeare’s tragedy as spanned between Cordelia’s “nothing” at the start of the play and Lear’s “never” at its end. It also approaches a question of the relationship between, in Rousseau’s word, “l’homme naturel” and “citoyen.” Lear’s push towards a position of being “unaccommodated” suggests a move away from the organization of life previously holding its rule over men towards a marginal, peripheral zone with uncertain rules where man has to risk his own decisions rather than merely follow the custom.
    Źródło:
    Anglica. An International Journal of English Studies; 2016, 25/3; 11-36
    0860-5734
    Pojawia się w:
    Anglica. An International Journal of English Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Time and Age as Protagonists in Sophocles’ Oedipus Coloneus
    Autorzy:
    Schade, Gerson
    Powiązania:
    https://bibliotekanauki.pl/articles/1046794.pdf
    Data publikacji:
    2014-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Time
    Age
    Classical Tragedy
    Oedipus
    King Lear
    Macbeth
    Opis:
    Sophocles’ second Oedipus-play clearly relates to the first; it holds, however, a particular place in literary history, for it was the last play to be included into the canon of classical Attic tragedy. Moreover, the play shows another peculiarity: though the idea that death can be preferable to life is familiar to all Sophoclean protagonists, Oedipus was the only one allowed to get old, a process depicted quite realistically by old Sophocles. Oedipus’ self-explanation, however, that he suffered himself more than he really acted, resembles much a Catch-22 situation: if that were the case in those days, as Oedipus says that it was, he then was crazy and didn’t have to do what he did; but if he didn’t want to do what he did then, he was sane and had to do it, because the gods wanted him to do it. The proposed new reading of the play shows how time and age work on Oedipus’ frame of mind: a desire for whitewashing is acted out in a blame-game, awareness of what is to come is coupled with rather a hesitant manner as though he is slightly unsure of himself (what he is not), and eventually, being out of touch with time and fearing to be left alone make Oedipus curse, for he had been treated unjustly: Oedipus comes close to Shakespeare’s King Lear, though he does not go mad, he only becomes bad and dangerous to know.
    Źródło:
    Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 2; 5-14
    0302-7384
    Pojawia się w:
    Symbolae Philologorum Posnaniensium Graecae et Latinae
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Gospel of Divine Mercy in King Lear
    Autorzy:
    Grzegorzewska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2032701.pdf
    Data publikacji:
    2021-11-22
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    William Shakespeare
    King Lear
    gift
    mercy
    forgiveness
    Opis:
    The paper discusses Shakespeare’s preoccupation with the Christian notions of divine love, forgiveness and justice in The Tragedy of King Lear. In my reading I employ Jean-Luc Marion’s phenomenological reflection on the givenness of love and Hans-Urs von Balthasar’s theology of Paschal mystery. I take issue with the Marxist and existentialist interpretations of Shakespeare’s tragedy which prevailed in the second half of the $20^{th}$ century. My aim is not a simple recuperation of the “redemptionism” of the play, but an in-depth consideration of Christian allusions in the play which may tie love and forgiveness to justice and throw light on the ending of King Lear.
    Źródło:
    Text Matters: A Journal of Literature, Theory and Culture; 2021, 11; 321-333
    2083-2931
    2084-574X
    Pojawia się w:
    Text Matters: A Journal of Literature, Theory and Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish
    Od eufemizmów do wulgaryzmów – tłumaczenia na język polski mizoginistycznego monologu Króla Leara (Akt IV, Scena 6)
    Autorzy:
    Cebrat, Grzegorz Antoni
    Powiązania:
    https://bibliotekanauki.pl/articles/1192812.pdf
    Data publikacji:
    2020
    Wydawca:
    Krakowskie Towarzystwo TERTIUM
    Tematy:
    Shakespeare
    King Lear
    Polish translations
    obscenity
    Szekspir
    Król Lear
    tłumaczenia
    obsceniczność
    Opis:
    The paper investigates the issue how Polish translators of William Shakespeare’s King Lear dealt with rendering Lear’s monologue (Act IV, Scene 6, ll. 107-132), being a misogynistic tirade of the mad king against adultery, sexuality, and women in general. The play was translated into Polish at least fifteen times in the 19th and 20th centuries, beginning with the oldest published rendition by Ignacy Hołowiński (1841) and concluding with the most recent one by Jerzy S. Sito (2001). The paper analyses seven selected fragments taking into consideration lexical and stylistic choices made by the translators of the monologue in order to show how changing attitudes to sexual taboo and Shakespearean obscenities affected the translations in question. The analysis reveals the evolution of translators’ attitudes to those issues (also affected by contemporary Shakespearean research): from euphemistic treatment of the topic in the 19th century, through philological translations of Tarnawski and Chwalewik, to unrestricted modern renditions of Słomczyński and Barańczak, and the extreme case of straightforward obscene translation of Jerzy S. Sito
    Artykuł jest próbą analizy technik i metod zastosowanych przez tłumaczy w trakcie przekładu wyrazów i wyrażeń obscenicznych występujących w tragedii Williama Shakespeare’a Król Lear na język polski. Analiza skupia się na tłumaczeniach monologu szalonego króla (Akt IV, scena 6, wersy 107-132), który jawi się jako mizoginistyczny atak na kobiety, seksualność, oraz cudzołóstwo. Materiał tekstowy stanowi 15 przekładów sztuki, począwszy od najstarszego tłumaczenia, dokonanego przez Ignacego Hołowińskiego i opublikowanego w 1841 roku, a skończywszy na wersji Jerzego S. Sity z roku 2001. Artykuł analizuje wybrane zdania i jednostki leksykalne, pochodzące z siedmiu fragmentów monologu, pod kątem technik i strategii tłumaczeniowych zastosowanych przez poszczególnych tłumaczy przy przekładaniu pojęć uważanych za nieprzyzwoite, a dotyczących kobiecego ciała, seksu, rozpusty, cudzołóstwa, itp. Przeprowadzona analiza wykazuje ewolucję sposobów przekładu, związanych z epoką w której polski tekst powstał i jej uwarunkowaniami kulturowo-społecznymi, a także z rozwojem badań nad twórczością i językiem Shakespeare’a, i pozwala śledzić zmiany, począwszy od eufemistycznego stylu tłumaczeń powstałych w XIX. wieku, poprzez filologiczne tłumaczenia Tarnawskiego i Chwalewika, a skończywszy na współczesnych, miejscami ‘niecenzuralnych,’ tekstach Słomczyńskigo, Barańczaka, a zwłaszcza Sity, który nie zawahał się użyć wulgaryzmów.
    Źródło:
    Półrocznik Językoznawczy Tertium; 2020, 5, 1; 77-96
    2543-7844
    Pojawia się w:
    Półrocznik Językoznawczy Tertium
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dehierarchizing Space: Performer-Audience Collaborations in Two Portuguese Performances of Shakespeare
    Autorzy:
    Rayner, Francesca
    Powiązania:
    https://bibliotekanauki.pl/articles/647930.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    King Lear
    Sonnet 30
    performance space
    audience participation
    Opis:
    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.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 27-41
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “I fear I am not in my perfect mind.” Jan Klata’s King Lear and the Crisis of Europe
    Autorzy:
    Cieślak, Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/648214.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Jan Klata
    King Lear in Poland
    Europe
    Catholic Church
    diversity
    unity
    identity
    Opis:
    In his Shakespearean productions Jan Klata tends to radically experiment with sets, texts, and contexts. He puts the plays in culturally and politically specific locations, experiments with bi- or multilingual productions, and incorporates other texts into the Shakespearean frame. In this way, he uses Shakespeare as a means to address contemporary problems and tensions that are vital for his geopolitical reality, exploring the issues of national identities, the cultural legacy of Europe and its nations, as well as past conflicts and present crises. Klata’s King Lear (Narodowy Teatr Stary, Kraków, 2014), set in the religious context of the Catholic Church and using mostly Polish language, with only decorative additions in foreign languages, does not engage in European politics with the same directness and force as his earlier productions. And yet, as I wish to argue, this performance is also strongly concerned with European identity, and may, therefore, be seen as a valid voice in the discussion on how Shakespearean productions help to understand our current-day reality.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 107-117
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares
    Autorzy:
    Tang, Renfang
    Powiązania:
    https://bibliotekanauki.pl/articles/648238.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    huaju
    Chinese Shakespeare adaptations
    Coriolanus
    King Lear
    intercultural performance
    identity
    politics
    Opis:
    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.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 61-81
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Medievalism of Emotions in King Lear
    Autorzy:
    Czarnowus, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/1812152.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    medievalism
    emotions in Shakespeare
    King Lear
    Reformation in England
    humoral theory
    Opis:
    King Lear exemplifies two cultures of feeling, the medieval and the early modern one. Even though the humoral theory lay at the heart of the medieval and the early modern understanding of emotions, there was a sudden change in the understanding of specific medieval emotions in Renaissance England, such as honour as an emotional disposition. Emotional expression also changed, since the late Middle Ages favoured vehement emotional expression, while in early modern England curtailment of any affective responses was advocated. Early modern England cut itself off from its medieval past in this manner and saw itself as “civilized” due to this restraint. Also some medieval courtly rituals were rejected. Expression of anger was no longer seen as natural and socially necessary. Shame started to be perceived as a private emotion and was not related to public shaming. The meaning of pride was discussed and love was separated from the medieval concept of charity. In contrast, in King Lear the question of embodiment of emotions is seen from a perspective similar to the medieval one. The article analyzes medievalism in terms of affections and studies the shift from the medieval ideas about them to the early modern ones.
      King Lear unaocznia dwie kultury uczuć, kulturę średniowieczną i renesansową. Jest to widoczne przy prezentacji zagadnienia, jak uczucia mają być wyrażane, gdyż w średniowieczu trzeba je było głośno wyrażać, ale w świecie przedstawionym w sztuce jest to trudne do zrobienia. Elementem wspólnym dla starożytności, średniowiecza i renesansu była teoria humoralna. Shakespeare omawia, jak renesans przepracowuje mediewalistyczne pojęcia honoru, złości, wstydu, dumy, a także w jaki sposób podchodzi do tematu uczuć jako czegoś mającego miejsce w ciele. Artykuł analizuje mediewalizm w uczuciach oraz przedstawia renesansową zmianę, która dotyczyła emocji średniowiecznych.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 181-196
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"
    Autorzy:
    Selim, Yasser Fouad
    Powiązania:
    https://bibliotekanauki.pl/articles/648305.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    King Lear
    The Arab Shakespeare
    Adaptation
    Localization
    Dahsha
    Local Shakespeare
    Global Shakespeare
    Opis:
    Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 145-160
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    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:
    Shakespeare and National Mythologizing in Czech Nineteenth Century Drama
    Autorzy:
    Procházka, Martin
    Powiązania:
    https://bibliotekanauki.pl/articles/647985.pdf
    Data publikacji:
    2016-06-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    nationalism
    mythologizing
    history
    William Shakespeare
    tragedy
    King Lear
    Henry IV
    Karel Hynek Mácha
    Josef Kajetán Tyl
    Opis:
    The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 25-33
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    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
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