Skocz do pozycji: 1.

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

/5

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Skocz do pozycji: 2.

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

/5

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Skocz do pozycji: 3.

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

/5

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Skocz do pozycji: 4.

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

/5

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Skocz do pozycji: 5.

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

/5

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Skocz do pozycji: 6.

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

/5

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Skocz do pozycji: 7.

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

/5

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Skocz do pozycji: 8.

Tytuł:

Re-reading the Archive: A 21st Century Re-appraisal of Kurosawa’s "The Bad Sleep Well" as a Modern "Hamlet"

Autorzy:

van Zon, Stan Reiner

Powiązania:

https://bibliotekanauki.pl/articles/39761617.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
adaptation
Shakespeare in Japan
'Hamlet'
Kurosawa
'The Bad Sleep Well'
Shakespeare in film

Opis:

Among Japanese film director Kurosawa Akira’s three Shakespeare films, Throne of Blood (1957), Ran (1985), and The Bad Sleep Well (1960), the latter has been relatively ignored in Anglophone Shakespeare criticism. This article investigates the Anglophone reception of The Bad Sleep Well and argues in favor of its re-appraisal as a Hamlet. On reception, it examines three explanations for the neglect: its modern setting, its deconstructive adaptation, and its cinematic quality. Considering the latter unconvincing, the article posits that the first two were only detrimental to the film’s reception because they respectively did not conform to Western expectations of essentially pre-modern ‘Oriental’ Japan and of ‘straight’ canonical Shakespeare. Considering changed attitudes in Shakespeare studies, neither of these should still be held against the film. On re-appraisal, The Bad Sleep Well may be reread in the 21st century as part of our continuing memory of our global Shakespeare discourse. Centering on the film’s innovative presentation of Claudius and The Mousetrap, the article argues for the porous border between ‘straight’ production and ‘crooked’ adaptation, and the value to the tradition of oblique approaches to familiar scenes and characters. By arguing for The Bad Sleep Well as a Hamlet worthy of study, the article furthers discussion on archival silences and new rhizomatic models of global Shakespeare that seek to move past the more reductive qualities of the ‘national Shakespeares’ mode of discourse that dominated in the 1990s and 2000s.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 41-59
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 9.

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

/5

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Skocz do pozycji: 10.

Tytuł:

“To Make Dark Heaven Light:” Transcending the Tragic in Sintang Dalisay

Autorzy:

Alegre, Anne Nichole A.

Powiązania:

https://bibliotekanauki.pl/articles/39763095.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare and adaptation
Filipino reception of Shakespeare
Romeo and Juliet adaptations
genre transformation
global Shakespeare

Opis:

Directed by Ricardo Abad and choreographed by Matthew Santamaria, Sintang Dalisay—a Filipino adaptation of Shakespeare’s Romeo & Juliet—is often lauded for its use of the igal ethnic dance of the Sama-Badjau, a Muslim tribe located in the southern region of the Philippines. It depicts Rashiddin and Jamillia’s star-crossed love amidst a violent and ancient feud between their families. This paper discusses the process and product of interweaving performance traditions and cultures in Sintang Dalisay and how the adaptation transforms Shakespeare’s Romeo and Juliet from tragic to utopic. It does so in two aspects: the kinesthetic and the mythic. First, the use of the igal dance motif expresses and unearths the play’s inherently religious and celestial language. Second, the appropriation of Asian myths or beliefs—particularly of Chinese and Filipino origins—transforms and transcends the tragic ending of Romeo and Juliet’s deaths.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 33-50
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 11.

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

/5

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Skocz do pozycji: 12.

Tytuł:

“Hopeful feeling[s]:” Utopian Shakespeares and the 2021 Reopening of British Theatres

Autorzy:

Hawkins, Rowena

Powiązania:

https://bibliotekanauki.pl/articles/39763860.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare and covid
Shakespare and crisis
Shakespeare in performance

Opis:

This article focuses on a specific moment in recent British theatre history: the late spring of 2021 when theatres reopened after a prolonged period of closure that had been enforced during the first waves of the Coronavirus pandemic. It considers The HandleBards’ production of Romeo and Juliet (performed at York’s Theatre Royal) and Shakespeare’s Globe Theatre’s production of A Midsummer Night’s Dream in the context of that unusual time. The productions, which both used bright colours and irreverent approaches to create festive atmospheres, had a shared joyful aesthetic which encouraged me to think more deeply about what audiences wanted—and needed—from post-lockdown theatre. In this article, I suggest that these vibrant Shakespeares, when presented in the immediate aftermath of the first waves of Covid, functioned as cathartic utopian performatives. They offered audiences uncomplicated joy and “a hopeful feeling of what the world might be like” after Coronavirus (Dolan 2005, p. 5). They “let audiences experience a processual, momentary feeling of affinity” and encouraged them to “imagine, together, the affective potential of a future in which this rich feeling of warmth, even of love, could be experienced regularly and effectively outside the theatre” (Dolan, p. 14). Utopian performatives are characterised by their transience and, inevitably, the simple joy of these Shakespeares was fleeting. Both venues have since hosted visually and thematically darker productions that have used Shakespeare to explore important social and political issues. Indeed, the HandleBards’ Romeo and Juliet and The Globe’s Midsummer are productions which might, in other circumstances, have been dismissed as simplistic. However, I suggest that these productions offered real hope for the future in the wake of crisis and demonstrate the importance of theatre in challenging times.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 51-70
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 13.

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

/5

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Skocz do pozycji: 14.

Tytuł:

The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions

Autorzy:

Nakatani, Mori

Powiązania:

https://bibliotekanauki.pl/articles/1033504.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
adaptation
novelization
Shakespeare in Japan
„Hamlet”
Hideo Kobayashi

Opis:

Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 69-83
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 15.

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

/5

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Skocz do pozycji: 16.

Tytuł:

Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)

Autorzy:

Matei-Chesnoiu, Monica

Powiązania:

https://bibliotekanauki.pl/articles/648240.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

geocriticism
Hamlet
Vlad Mugur
Shakespeare production
Shakespeare in Romania
spatial manipulation

Opis:

This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 51-60
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 17.

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

/5

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Skocz do pozycji: 18.

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

/5

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Skocz do pozycji: 19.

Tytuł:

“Not For An Age, But For All Time:” Autobiography and a Re-origin of Shakespeare Studies in Canada

Autorzy:

Solá Chagas Lima, Eduardo
Thompson, Julie

Powiązania:

https://bibliotekanauki.pl/articles/39766257.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

William Shakespeare
Shakespeare studies
Autobiographical theory
Canadian English curriculum
Secondary school
Literature

Opis:

Despite independence as a country, Canada belongs to the Commonwealth and has deep colonial roots and the British educational system was key in creating Canadian curricula. Given the centrality of Shakespeare’s work in the British literary canon, it follows that it would also figure heavily in the academic requirements for Canadian students. At the dawn of the Confederation (1867), the high school curriculum used Shakespeare to emphasize a “humanist” approach to English literature using the traditional teaching methods of reading, rhetoric, and recitation. Presently, Shakespeare continues to be the only author in the high school curriculum to whom an independent area of study is dedicated. The origin of Shakespeare in Canada through curriculum and instruction is, thus, a result from the canonic tradition imported from Britain. This traditional model no longer fits the imperative of multiculturalism, as reflected in the Canadian Constitution Act (1982). Yet, with the appropriate methodology Shakespeare’s texts can be a vehicle for multiculturalism, social justice, and inclusivity. In light of recent disillusionments concerning the relevance of Shakespearean texts in high school curricula, this paper proposes an alternative pedagogical approach that envisages changing this paradigm and fostering a re-origin of Shakespeare studies in Canada through an intentional pedagogical process grounded in individual experience. Scholarship has highlighted the importance of autobiographies in the learning process and curriculum theorists William Pinar and Madeleine Grumet designed a framework that prioritizes individual experience. Our approach to teaching Shakespeare’s works aligns with the four steps of their currere method, presented as: (1) contemplative, (2) translational, (3) experiential, and (4) reconceptual, fostering an opportunity for self-transformation through trans-historical social themes present in the text. The central argument is that Shakespeare’s text can undergo a re-origin when lived, given its initial conception as embodied, enacted narrative in the early modern period. In this method, students immerse themselves in Shakespeare’s text through films and stage productions and then manifest their interpretations by embodying the literature based on their autobiographical narratives. To undergo a re-origin in the Canadian secondary curriculum, current pedagogical approaches to teaching Shakespeare require a paradigm shift.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 161-177
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 20.

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

/5

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Skocz do pozycji: 21.

Tytuł:

Individualization and Oedipalization in Reza Servati’s Adaptation of William Shakespeare’s Macbeth: An Expressionist Reworking

Autorzy:

Javidshad, Mahdi

Powiązania:

https://bibliotekanauki.pl/articles/1812149.pdf

Data publikacji:

2021-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Servati
adaptation
minimalism
Expressionism

Opis:

This article investigates Reza Servati’s Macbeth, an Iranian prize-winning adaptation of Shakespeare’s Macbeth, to discuss the way the adaptor prunes the source text aiming at presenting his distinctive reading of Shakespeare’s play. First, this study is concerned with the way Servati minimalizes the source text and how the process of minimalization serves the adaptor’s preoccupation with the psychological complexities of the characters. Second, it is discussed how Servati’s changes to the source text takes the Renaissance inclination for individualism a step forward. Third, it is argued that the individualism in Servati’s adaptation is aimed at Oedipalization of the play, an attempt that shows the influence of Freudian psychoanalysis. Finally, this article investigates the way Servati’s adaptation can be considered as an expressionist reworking of Shakespeare’s Macbeth by making the individualization of the plot subservient to the expression of the typical course that everyman goes through.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 127-142
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 22.

Tytuł:

Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

Autorzy:

Keinänen, Nely

Powiązania:

https://bibliotekanauki.pl/articles/648289.pdf

Data publikacji:

2018

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
translation
drama translation
Hamlet
Shakespeare in Finland
Matti Rossi
Eeva-Liisa Manner

Opis:

This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 23-42
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 23.

Tytuł:

Makbet Giuseppe Verdiego wobec romantycznej recepcji
Macbeth by Giuseppe Verdi and the Romantic reception of William Shakespeare’s drama

Autorzy:

Borkowska-Rychlewska, Alina

Powiązania:

https://bibliotekanauki.pl/articles/1535114.pdf

Data publikacji:

2010-01-01

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

William Shakespeare’s dramatic works
Giuseppe Verdi’s opera
Romantic reception of Shakespeare
operatic stage
adaptation of the works of Shakespeare

Opis:

Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth. The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple Ake a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.

Źródło:

Poznańskie Studia Polonistyczne. Seria Literacka; 2010, 17; 227-248
1233-8680
2450-4947

Pojawia się w:

Poznańskie Studia Polonistyczne. Seria Literacka

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 24.

Tytuł:

“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography

Autorzy:

Meyer, John M.

Powiązania:

https://bibliotekanauki.pl/articles/39763541.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare in performance
utopia
race
slavery
Early Modern history
Black
African American
Public Theatre
American Shakespeare Center
Oregon Shakespeare Festival
Texas

Opis:

The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we tend to imagine ourselves in a primeval woodland, a setting without a history. Therefore, his plays are often performed without controversy—and (bizarrely) on or near sites specifically tied to the enslavement or disenfranchisement of people with African ancestry. New York City’s popular outdoor Shakespeare theater, the Delacorte, is situated just south of the site of Seneca Village, an African American community displaced for the construction of Central Park; Alabama Shakespeare Festival takes place on a former plantation; the American Shakespeare Center in Staunton, Virginia makes frequent use of a hotel dedicated to a Confederate general; the University of Texas’ Shakespeare at Winedale festival is performed in a barn built with supports carved by slave labor; the Oregon Shakespeare Festival takes place within a state unique for its founding laws dedicated to white supremacy. A historiographical examination of the Texas site reveals how the process of erasure can occur within a ‘progressive’ context, while a survey of Shakespearean performance sites in New York, Alabama, Virginia, and Oregon shows the strength of the unexpected connection between the performance of Shakespeare in America and the subjugation of Black persons, and it raises questions about the unique and utopian assumptions of Shakespearean performance in the United States.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 119-146
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 25.

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

/5

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Skocz do pozycji: 26.

Tytuł:

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

Autorzy:

Minier, Márta

Powiązania:

https://bibliotekanauki.pl/articles/647983.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
Shakespeare translation
retranslation
Hamlet
Shakespeare in Hungary
drama translation
Ádám Nádasdy
intersemiotic translation
adaptation
structural transformation
performance as translation
multimedia performance
performan

Opis:

This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 89-108
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 27.

Tytuł:

KOMUNIKACJA NAUCZYCIELA Z UCZNIAMI W KONTEKŚCIE LITERATURY PIĘKNEJ. REFLEKSJE STUDENTKI II ROKU PEDAGOGIKI
TEACHER-PUPIL COMMUNICATION IN THE CONTEXT OF BELLES-LETTRES. II YEAR STUDENTS REFLECTION

Autorzy:

Stępniak, Maria

Powiązania:

https://bibliotekanauki.pl/articles/1036588.pdf

Data publikacji:

2017-11-14

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Communication
teacher
students
literature
Shakespeare
pedagogy

Opis:

The article refers to relations in the process of communication between teacher and students. The author uses classical literature and an expert interview with an experienced school teacher to bring her point across. The author feels that the described issues are of particular significance for beginner pedagogues. Shakespeare's genius gives a broad perspective on the subject of communication, because in both comedies and dramas we observe the importance of the communication aspect, which may be transferred to the relationship between students and the teacher. This gives a broad picture of the possible scenarios that will appear in the teacher's work and allows one to draw conclusions from the heroes' mistakes, which may be identical to those made in the relationships with students.

Źródło:

Society Register; 2017, 1, 1; 209-224
2544-5502

Pojawia się w:

Society Register

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 28.

Tytuł:

Nowa komparatystyka: między uważnym czytaniem a lekturą na dystans
New Comparative Literature: Between Close and Distant Reading

Autorzy:

Bilczewski, Tomasz

Powiązania:

https://bibliotekanauki.pl/articles/579280.pdf

Data publikacji:

2016

Wydawca:

Łódzkie Towarzystwo Naukowe

Tematy:

comparison
comparative literature
rhetoric
Shakespeare
sonnets

Opis:

In recent years, comparative literature has affected a lively response to the dynamic transformations of its socio-cultural environment: it has declared the death of the old discipline and the beginning of a new one, and has increasingly set foot into the realm of the modern digital laboratory. It has, however, too seldom made use of a historical analysis of its own origins, which could have an impact on how future tasks and opportunities in comparative studies are perceived. This paper looks back to the rhetorical legacy of the category of comparison — one of the traditions that led to the institutionalization of comparative studies in the nineteenth century, and which could be useful in an attempt to rewrite the discipline’s history, particularly if grounded in translation studies.

Źródło:

Zagadnienia Rodzajów Literackich; 2016, 59/120 z. 4; 47-61
0084-4446

Pojawia się w:

Zagadnienia Rodzajów Literackich

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 29.

Tytuł:

Z Szekspirem w tle. "Opowieść zimowa" Erica Rohmera
With Shakespeare in the background. Eric Rohkers "A Tale of Winter"

Autorzy:

Kowalski, Tomasz

Powiązania:

https://bibliotekanauki.pl/articles/918029.pdf

Data publikacji:

2014-06-13

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Eric Rohmer
Shakespeare
adaptation
plot
structure

Opis:

The paper aims at analyzing the relationship between Eric Rohmer’s A Tale of Winter (Conte d’hiver, 1992) and Shakespeare’s late comedy. Although both works are entitled similarly, at first glance they have hardly anything in common, aside from one scene in which the two main characters watch Shakespeare’s play staged in a theatre. The author argues, however, that many references to original comedy, both on the level of plot and structure, can be found in Rohmer’s movie, which can therefore be perceived as a loose adaptation of Shakespeare’s work. 

Źródło:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 295-301
1731-450X

Pojawia się w:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 30.

Tytuł:

The Moor for the Malayali Masses: A Study of<i>Othello</i>in<i>Kathaprasangam</i>

Autorzy:

Thomas, Sanju

Powiązania:

https://bibliotekanauki.pl/articles/647969.pdf

Data publikacji:

2016-06-01

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
adaptation
kathaprasangam
Sambasivan
Othello
Desdemona

Opis:

Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature and was often used as a vehicle of social, political propaganda. The story is told by a single narrator who masquerades as the characters, and also dons the mantle of an interpreter and a commentator. Thus, there is immense scope for the artist to rewrite, subvert and manipulate the story. The paper explores V. Sambasivan’s adaptation of Othello in kathaprasangam to bring out the transformation the text undergoes to suit the cultural context, the target audience and the time-frame of the performance. The text undergoes alteration at different levels-from English language to Malayalam, from verse to prose, from high culture to popular art. The paper aims at understanding how a story set in a different time and distant place converses with the essential local milieu through selective suppression, adaptation and appropriation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 105-116
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 31.

Tytuł:

The Reception of Galician Performances and (Re)translations of Shakespeare

Autorzy:

Lorenzo-Modia, María Jesús

Powiązania:

https://bibliotekanauki.pl/articles/647979.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Galician language
reception
performances
translations

Opis:

This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 75-88
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 32.

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

/5

Artykuł

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Skocz do pozycji: 33.

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

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Skocz do pozycji: 34.

Tytuł:

Téte-à-téte avec Hamlet ou Jules Laforgue et George Rodenbach suites sur les pas de William Shakespeare
Rendez-vous with Hamlet or Jules Laforgue and George Rodenbach in the footseps of William Shakespeare

Autorzy:

Lewandowska, Alicja

Powiązania:

https://bibliotekanauki.pl/articles/1052652.pdf

Data publikacji:

2008-12-01

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Laforgue Jules
Rodenbach George
Shakespeare William

Opis:

The aim of the paper at hand is to find parallel elements between the following two texts: Jules Laforgue's Hamlet, ou les suites de la piété filiale (1886) and George Rodenbach's Bruges-la-Morte (1892), in relation to William Shakespeare's play. Our analysis is of a three-level character. Firstly, it is concerned with a comparison of biographies of the two 19th century authors. Secondly, it takes into its scope the plot events of both texts in question. Thirdly, it attempts to explain the linguistic transposition of poetry into prose. The final goal of this perusal is a demarcation of common points of reference between the three texts, which, in turn, is to prove Hamlet's intertextuality.

Źródło:

Studia Romanica Posnaniensia; 2008, 35; 67-81
0137-2475
2084-4158

Pojawia się w:

Studia Romanica Posnaniensia

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 35.

Tytuł:

The Progress of Evil and the Return of Justice in Shakespeare’s Richard III

Autorzy:

Guyette, Fred

Powiązania:

https://bibliotekanauki.pl/articles/888734.pdf

Data publikacji:

2015

Wydawca:

Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego

Tematy:

William Shakespeare
tragedy
tyranny
politics
justice

Opis:

Shakespeare’s Richard III is a warning about the danger of tyrannical political leaders. Richard has no legitimate claim to the throne, but he devises his own way to achieve that goal. All along the path he follows, he leaves a trail of dead bodies. Richard becomes a fratricidal, child-murdering, Machiavellian usurper, who takes delight in breaking nearly every one of God’s commandments. This essay traces the progress of evil in Richard III under the following rubrics: (1) Ambition and The Tactics of Deception, (2) The Erosion of Conscience, (3) The Deeds of a Tyrant, (4) The Return of Justice, and (5) Implications for an Education in Political Theory.

Źródło:

Anglica. An International Journal of English Studies; 2015, 24/1; 83-96
0860-5734

Pojawia się w:

Anglica. An International Journal of English Studies

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 36.

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

/5

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Skocz do pozycji: 37.

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

/5

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Skocz do pozycji: 38.

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

/5

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Skocz do pozycji: 39.

Tytuł:

Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History

Autorzy:

Chatterjee, Arup K.

Powiązania:

https://bibliotekanauki.pl/articles/1812144.pdf

Data publikacji:

2021-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Caliban
Peter Pope
Catherine Bengall
John Talbot Shakespeare
genealogy
New Historicism
anecdotes
fractals
London

Opis:

This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and descendant of William Shakespeare. I argue that the anecdotal links between Peter, Caliban, Catherine, Judith, Shakespear and Shakespeare should be seen as Jungian effects of non-causal “synchronic” reality or on lines of Benoit Mandelbrot’s conception of fractals (rough and self-regulating geometries of natural microforms). Although anecdotes and historemes get incorporated into historical establishmentarianism, seeing history in a framework of fractals fundamentally resists such appropriations. This poses new challenges for Shakespearean historiography, while underscoring distinctions between Shakespeareanism (sociological epiphenomena) and Shakespeare (the man himself).

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 59-74
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 40.

Tytuł:

Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13

Autorzy:

Keinänen, Nely

Powiązania:

https://bibliotekanauki.pl/articles/647987.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
complete works
reception
Finland
translation

Opis:

This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 109-125
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 41.

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

/5

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Skocz do pozycji: 42.

Tytuł:

“I saw Othello’s visage in his mind”, or “White Mask, Black Handkerchif”: Satoshi Miyagi’s Mugen-Noh Othello and Translation Theory

Autorzy:

Motohashi, Ted

Powiązania:

https://bibliotekanauki.pl/articles/648158.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

translation
Shakespeare
Mugen-Noh
Desdemona
Othello

Opis:

This paper tries to detect key elements in the translated performance of Shakespeare by focusing on Satoshi Miyagi’s “Mugen-Noh Othello” (literally meaning “Dreamy Illusion Noh play Othello”), first performed in Tokyo by Ku=Nauka Theatre Company in 2005, and subsequently seen in New Delhi, having now acquired a classic status of renowned Shakespearean adaptation in a foreign language that bridges a gap between the traditional form of Noh and the modern stage-presentation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 43-50
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 43.

Tytuł:

L’ABÎME DU SENS OU LE CHAUDRON DES SIGNES. SENS ET TERTIUM QUID : SHAKESPEARE TRADUCTEUR ?

Autorzy:

Gémar, Jean-Claude

Powiązania:

https://bibliotekanauki.pl/articles/921398.pdf

Data publikacji:

2021-02-15

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Shakespeare
law
language
translation
signs
meaning

Opis:

Sum of atoms or molecules that are the signs that the author of a text organizes in speech, the text contains meaning, in latency. To activate it, reveal it must be interpreted, whether or not the purpose is to translate it. When it comes to translating, the difficulties presented by the translation of normative texts are due in large part to the notional burden, the degree of “juridical status” of the message conveyed by the text and the cultural singularity revealed by its mode of writing. While the substance of a text is of paramount importance in its interpretation, the manner in which it is written and presented – its form – is far from negligible. Each way of saying carries its own, and participates in the, meaning. The approach defined for the translation, sourcing (least-cultural) or targeting (most-cultural), guides the meaning. That is when the final interpretation of the two versions of the instrumental text by the courts fulfils the canonical function of law and language: to say the law by determining the meaning of all or part of a text. Until then, the signs generating the speech and its meaning nested in this place of uncertainty that is the tertium quid, where rest, like the ingredients that the Sisters of Destiny (Macbeth) stir in their cauldron, the signs of where meaning will come out, an uncertain and precarious truth deduced by the original interpreter of the instrumental text, the translator, transcribed into the target text. Would Shakespeare provide an answer to the existential questions posed by the translator, when the spectre (Hamlet) and the witches (Macbeth), enigmatic oracles, answer the protagonists' ontological questions about the meaning and direction of their lives? The bard indeed launches this injunction: keep law and form and due proportion in Richard II (3.4.43)! Will the translator follow him in each of these three directions?

Źródło:

Comparative Legilinguistics; 2021, 45, 1; 11-38
2080-5926
2391-4491

Pojawia się w:

Comparative Legilinguistics

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 44.

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

/5

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Skocz do pozycji: 45.

Tytuł:

Z czaszką mu do twarzy: refleksje nad posthumanistyczną tożsamością Hamleta
The skull becomes him: reflections on the post-humanist identity of Hamlet

Autorzy:

Sosnowska, Monika

Powiązania:

https://bibliotekanauki.pl/articles/2158941.pdf

Data publikacji:

2022-10

Wydawca:

Instytut im. Jerzego Grotowskiego we Wrocławiu

Tematy:

Hamlet
masculine identity
posthumanism
organicism
Shakespeare

Opis:

The purpose of my paper is to look at the dislocated world in Hamlet, the identity crisis of the title character, to accompany the anthropocentric Hamlet as he searches for ‘himself’ and attempts to reduce the dislocated joints and fractures in male anthropocentric subjectivity. In this paper, I advance the thesis that the plot of Hamlet is driven by a cultural fantasy of achieving organic unity and a state of homeostasis. To prove the thesis statement, I use the motif of out-of-jointness present in the drama and the graveyard scene in which I ‘look’ inside Yorick’s skull together with Hamlet in search of posthumanist masculinity. Looking at the skull and talking to it, the anthropocene Hamlet has a chance to discover several dimensions in it. Although head dissection will not be necessary for this, it will become necessary to dissect the masculine identity, being in humanist terms, a socio-cultural construct and a linguistic construction. The posthumanist vision of masculinity confronts the disembodied subject, the one that the humanist Hamlet should cope with and ‘embody’ according to the humanist pattern of masculinity. The impairment of its pillars is evident in Hamlet’s statements, provided one hears his holistic and organic vision of masculinity. The deconstruction of the anthropocentric order is a prerequisite for Hamlet’s identity crisis to be overcome, for him to reassemble himself and find his own place in the ‘broken’ skeleton of the world.

Źródło:

Didaskalia. Gazeta Teatralna; 2022, 171; 50-81
2720-0043

Pojawia się w:

Didaskalia. Gazeta Teatralna

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 46.

Tytuł:

“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)

Autorzy:

Calbi, Maurizio

Powiązania:

https://bibliotekanauki.pl/articles/647934.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

John Akomfrah
Migration
Archive
Media Interference
Rhizomatic Shakespeare
Postcolonial Shakespeare
Home and Hospitality
Englishness
Richard II
Hamlet

Opis:

The paper will offer a reading of John Akomfrah’s The Nine Muses (2010), a 90-minute experimental feature film that has been defined as “one of the most vital and original artistic responses to the subject of immigration that British cinema has ever produced” (Mitchell). It will focus on the multifarious ways in which the film makes the “canonical” literary material that it incorporates, including Shakespeare, interact with rarely seen archival material from the BBC regarding the experience of Caribbean and South Asian immigrants in 1950s and 1960s Britain. It will argue that through this interaction the familiarity of Western “canonical” literature re-presents itself as an uncanny landscape haunted by other stories, as a language that is already in itself the “language of the other” (Derrida). In particular, it will claim that Shakespearean fragments are often used in an idiosyncratic way, and they repeatedly resonate with some of the most fundamental ethical and political issues of the film, such as the question of England as “home” and migration. The paper will also argue that the decontextualization and recontextualization of these fragments makes them re-emerge as part of an interrogation of the mediality of the medium, an interrogation that also offers insights into the circulation of Shakespeare in the contemporary mediascape.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 59-75
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 47.

Tytuł:

Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests

Autorzy:

Cossio, Andoni
Simonson, Martin

Powiązania:

https://bibliotekanauki.pl/articles/1033503.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
trees
woods
forests
ecocriticism
tradition
subversion

Opis:

This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 85-97
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 48.

Tytuł:

When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity

Autorzy:

Xingxing, Li

Powiązania:

https://bibliotekanauki.pl/articles/1033506.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
„Macbeth”
Chinese Opera
Intercultural Theater
Sinolization

Opis:

As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. Therefore, this essay aims to comb the relations among various adaptations of Macbeth, to discover the advantages and disadvantages of different methodologies by examining the spiritual transformations of the main character Macbeth and reinvention of Lady Macbeth, and ultimately to observe acceptance of Chinese public, which might give thoughts to communications of overseas literature in China.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 55-68
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 49.

Tytuł:

“Far more fair than black”: Othellos on the Chilean Stage

Autorzy:

Baldwin Lind, Paula

Powiązania:

https://bibliotekanauki.pl/articles/1033511.pdf

Data publikacji:

2020-12-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Othello
Chilean theatre
blackface
Moor
Other

Opis:

This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 139-170
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 50.

Tytuł:

The Inverted Initiation Rituals in Shakespeare with a Special Emphasis on Hamlet

Autorzy:

Wicher, Andrzej

Powiązania:

https://bibliotekanauki.pl/articles/1812141.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Hamlet
initiation
ritual
reversal
myth
folktale

Opis:

The article deals the possibility of applying Vladimir Propp’s, basically anthropological idea of “the inverted ritual” to the interpretation of certain plays by William Shakespeare, particularly Hamlet. The said inversion concerns three rituals: the sacrificial ritual, where the passive and obedient victim suddenly rebels, or at least becomes difficult to control (which is the case, for example, of Ophelia in Hamlet); of the initiatory ritual, where the apparently benevolent master of the characters initiation is shown as a monster (which can be exemplified by Claudius, Hamlet’s uncle); and of the matrimonial ritual, where the theoretically loving husband (more rarely wife), or lover, is revealed as a highly malicious and unpredictable creature, an example of which can be Hamlet himself. The article makes use of the work of such critics as G.K. Wilson, Harold Bloom, Vladimir Propp, René Girard, and Mircea Eliade.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 159-179
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 51.

Tytuł:

Понятия «молодость» и «старость» в рассказе Адольфа Рудницкого "Шекспир"

Autorzy:

Piotrowska, Joanna

Powiązania:

https://bibliotekanauki.pl/articles/1826576.pdf

Data publikacji:

2020-02-06

Wydawca:

Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach

Tematy:

youth
senility
“generation 1910”
Adolf Rudnicki
Shakespeare

Opis:

The paper discusses Adolf Rudnicki’s story Shakespeare (1946) depicting the life of Jakub and Maciej, two representatives of so called “generation 1910”, for whom WWII became the end of youth and the beginning of their premature aging. Hence, the youth of the protagonists corresponds to a pre-war and the senility to a post-war stage of their life. The pre-war life histories of Jakub and Maciej contain autobiographical and biographical references, at the same time characteristics of writers of “generation 1910” are also brought to the foreground. But in the post-war life histories of the protagonists we can see two opposing paths of one man and consequently also interpret the story itself in two ways: as Rudnicki’s personal contemplation of the two potential variants of his own further biography or as a reflection on two possible paths of Polish writers, in particular of Jewish origin, who have experienced WWII.

Źródło:

Conversatoria Litteraria; 2017, 11; 257-269
1897-1423

Pojawia się w:

Conversatoria Litteraria

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 52.

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

/5

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Skocz do pozycji: 53.

Tytuł:

Szekspir współczesny i (po)nowoczesny. Ekranizacja jako historyczna dekonstrukcja dramatu (O książce Olgi Katafiasz Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe)

Autorzy:

Fazan, Katarzyna

Powiązania:

https://bibliotekanauki.pl/articles/639201.pdf

Data publikacji:

2014

Wydawca:

Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego

Tematy:

Shakespeare William, dramat, film, polityka, historia, dekonstrukcja

Opis:

Contemporary and postmodern Shakespeare. Film as historical deconstruction of drama The article is a review of the book: Shakespeare and Cinema. Adaptation Strategies and their Socio-Cultural Contexts (Shakespeare i kino. Strategie adaptacyjne i ich konteksty społeczno-kulturowe) by Olga Katafiasz. In this book the Author analysis 28 chosen film version of Shakespeare dramas adopted by famous directors in 1935–2011. Katafiasz examines especially strategies of adaptations reading in esthetical, political and historical dimensions. The article refers to order of the book which was determined mainly by chronology and begins with Max Reinhardt’s and William Dieterle’s A Midsummer Night’s Dream (1935); then analyses the  adaptation strategies prevailing in movies directed by: Laurence Olivier, Orson Welles, Grigorij Kozincev, Akira Kurosawa, Roman Polański, Kenneth Branagh, Peter Greenaway, Richard Loncraine, Baz Luhrmann, Julie Taymor, Ralph Fiennes and Michael Radford; Ernst Lubitsch’s To Be or Not to Be (1942) and Alan Johnson’s To Be or Not to Be (1983). The review discusses (among others) the methodology of the book based on Harold Bloom’s idea  so called: ‘the anxiety of influence’, accompanying – as suggests Katafiasz – the creativeprocess of film based on Shakespeare’s plays.

Źródło:

Wielogłos; 2014, 1(19)
2084-395X

Pojawia się w:

Wielogłos

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 54.

Tytuł:

Praca nad rolą - Ryszard III*
Working on the role –Richard III

Autorzy:

KAŁUŻYŃSKI, MAREK

Powiązania:

https://bibliotekanauki.pl/articles/920949.pdf

Data publikacji:

2016-11-03

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

actor
stage role
director
William Shakespeare
translation

Opis:

The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developing relationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.

Źródło:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 211-230
1731-450X

Pojawia się w:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 55.

Tytuł:

Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012

Autorzy:

Rogers, Jami

Powiązania:

https://bibliotekanauki.pl/articles/648220.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Theatre
Diversity
Race
Black British
African

Opis:

This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 55-70
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 56.

Tytuł:

Revisiting the Classics and the New Media Environments: Shakespeare Re-Told by Jeanette Winterson, Margaret Atwood and Edward St. Aubyn

Autorzy:

Percec, Dana

Powiązania:

https://bibliotekanauki.pl/articles/648233.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

adaptation
Hogarth Shakespeare
media
performance
video game

Opis:

The versatility of the appropriation of Shakespeare in recent years has been witnessed in a variety of registers and media, which range from special effects on the stage, music, cartoons, comics, advertisements, all the way to video games. This contribution looks at some of the novels in the Shakespeare Re-told Hogarth series as effigies of the contemporary process of adapting the Elizabethan plays to the environments in which the potential readers/viewers work, become informed, seek entertainment and adjust themselves culturally, being, ultimately, cognitive schemes which are validated by today’s reception processes. The first novel in the series was Jeanette Winterson’s Gap of Time (2016), in which the Shakespearean reference to the years that separate the two moments of The Winter’s Tale’s plot becomes the title of a video game relying mainly on fantasy. Margaret Atwood’s Hag-Seed (2016) rewrites The Tempest as a parable of the theatrical performance and its avatars, as undisputable authority, on the one hand, and source of subversiveness, on the other. Dunbar (2018) is Edward St. Aubyn’s response to the family saga of King Lear, where kingship, territorial division and military conflict are replaced by modern media wars, and the issues of public exposure in the original text are reinterpreted interpreted by resorting to the impact of the audio-visual on every-day life.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 133-150
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 57.

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

/5

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Skocz do pozycji: 58.

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

/5

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Skocz do pozycji: 59.

Tytuł:

«Wymawia się Szekspir»: Mistrzowi Williamowi w czterechsetną zgonu jego rocznicę
‘It Is Pronounced Shek-speer’: For Master William on the Quadricentennial of His Demise

Autorzy:

Komorowski, Jarosław

Powiązania:

https://bibliotekanauki.pl/articles/29520056.pdf

Data publikacji:

2016-09-30

Wydawca:

Polska Akademia Nauk. Instytut Sztuki PAN

Tematy:

William Shakespeare
Wojciech Bogusławski
przekład
recepcja Shakespeare'a
teatr polski 1700-1800
teatr polski 1800-1900
translation
reception of Shakespeare
Polish theater 1700–1800
Polish theater 1800-1900

Opis:

Wojciech Bogusławski poprzedził pierwodruk swojego przekładu Hamleta, umieszczonego w czwartym tomie Dzieł dramatycznych, przedmową zatytułowaną „Shakespeare", w której w przypisie zdradził: „Wymawia się Szekspir". W ciągu prawie stu lat pisownia nazwiska dramaturga ze Stratfordu w Polsce wahała się między tymi dwoma skrajnościami: „Shakespeare" lub starsza wersja „Shakespear" z jednej strony i jakaś forma polskiego zapisu fonetycznego, najbardziej rozpowszechniona – i w końcu zwycięska – „Szekspir" z drugiej. Pomiędzy tymi biegunami w latach 1765–1849 pojawiło się w polskich drukach i rękopisach co najmniej 40 (słownie czterdzieści) wariantów zapisu, angielskich, niby-angielskich, bardziej lub mniej fonetycznych i na różne sposoby hybrydowych. Większość wariantów to próby autorów i redaktorów zapisania lub „oswojenia” nazwiska autora Hamleta w języku polskim. Zawarta w artykule lista, publikowana w tej formie po raz pierwszy, jest ułożona chronologicznie. Każdy przypadek pierwszego użycia jest cytowany i opatrzony zwięzłym komentarzem. Lista jest jednak potencjalnie niekompletna, ponieważ odnalezienie kolejnych wersji nie jest wykluczone.
Wojciech Bogusławski prefaced the first publication of his translation of Hamlet, included in volume four of his Dzieła dramatyczne (Dramatic Works), with an introduction titled “Shakespeare,” where he volunteered in a footnote: “It is pronounced Szekspir [Shek-speer].” Within the period of almost one hundred years, the spelling of the Stratford playwright’s name in Poland vacillated between these two extremes: “Shakespeare,” or the older version of “Shakespear,” on the one hand, and some form of Polish phonetic spelling, the most widespread—and at the end, prevalent—being “Szekspir,” on the other. Polish prints and manuscripts from 1765–1849 contain at least forty spelling variants ranging from English and pseudo-English to more or less phonetic versions, with numerous hybrid solutions in between. Most of the variants are attempts by Polish authors and editors at making the name of Hamlet’s author more familiar in Polish. The present list, published as such for the first time, is arranged chronologically. Each instance of the first usage is quoted and a succinct commentary is supplied.  The list is potentially incomplete, however, since other versions might crop up in future research. 

Źródło:

Pamiętnik Teatralny; 2016, 65, 3; 5-24
0031-0522
2658-2899

Pojawia się w:

Pamiętnik Teatralny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 60.

Tytuł:

Hamlet and Japanese Men of Letters

Autorzy:

Kawachi, Yoshiko

Powiązania:

https://bibliotekanauki.pl/articles/648095.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare translation and appopriation
Shakespeare’s impact on Japanese novelists
Novelization of Hamlet
Modernization of Japanese literature

Opis:

Shakespeare has exerted a powerful influence on Japanese literature since he was accepted in the second half of the nineteenth century. Particularly Hamlet has had a strong impact on Japanese men of letters and provided them with the impetus to revive the play in contemporary literature. In this paper I discuss how they have utilized Hamlet for their creative activity and enriched Japanese literature.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 123-135
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 61.

Tytuł:

A Postdramatic Engagement with Robinsonade Motifs in Tim Crouch’s I, Caliban
Postdramatyczne użycie motywów z robinsonady w Ja, Kaliban Tima Croucha

Autorzy:

Özmen, Özlem

Powiązania:

https://bibliotekanauki.pl/articles/912307.pdf

Data publikacji:

2019-12-15

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

postdramatic theatre
Robinsonade
Tim Crouch
I
Caliban
Shakespeare adaptation
teatr postdramatyczny
robinsonada
Ja
Kaliban
adaptacja Shakespeare’a

Opis:

Tim Crouch’s I, Caliban is a postdramatic adaptation of Shakespeare’s The Tempest included in a collection titled I, Shakespeare in which he recreates Shakespeare’s most marginalised characters. The focus in this sequel adaptation is on Caliban who tries to survive after Prospero and all others have left the island. Different from the representation of Caliban in postcolonial reworkings of Shakespeare’s play, Caliban, in this work, is not preoccupied with taking revenge. Instead, he emphasises the need for social interaction as he has been left alone on his island. Drawing on former structural comparisons of The Tempest and Daniel Defoe’s Robinson Crusoe based on their common themes such as the island setting, master-servant relationship, colonial expansion, and power politics, the aim of this paper is to discuss Crouch’s adaptation as a transformation of common motifs of the Robinsonade in its attempt to respond to the ideologicalformations of Shakespeare’s text. Among such transformations, the concept of survival, for instance, is handled from the native’s viewpoint in Crouch’s work. Instead of the figure of the stranger who finds life on an unknown land difficult to cope with, this time, the native turns into a captive on the island though it is a familiar setting. Another motif used in an alternative manner is isolation, which is not presented as fuel for civilisation but as Caliban’s psychological trauma, which he explores through storytelling as a postdramatic element. Apart from the narration, the play demonstrates other uses of postdramatic elements to suggest an isolated figure on an uninhabited island like the use of objects such as toy boats and tape of sea sounds. Instead of seeing Crouch’s work as a postcolonial response to Shakespeare’s work, this paper will try to investigate how the use of island setting and the theme of isolation can make it closer to a Robinsonade. By this means, it will also try to ask whether an adaptation could also be read in relation to a work that is not intended as its source text.
Ja, Kaliban Tima Croucha to postdramatyczna adaptacja Burzy Shakespeare’a wchodząca w skład zbioru Ja, Shakespeare, w którym odtworzone zostały najbardziej zmarginalizowane postaci z Szekspirowskich dzieł. Adaptacja koncentruje się na Kalibanie, który próbuje przetrwać po tym, jak Prospero i inni opuszczają wyspę. W odróżnieniu od postkolonialnych przeróbek sztuk Szekspirowskich w tej wersji Kaliban nie jest pochłonięty myślami o zemście. Jako że jest sam na wyspie, skupia się głównie na potrzebie interakcji społecznej. Na podstawie zarówno strukturalnych porównań pomiędzy Burzą a Robinsonem Crusoe Daniela Defoe, jak i podobnych tematów takich jak wyspa, relacja pan – sługa, ekspansja kolonialna i polityka władzy, celem niniejszego artykułu jest omówienie adaptacji Croucha jako przykładu transformacji typowych motywów dla robinsonady w odpowiedzi na ideologiczne adaptacje tekstów Shakespeare’a. Wśród tego typu transformacji wymienić można pojęcie przeżycia, które w dziele Croucha ukazane jest poprzez percepcję tubylców. Tym razem zamiast osoby obcego, który zmaga się z życiem na nieznanym terytorium, przedstawiona jest osoba tubylca, który staje się niewolnikiem na wyspie w znajomym sobie środowisku. Izolacja jest kolejnym motywem użytym w sposób alternatywny. Nie jest ona przedstawiona jako stymulator wprowadzania cywilizacji tylko jako trauma psychologiczna Kalibana, którą analizuje za pomocą opowieści jako element postdramatyczny. Nie tylko narracja jest tu wykorzystana w inny sposób. Inne postdramatyczne elementy to między innymi izolacja na niezamieszkałej wyspie, która wzmocniona jest zabawkowymi stateczkami i odgłosem morza. W artykule odchodzę od analizy dzieła Croucha jako postkolonialnej odpowiedzi na sztukę Shakespeare’a. Skupiam się natomiast na tym, w jaki sposób użycie motywów wyspy i izolacji zbliża dzieło do robinsonady. Kolejnym celem jest odpowiedź na pytanie, czy adaptacja może też być odczytana w relacji do takiego dzieła, które niekoniecznie jest pierwotnym tekstem źródłowym.

Źródło:

Porównania; 2019, 25, 2; 101-112
1733-165X

Pojawia się w:

Porównania

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 62.

Tytuł:

Peter Brook, Wolność i łaska. Rozważania o Szekspirze, przekł. Agnieszka Pokojska, słowo / obraz terytoria, Gdańsk 2014.

Autorzy:

Rogoziński, Arkadiusz

Powiązania:

https://bibliotekanauki.pl/articles/32083673.pdf

Data publikacji:

2017

Wydawca:

Polska Akademia Nauk. Instytut Sztuki PAN

Tematy:

Peter Brook
William Shakespeare
Wolność i łaska: Rozważania o Szekspirze
«The Quality of Mercy: Reflections on Shakespeare»

Opis:

Tekst stanowi recenzję najnowszej książki Petera Brooka wydanej w języku polskim Wolność i łaska: Rozważania o Szekspirze (The Quality of Mercy: Reflections on Shakespeare). Autor  recenzji skrupulatnie i chwilami wnikliwie, rozdział po rozdziale, podąża za reżyserem, analizując jego refleksje. Akcentuje kluczowe pytania i problemy stawiane przez Brooka, który przez siedemdziesiąt lat prowadził twórczy dialog z dziełem Stratfordczyka, konfrontował je z życiem, rzeczywistością polityczną i społeczną, a przede wszystkim z praktyką teatralną. Wnioski, którymi angielski reżyser wieńczy książkę – zdumiewające i olśniewające zarazem swoją prostotą i głębią, stanowią dla recenzenta punkt wyjścia do sformułowania własnych wątpliwości i postawienia samodzielnych już pytań. Recenzję wieńczą pytania, otwierające obszar dla pogłębionej dyskusji: Czy w chrześcijańskim świecie teatr może mieć inne przeznaczenie niż to, które wymyślili dla niego starożytni Grecy? Czy wolność, łaska i quality [terminy Szekspirowkie szczegółowo analizowane przez Brooka] mogłyby kiedyś zastąpić litość i trwogę?
A book review of the Polish translation of The Quality of Mercy: Reflections on Shakespeare by Peter Brook. The reviewer thoroughly, chapter after chapter, follows the director’s argument, analysing his reflexions. He emphasises the key questions and problems posed by Brook, who has grappled with Shakespeare’s work and confronted it with real life, the political and social reality, and most of all, with theatrical practice for the last seventy years. The conclusions reached by the author by the end of the book, as brilliant and amazing as they are in their profoundness and simplicity, serve Arkadiusz Rogoziński as a starting point for his own doubts and questions. The review ends with the questions that open up room for further discussion: Is it possible for the theatre of the Christian world to have some other meaning than that invented by the ancient Greeks? Will freedom, mercy, and quality—the Shakespearean terms analysed by Brook in detail—ever be able to replace pity and fear?

Źródło:

Pamiętnik Teatralny; 2017, 66, 1/2; 316-323
0031-0522
2658-2899

Pojawia się w:

Pamiętnik Teatralny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 63.

Tytuł:

Shakespeare Studies in Iran: The British Knight for Persia

Autorzy:

Partovi, Parviz

Powiązania:

https://bibliotekanauki.pl/articles/39766021.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Shakespeare Studies
Modern Theatre
Persia/Iran
Qajar Dynasty
Constitutional Revolution
Pahlavi Dynasty
Censorship
1979 Revolution
Islamization

Opis:

Shakespeare’s travels into Persia started in the middle of the nineteenth century when modern socio-political forces and the need for a powerful army were fomenting important changes in the traditional structure of government, production, and culture alike. Shakespeare appeared in Persia at a time when the country was experiencing a fundamental transition from older traditions into a western-like government, infrastructure, education, and ideas. Shakespeare was important to this process in two ways. He was enlisted to enrich the cultural property of the country and therefore became ensconced in the educational system. Perhaps more importantly, his plays were used to critique the ruling political system and the prevailing habits of the people. Hamlet has always been a favorite play for the translators and the intellectuals because it starts with regicide and ends with murdering a monarch and replacing him with a just king. Othello, another favorite, was frequently retranslated partly because there were similar themes in Persian culture with which readers could easily connect. Thus, Shakespeare became a Persian Knight and moved from one historical era to another to function as a mirror to reflect the aspirations of the elite, if not those of the common folk. This paper traces Shakespeare’s steps in Persia chronologically, expounding the socio-political context in which Shakespeare and his plays operated not only within the context of academia, but also without in society amongst the people and the elites as political allegories to sidestep censorship and to attack the despotic monarchs and ruling power.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 65-82
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 64.

Tytuł:

Shakespeare and Skepticism. Stanley Cavell’s Interpretation of Skepticism in Othello

Autorzy:

Filipczuk, Michał

Powiązania:

https://bibliotekanauki.pl/articles/578949.pdf

Data publikacji:

2018

Wydawca:

Łódzkie Towarzystwo Naukowe

Tematy:

Shakespeare
literary skepticism
Cavell
philosophy of literature

Opis:

In the present article I attempt to provide an account of the skeptic-narcissist paradox, which Stanley Cavell finds in Shakespeare’s Othello. On one hand, Othello is a “perfect soul”, on the other, he is condemned to the existence of the Other (Desdemona), in whose gaze the skeptic-narcissist could recognize himself. In this paradoxical sense — from Othello’s own perspective — Desdemona threatens his narcissistic integrity, being to him so essential. This is exactly what is involved in the self-contradictory logic of Othello’s skeptical attitude, resulting in consequence in the final tragedy.

Źródło:

Zagadnienia Rodzajów Literackich; 2018, 61, 1(125); 25-36
0084-4446

Pojawia się w:

Zagadnienia Rodzajów Literackich

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 65.

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

/5

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Skocz do pozycji: 66.

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

/5

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Skocz do pozycji: 67.

Tytuł:

Finding Refuge in King Lear: From Brexit to Shakespeare’s European Value

Autorzy:

O’Neill, Stephen

Powiązania:

https://bibliotekanauki.pl/articles/648225.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Brexit
EU
Maps
Archipelago
Presentism
Refuge

Opis:

This article considers how Shakespeare’s King Lear has become a Brexit play across a range of discourses and media, from theatre productions and journalism to social media. With its themes of division and disbursement, of cliff edges and tragic self-immolation, Lear is the Shakespearean play that has been turned to as metaphor and analogy for the UK’s decision following the 23 June 2016 referendum to leave the European Union. Reading this presentist application of Shakespeare, the article attends to Shakespeare as itself a discourse through which cultural ideas, both real and imaginary, about Brexit and the EU are negotiated. It asks how can we might remap Lear in this present context―what other meanings and histories are to be derived from the play, especially in Lear’s exile and search for refuge, or in Cordelia’s departure for and return from France? Moving from a consideration of a Brexit Lear to an archipelagic and even European Lear, this article argues that Shakespeare is simultaneously a site of supranational connections and of a desire for values of empathy and refuge that reverberate with debates about migration in Europe.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 119-138
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 68.

Tytuł:

Shakespeare across the Taiwan Strait: A Developmental Perspective

Autorzy:

Sun, Yu
Zhang, Longhai

Powiązania:

https://bibliotekanauki.pl/articles/648254.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare Studies
China
Mainland
Taiwan
Shake-xiqu

Opis:

Shakespeare studies in Mainland China and Taiwan evolved from the same origin during the two centuries after Shakespeare being introduced into China in the early nineteenth century. Although Shakespeare was first seen on the Taiwan stage in the Japanese language during the colonial period, it was after Kuomintang moved to Taiwan in 1949 that Shakespeare studies began to flourish when scholars and theatrical experts from mainland China, such as Liang Shih-Chiu, Yu Er-Chang, Wang Sheng-shan and others brought Chinese Shakespeare to Taiwan. Since the 1980s, mainland Shakespeareans began to communicate actively with their colleagues in Taiwan. With the continuous efforts of Cao Yu, Fang Ping, Meng Xianqiang, Gu Zhengkun, Yang Lingui and many other scholars in mainland China and Chu Li-Min, Yen Yuan-shu, Perng Ching-Hsi and other scholars in Taiwan, communications and conversations on Shakespeare studies across the Taiwan Strait were gradually enhanced in recent years. Meanwhile, innovations in Chinese adaptations of Shakespeare have resulted in a new performing medium, Shake-xiqu, through which theatrical practitioners on both sides explore possibilities of a union of Shakespeare and traditional Chinese theatre. This paper studies some intricate relationship in the history of Shakespeare studies in mainland China and Taiwan from a developmental perspective and suggests opportunities for positive and effective co-operations and interactions in the future.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 115-131
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 69.

Tytuł:

Brush up your Shakespeare! O szekspirowskich inspiracjach w amerykańskim musicalu teatralnym i filmowym (na wybranych przykładach)

Autorzy:

Pitak-Piaskowska, Barbara

Powiązania:

https://bibliotekanauki.pl/articles/650275.pdf

Data publikacji:

2014

Wydawca:

Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego

Tematy:

William Shakespeare, musical, theatre, film, American culture

Opis:

The article examines the manifestations of William Shakespeare’s output in the American musical, both theatrical and cinematic. The author shows that almost since its very beginning, these stage forms have drawn inspiration from the famous Bard’s dramas and comedies. Using the examples of musicals inspired by his works, such as The Boys from Syracuse (1938), Swingin’ the Dream (1939), Kiss Me Kate (1953) and West Side Story (1957), the article analyzes the reasons why the subject matter undertaken by Shakespeare proves to be universal and remains relevant, thus constituting an inexhaustible source of inspiration for American authors of musicals. The author describes the manners of drawing from Shakespeare’s works, as well as forms of development and adjustment of his plays to the convention of musical.

Źródło:

Konteksty Kultury; 2014, 11, 4
2353-1991

Pojawia się w:

Konteksty Kultury

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 70.

Tytuł:

Dostoevsky in English and Shakespearean Universality: A Cautionary Tale

Autorzy:

Thurman, Chris

Powiązania:

https://bibliotekanauki.pl/articles/1033501.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Dostoevsky
Russia
Underground
Hamlet
translation
universality

Opis:

This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 99-114
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 71.

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

/5

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Skocz do pozycji: 72.

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

/5

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Skocz do pozycji: 73.

Tytuł:

The Art of Tale-Telling in William Shakespeare’s The Tempest

Autorzy:

Kaczyński, Daniel

Powiązania:

https://bibliotekanauki.pl/articles/889062.pdf

Data publikacji:

2015

Wydawca:

Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego

Tematy:

William Shakespeare
tragicomedy
tale-telling
narrative reliability

Opis:

The author draws attention to the fact that in William Shakespeare’s plays characters tell their stories and tales with varying degrees of credibility. In his paper he makes an attempt to reconstruct the actual circumstances of both the storm and shipwreck in The Tempest by analysing all the relevant accounts in the play. While investigating the reliability of the characters’ narratives, the author suggests that Ariel is a spirit whose report of the raised tempest and subsequent shipwreck is partly a trustworthy account and partly a fictitious and misleading tale, which is demonstrated in the course of comparing his words with the other characters’ assertions of what happened in the initial storm.

Źródło:

Anglica. An International Journal of English Studies; 2015, 24/1; 97-107
0860-5734

Pojawia się w:

Anglica. An International Journal of English Studies

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 74.

Tytuł:

Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis

Autorzy:

Fayard, Nicole

Powiązania:

https://bibliotekanauki.pl/articles/648227.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare in France
Eric Ruf
Jérôme Hankins
Cultural production and social change
European crisis
Heterotopia
Shakespeare myth
Postcolonialism

Opis:

This essay investigates the ways in which Shakespearean production speaks to France and wider European crises in 2015 and 2016. The Tempest and Romeo and Juliet were directed by Jérôme Hankins and Eric Ruf respectively in December 2015 and reflected significant contemporaneous issues, including: (1) two Paris terrorist attacks which sent shock waves throughout France and Europe; (2) the belief that shared identities were under threat; (3) concerns over shifting power dynamics in Europe. The portrayal of these issues and their reception bring into question the extent to which cultural productions can help to promote social change or shape perceptions of national and pan-European events. This essay focuses on whether the plays successfully complicate binary narratives around cultural politics in a context of crises by creating alternative representations of difference and mobilities. It concludes that appropriating Shakespeare’s cultural authority encourages some degree of public debate. However, the function of Shakespeare’s drama remains strongly connected to its value as an agent of cultural, political and commercial mobility, ultimately making it difficult radically to challenge ideologies.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 31-53
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 75.

Tytuł:

Lukrecja – wzór dla Rzymianek. Historia niezbyt słodka
Lucrece as a model for Roman women. The story that is not very sweet

Autorzy:

Miazek-Męczyńska, Monika

Powiązania:

https://bibliotekanauki.pl/articles/1806861.pdf

Data publikacji:

2021-10-12

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Lucretia
Lucrece
virtus
Ovid
Fasti
rape
Wiliam Shakespeare

Opis:

The article presents the story of Lucrece, legendary heroine and noble wife of Lucius Tarquinius Collatinus, whose suicide was presented many times in the ancient Roman and Renaissance literature by historiographers and poets. The author compares few versions of Lucrece’s story focusing on her virtues (like castitas, obstinata pudicitia, decus muliebris) that became canonical features characterising the Roman matrona.

Źródło:

Symbolae Philologorum Posnaniensium Graecae et Latinae; 2021, 31, 1; 153-168
0302-7384

Pojawia się w:

Symbolae Philologorum Posnaniensium Graecae et Latinae

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 76.

Tytuł:

Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet

Autorzy:

Lorek-Jezińska, Edyta

Powiązania:

https://bibliotekanauki.pl/articles/648024.pdf

Data publikacji:

2018

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

authority
hauntology
Shakespeare
Hamlet
postdramatic performance
Walny Theatre

Opis:

The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 21-34
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 77.

Tytuł:

On a Romantic Island: Shakespeare and Mamma mia

Autorzy:

Wild, Jana B.

Powiązania:

https://bibliotekanauki.pl/articles/648231.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Mamma mia
musical
popular culture
Shakespeare
The Tempest

Opis:

The paper concerns the blockbuster musical film Mamma mia, loosely using some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idylic and exotic, the film offers a contemporary romantic story with new/reversed roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. While the Shakespearean level is recast, remixed and probably less visible, the priority is given to the utopia of the 1970s and to the question of its outcome and transformation.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 151-161
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 78.

Tytuł:

“I should like to have my name talked of in China”: Charles Lamb, China, and Shakespeare

Autorzy:

Dai, Yun-fang

Powiązania:

https://bibliotekanauki.pl/articles/648244.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
tales
Charles Lamb
Yinbian yanyu
Thomas Manning

Opis:

Charles and Mary Lamb’s Tales from Shakespeare played an essential role in Chinese reception history of Shakespeare. The first two adaptations in China,Xiewai qitan 澥外奇譚and Yinbian yanyu 吟邊燕語, chose Tales as the source text. To figure out why the Lambs’ Tales was received in China even earlier than Shakespeare’s original texts, this paper first focuses on Lamb’s relationship with China. Based on archival materials, it then assumes that the Lambs’ Tales might have had a chance to reach China at the beginning of the nineteenth century through Thomas Manning. Finally, it argues that the decision to first bring Shakespeare to China by Tales was made under the consideration of the Lambs’ writing style, the genre choice, the similarity of the Lambs’ and Chinese audiences, and the marketability of Tales. Tracing back to the first encounter between Tales and China throws considerable light on the reception history of Shakespeare in China. It makes sense that nothing is coincidental in the history of cultural reception and the encounters have always been fundamentally influenced by efforts from both the addresser and the receptor.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 83-97
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 79.

Tytuł:

„Romeo i Julia” Piotra Czajkowskiego. W 400-lecie śmierci Wiliama Szekspira
"Romeo and Juliet" by Peter Tchaikovsky. The 400th anniversary of William Shakespeares death

Autorzy:

Grajewski, Czesław

Powiązania:

https://bibliotekanauki.pl/articles/449883.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie

Tematy:

P. Tchaikovsky
music
“Romeo and Juliet”
W. Shakespeare

Opis:

With the biography of P. Tchaikovsky in the background, the author describes the circumstances of the creation of the overture Romeo and Juliet. Then he briefly analyzes the composition itself and describes its character.

Źródło:

Saeculum Christianum. Pismo Historyczne; 2017, 24; 228-236
1232-1575

Pojawia się w:

Saeculum Christianum. Pismo Historyczne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 80.

Tytuł:

“A Feast of Languages”: The Role of Language in the Globe to Globe Festival

Autorzy:

Kenny, Amy

Powiązania:

https://bibliotekanauki.pl/articles/648099.pdf

Data publikacji:

2014-12-01

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Globe to Globe Festival
Shakespeare
translation
language
performance

Opis:

In 2012, Shakespeare’s Globe hosted the Globe to Globe Festival, which featured performances from thirty-seven international companies in their native tongues as part of the Cultural Olympiad in the lead up to the London Olympic Games. This paper explores the role that language played in the Globe to Globe Festival, and the way in which language mediated direction and translation of various plays, specifically in the rehearsal room in anticipation of the performance itself. Translating Shakespeare into thirty-seven different languages allowed the companies to think about the potential benefits of performing their play in a specific dialect or style for both audiences at the Globe and their own language and culture as well. This paper considers the impact of language barriers that existed even within individual companies, and shows that the specific choices around language informed the ways audience members understood and interpreted the narratives of the plays during the festival.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2014, 11; 31-44
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 81.

Tytuł:

Transversal Connections: The Cervantes Quatercentenary in Spain and its Comparison with “Shakespeare Lives”

Autorzy:

Gregor, Keith

Powiązania:

https://bibliotekanauki.pl/articles/648216.pdf

Data publikacji:

2019

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Quatercentaries
Shakespeare
Cervantes
criticism
education
values
cultural industry

Opis:

Taking as its cue the 2016 quatercentenaries of the deaths of both Shakespeare and Cervantes, the essay offers some insights into the “transversal connections” between both events as celebrated in Spain and the UK. The questions it raises and attempts to resolve are fourfold: (1) What are the reasons and also the benefits of yoking together two such apparently disparate authors, whose strongest link is, arguably, the fact they both passed away in 1616? (2) What work is being done to restore these writers to life, especially in schools where, for a variety of reasons, literature has lost its core-curricular status, and in general society where the classics seem to have less and less import? (3) What might Shakespeare or Cervantes be said to stand for in their respective cultures, both in terms of the genres they wrote in (it is often forgotten, for instance, that Cervantes was also a poet and a dramatist) and the extra-literary values they are said to transmit? (4) What is the role of the State in the safeguarding and promotion of the nation’s cultural heritage?

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 19, 34; 91-105
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 82.

Tytuł:

L’Inde dans la mise en scène des chefs-d’oeuvre européens d’Ariane Mnouchkine
India in Ariane Mnouchkine’s Staging of European Masterpieces

Autorzy:

Hasiuk, Magdalena

Powiązania:

https://bibliotekanauki.pl/articles/648575.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Théâtre du Soleil
Aeschylus
Euripides
William Shakespeare
kathakali
-

Opis:

The text discusses influences and oriental inspirations, mainly Indian and Japanese, present in the staging of Shakespeare’s plays (Richard II, Henry IV, Part I and Twelfth Night), Euripides (Iphigenia at Aulis) i Aeschylus (Oresteia) in the Théâtre du Soleil. Owing to the incorporation of ‘the imagined orient’ in the Shakespearean cycle, Mnouchkine evoked the image of the world immersed in the supernatural. Placing Iphigenia at Aulis before Oresteia, the director created her own tetralogy. Consciously applying staging strategies, she did not use Greek documents but instead combined documentation from Turkey and the Caucasus with oriental traditions such as kathakali and bharata-natyam. Drawing on references which were unknown (or long since forgotten) and never before used, she staged ‘probably the richest and the most satisfactory of all productions of Athenian tragedies’ (Ubersfeld).
-

Źródło:

Collectanea Philologica; 2016, 19; 77-90
1733-0319
2353-0901

Pojawia się w:

Collectanea Philologica

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 83.

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

/5

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Skocz do pozycji: 84.

Tytuł:

O przemieniającym życie mroku postaci
On the darkness of the character that transforms life

Autorzy:

WIERZCHOWSKI, MARCIN

Powiązania:

https://bibliotekanauki.pl/articles/920976.pdf

Data publikacji:

2016-11-03

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

theatre role
actor
acting skills
William Shakespeare
director

Opis:

The author analyses the relationship between the actor's life and the character they create on stage. He points to the interdependencies between the actor and their role. He determines the conditions in which the role should be constructed and also discusses the on- and off-stage circumstances that determine the value of a particular role. This analysis is supported by the authors own experience as a theatre director.

Źródło:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 47-60
1731-450X

Pojawia się w:

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 85.

Tytuł:

Suum cuique is our Roman justice (Shakesp. Tit. Andr. 1,1,284) – William Shakespeare, Heiner Müller and Roman fundamenta

Autorzy:

Święcicka, Paulina

Powiązania:

https://bibliotekanauki.pl/articles/924233.pdf

Data publikacji:

2014

Wydawca:

Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego

Tematy:

justice
suum cuique
roman law
drama
Shakespeare
müller

Opis:

The phrase suum cuique as an incarnation of “justice,” like many other Latin dicta, is deeply enrooted in the mental consciousness of mankind, and it lives its own life as a part of the so-called universal culture. Generally speaking, reference to Roman justice served and still serves as a justification of one’s own actions when such actions cannot defend themselves by their own formal correctness. It is, therefore, recourse to the eternal values, the understanding of which, however, is determined by one’s own experience or by experience of a particular epoch. This is proved by words of the authors mentioned in the title of the study, though separated from each other by several centuries and having different visions of the world, they considered the embodiment of this phenomenon in the phrase suum cuique as the most appropriate for their own narrative and judgmental description of the reality. Shakespeare, although he undoubtedly saw in Roman justice a guarantee of justification of certain actions, referred to this idea without a deeper analysis. Müller, one of the most important German dramatists of the second half of the 20th century, screaming through the voice of Tamora, who demands “Roman justice,” showed that a call for Roman fundamenta as well as for Roman iura et mores almost for the last time stands in the unsolved conflict with one’s own inhumane actions and inflation of all values that mankind has persistently considered as permanent. The article aims to analyse a cultural commentary on the use of the phrase suum cuique – a commentary understood as a way of bringing something that is analysed into the reality current for a commentator. In one dimension, this can be a dramatic comment rather than a simple description of a certain reality. Therefore, such a commentary should not be assigned only to a single commentator-narrator but to many who represent different eras.

Źródło:

Krakowskie Studia z Historii Państwa i Prawa; 2014, 7, 1; 169-180
2084-4115
2084-4131

Pojawia się w:

Krakowskie Studia z Historii Państwa i Prawa

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 86.

Tytuł:

Looking for Lear in Dennis Kelly’s "The Gods Weep"

Autorzy:

Wieczorek, Maciej

Powiązania:

https://bibliotekanauki.pl/articles/504685.pdf

Data publikacji:

2016

Wydawca:

Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu

Tematy:

The Gods Weep
Dennis Kelly
Shakespeare
adaptation
appropriation

Opis:

First staged by the Royal Shakespeare Company in 2010, Dennis Kelly’s The Gods Weep is an attempt to update the well-known story of King Lear to contemporary times. It focuses on Colm, an aging CEO who decides to divide his company evenly between two of his employees at the price of his only son’s share, a decision that results in escalating a bloody conflict that tears apart the business empire. Despite featuring an all-star cast and having the full support of the RSC, The Gods Weep received mixed to wholly negative reviews and was criticized for being chaotic, lengthy and not faithful enough to the masterpiece of the Bard. The present article addresses the problems raised by the critics and attempts to demonstrate that their responses were largely misguided, as most of them failed to recognize the full complexity of what they were dealing with. Thus the paper first shows that Kelly’s play is not merely a response to King Lear but, rather, a bricolage that recycles Akira Kurosawa’s Ran and Sarah Kane’s Blasted as well as a number of other works. The article then suggests that The Gods Weep is not an adaptation but an appropriation, as it shifts the political thrust of the hypotext and bears a mark of Kelly’s in-yer-face sensibility. Finally, the contribution argues that, given the range of sources that are being recycled, the play should not be viewed as an appropriation of a single text. Building on the concept of the “work” as formulated in Margaret Jane Kidnie’s Shakespeare and the Problem of Adaptation, I suggest that The Gods Weep should be viewed in the context of all texts which may be subsumed under what I call the “Lear type.”

Źródło:

Academic Journal of Modern Philology; 2015, 4; 135-143
2299-7164
2353-3218

Pojawia się w:

Academic Journal of Modern Philology

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 87.

Tytuł:

Lexical conversion in Shakespeare: a morphosemantic study

Autorzy:

Kalaga, Aleksandra

Powiązania:

https://bibliotekanauki.pl/articles/2081194.pdf

Data publikacji:

2017

Wydawca:

Polska Akademia Nauk. Czytelnia Czasopism PAN

Tematy:

conversion
zero-derivation
word-formation
Shakespeare
Early Modern English

Opis:

The article is an empirical, corpus-based study of conversion sampled in the language of Shakespeare’s plays. It surveys quantitative tendencies of conversion patterns occurring in the corpus, discusses the productivity of referential types, and looks into the qualitative aspects of N→V data. The latter issue is then placed against the context of general discussion on conversion that has been being held in the present scholarship.

Źródło:

Kwartalnik Neofilologiczny; 2017, 3; 398-410
0023-5911

Pojawia się w:

Kwartalnik Neofilologiczny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 88.

Tytuł:

The Shakesepare Brand in Contemporary “Fair Verona”

Autorzy:

Oggiano, Eleonora

Powiązania:

https://bibliotekanauki.pl/articles/1812148.pdf

Data publikacji:

2021-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Branding Shakespeare
Romeo and Juliet
Letters to Juliet
Verona

Opis:

The idea that Shakespeare belongs to the world is certainly not new. From the beginning of his afterlife as a dramatist two issues have been consistently put forward by his contemporaries: 1) his art’s universality—for Ben Jonson, Shakespeare was the one “To whom all scenes of Europe homage owe”—and 2) his ability in appropriating foreign exotic environments which have notoriously characterised most of his plays. The value of such claims, which seem to be so present to us, helped to identify Shakespeare as an ‘universal’ icon whose work transcends time and space, gradually fostering, in and outside Britain, the so-called ‘Bardification of culture’, a phenomenon which persists, even more powerfully, nowadays. This study examines the different ways through which Verona has contributed in popularizing and elaborating the myth of Romeo and Juliet into a variety of formats suitable for the tourism market. By taking into account the so-called ‘Shakespace’ phenomenon, it focuses on what I have labelled as the ‘R&J-influenced spaces’ which account for a number of civic, cultural, and narrative spaces generated by and constructed upon the myth of the Veronese lovers.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 109-125
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

Artykuł

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Skocz do pozycji: 89.

Tytuł:

‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays

Autorzy:

Dale, James

Powiązania:

https://bibliotekanauki.pl/articles/1812150.pdf

Data publikacji:

2021-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

New Historicism
Shakespeare history plays
power
disguise
estrangement
ritualism

Opis:

The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 143-158
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 90.

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

/5

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Skocz do pozycji: 91.

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

/5

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Skocz do pozycji: 92.

Tytuł:

Shakespearean Doubling: Issues of Action, Theme and Stage Presence

Autorzy:

Cotterill, Rowland

Powiązania:

https://bibliotekanauki.pl/articles/48810556.pdf

Data publikacji:

2021

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

William Shakespeare
early modern stage
doubling
performance
Brett Gamboa

Źródło:

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre; 2021, 7, 1; 61-74
2353-6098

Pojawia się w:

Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 93.

Tytuł:

The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration

Autorzy:

Lewis, Seth

Powiązania:

https://bibliotekanauki.pl/articles/2048129.pdf

Data publikacji:

2021-12-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

André Bazin
Posthumanism
Cinema 3.0
Shakespeare
Database Cinema
Gender
Florence Pugh
Object Oriented Ontology
Reality
Post-Cinema
Post- Shakespeare
Collaboration

Opis:

The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 53-69
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 94.

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

/5

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Skocz do pozycji: 95.

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

/5

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Skocz do pozycji: 96.

Tytuł:

Naked Villany: The Fatal Attraction of Richard III and Donald Trump

Autorzy:

Livingstone, David

Powiązania:

https://bibliotekanauki.pl/articles/39761268.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

William Shakespeare
Richard III
Donald Trump
Soliloquies
Asides
Twitter

Opis:

Although no longer American President, Donald Trump still manages to upstage the current administration. An explanation for his “sinister aesthetics”, to use Joel Elliot Slotkin’s concept, can be seemingly found in developing a comparison with the eponymous king of Shakespeare’s Richard III, who masterfully employs soliloquies and asides to draw the audience and reader into his evil plots and dealings. Donald Trump also managed something similar by means of Twitter, constantly tweeting out vicious comments and insults, which kept both his followers and opponents engaged. This theatrical skill is also compared to the ‘heat’ generated by villains in professional wrestling, whose popularity is marked by how much hatred they can produce.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 31-39
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 97.

Tytuł:

From Metaphor to Metonym: Shakespearean Recognition in the United States University

Autorzy:

Della Gatta, Carla

Powiązania:

https://bibliotekanauki.pl/articles/39765365.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
Berkeley
college curriculum
English major
canonization
recognition
metonym

Opis:

This essay historicizes the Shakespeare curriculum at UC Berkeley’s English department over the last one hundred years. An elite research university in the United States, UC Berkeley’s extensive course offerings have expanded due to changes in undergraduate education and external cultural shifts. With a growing number of courses on sexuality, race, gender, etc., that became part of the purview of an English department, the teaching of Shakespeare expanded as well. I demonstrate how the emphasis on Shakespeare in the U.S. undergraduate curriculum shifts over time from one form of recognition—an acknowledgement of his value or worth—to a recognition of identifying with his work based on prior experience. Distinguishing between courses that combine “Shakespeare and” and those that combine “Literature and,” I expose the consequences each has for the canonicity of both Shakespeare and subject fields with which his works are placed in conversation, explicitly and implicitly. I argue that the expansion of Shakespeare in the American undergraduate curriculum coincides with and depends on the compression of key aspects of interpretation that pose challenges for the new knowledges it seeks to create. I illuminate how an expanded Shakespeare curriculum saw a compression of Shakespeare into metonymic mythic status, which has implications for the teaching of literature from various identity and cultural groups. I demonstrate how the origins of an expansive undergraduate Shakespeare curriculum in the United States positions Shakespeare as the interlocutor for a wide range of topics.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 179-193
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 98.

Tytuł:

Monsters and Marvels: Shakespeare Across Opera, Ballet, Dance, Puppetry, and Music in Central and Eastern Europe—and Beyond

Autorzy:

Cetera-Włodarczyk, Anna
Havlíčková Kysová, Šárka
Kowalcze-Pawlik, Anna
Mišterová, Ivona
Reuss, Gabriella

Powiązania:

https://bibliotekanauki.pl/articles/39773465.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

William Shakespeare
dance theatre
opera
ballet
musical
puppetry
transmediality

Opis:

This collectively authored position paper discusses “hybrid” Shakespeares in Central and Eastern Europe, focusing on productions that offer formal experimentation and transnational perspectives. While their contexts remain regional, they provide an insight into how Shakspeare has been mobilised regionally. The paper consists of four distinct parts, each considering Shakespeare in a hybrid form: in opera, dance and musical theatre as well as puppetry in the transnational, regional context. The general discussions of Shakespeare’s presence/appropriation in these art forms are followed by case studies that illustrate the significance of hybridity that characterises Shakespeare in the Central and Eastern European transnational context. Our brief analyses and selected case studies suggest a need for a detailed study of Shakespeare and performative arts in Central and Eastern Europe that would concentrate on the transgressive impulse these theatrical blends realised through formal experiment and artistic innovation.  

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 89-108
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 99.

Tytuł:

Maiia Harbuziuk (1965–2023) in Memoriam
Maiia Harbuziuk (1965–2023): Wspomnienie

Autorzy:

Torkut, Nataliya

Powiązania:

https://bibliotekanauki.pl/articles/29432330.pdf

Data publikacji:

2023

Wydawca:

Polska Akademia Nauk. Instytut Sztuki PAN

Tematy:

Maiia Harbuziuk
Shakespeare
«Hamlet»
ukrainskie badania teatralne
Ukrainian theater studies

Opis:

This text celebrates the legacy of Maiia Harbuziuk, a distinguished Ukrainian theater critic and scholar who recently passed away before her time. The article highlights her significant contributions to theater studies and her unwavering commitment to promoting Ukrainian theater on the global stage. The author reflects on Maiia Harbuziuk’s academic achievements in the field of Shakespeare studies, including her work on the Ukrainian reception of Hamlet. She discusses the scope of Harbuziuk’s work—academic research, cultural exchange, and the organization of a Ukrainian Shakespeare Festival among many others—in all of which Maiia Harbuziuk excelled, leaving an indelible mark on Ukrainian culture and the world of theater.
Tekst upamiętnia postać Maii Harbuziuk, przedwcześnie zmarłej wybitnej ukraińskiej krytyczki teatralnej i badaczki. Artykuł podkreśla jej znaczący wkład w badania teatralne i niesłabnące zaangażowanie w promowanie ukraińskiego teatru za granicą. Autorka omawia najważniejsze osiągnięcia naukowe Maii Harbuziuk w dziedzinie badań szekspirologicznych, w tym jej prace nad ukraińską recepcją Hamleta. Omawia różnorodne przedsięwzięcia Harbuziuk – obejmujące badania naukowe, wymianę kulturalną, a także organizację Ukraińskiego Festiwalu Szekspirowskiego i wiele innych – podkreślając, że w każdej z tych dziedzin Maiia Harbuziuk osiągała znakomite wyniki, pozostawiając niezatarty ślad w ukraińskiej kulturze i świecie teatru.

Źródło:

Pamiętnik Teatralny; 2023, 72, 4; 266-277
0031-0522
2658-2899

Pojawia się w:

Pamiętnik Teatralny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 100.

Tytuł:

Шекспировские римейки в современной российской драме
Shakespearean Remakes in Recent Russian Drama

Autorzy:

Шамина, Вера Б.

Powiązania:

https://bibliotekanauki.pl/articles/22446760.pdf

Data publikacji:

2013

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

post modernism
Russian drama
theatre
play
intertextuality
remake
Shakespeare
Hamlet

Opis:

The article addresses postmodern plays by recent Russian playwrights, which use the plot of Shakespeare’s Hamlet, such as L. Petrushevskaya, B. Akunin, V. Korkiya and brothers Presnyakov. It demonstrates different techniques and approaches they use to deconstruct the original text. In the end the author comes to the conclusion that these playwrights in their games with classics to a great extent follow the path that was laid by the Bard himself.

Źródło:

Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 115-124
1427-9681
2353-4834

Pojawia się w:

Acta Universitatis Lodziensis. Folia Litteraria Rossica

Dostawca treści:

Biblioteka Nauki

/5

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