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Tytuł:
«Burza» Szekspira w Folks un Jugnt-Teater: Inscenizacja Leona Schillera (1938/39)
Shakespeare’s «The Tempest» in the Folks un Jugnt-Teater: The Staging by Leon Schiller 1938/1939
Autorzy:
Timoszewicz, Jerzy
Powiązania:
https://bibliotekanauki.pl/articles/30146930.pdf
Data publikacji:
1992-12-30
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Leon Schiller
teatr jidysz
Burza Shakespeare'a
Władysław Daszewski
Folks Un Jungt-Teater
Abraham Morewski
teatr żydowski w Polsce
Yiddish theater
Shakespeare's The Tempest
Jewish theater in Poland
Opis:
Inscenizacja Burzy Szekspira w inscenizacji Leona Schillera ze scenografią Władysława Daszewskiego w Folks un Jugnt-Teater w Łodzi (9 października 1938) uchodzi za jedno z największych osiągnięć teatru jidysz w Polsce. Wagę współpracy wybitnego polskiego reżysera z teatrem jidysz podkreślali mówcy na bankiecie, który odbył się po premierze, a recenzenci odkrywali polityczne podteksty spektaklu. Scenografia Daszewskiego na płytkiej scenie była wybitnym osiągnięciem, podobnie jak rola Prospera grana przez Abrahama Morewskiego, jednego z najwybitniejszych aktorów żydowskich XX wieku. Łódzki spektakl zalicza się także do najważniejszych osiągnięć wśród szekspirowskich inscenizacji Schillera, ale i w całej jego twórczości.
The production of Shakespeare’s The Tempest staged by Leon Schiller with scenography by Władysław Daszewski in the Folks un Jugnt-Teater in Łodź (October 9th 1938) is considered to be one of the greatest achievements of Yiddish theatre in Poland. The author describes the political background of the production. The significance of the cooperation of a distinguished Polish director with a Yiddish theatre was stressed by speakers at the banquet which took place after the premiere, while the reviewers uncovered the political undertones of the production. Daszewski’s scenography on a shallow stage was a great achievement, as was the part of Prospero played by Avrom Morevsky, one of the most eminent Jewish actors of the 20th century. The Łodź production also turns out to be an important reflection of the evolution of the interpretation of Shakespeare’s play in Schiller’s work, as well as an important element of his artistic achievement.
Źródło:
Pamiętnik Teatralny; 1992, 41, 1/4; 439-452 (pol), 439-457 (eng)
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Shakespeare in Romania: The Meandering Road from Adoption to Adaptation
Autorzy:
Sirbulescu, Emil
Powiązania:
https://bibliotekanauki.pl/articles/647960.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Theatre reviews: Jovial Usurper in the Traditional Kyogen Style: Kuninusubito (based on Richard III) at the Setagaya Public Theatre, Tokyo
Autorzy:
Noda, Manabu
Powiązania:
https://bibliotekanauki.pl/articles/647958.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
To love the Moor? The representation of Otherness in Spanish translations of Othello .
Autorzy:
Ezpeleta Piorno, Pilar
Powiązania:
https://bibliotekanauki.pl/articles/647962.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Towards Intercultural Dialogue with Shakespeare
Autorzy:
Colarusso, Dana Mafalda
Powiązania:
https://bibliotekanauki.pl/articles/647966.pdf
Data publikacji:
2009
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
theatre
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2009, 5
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
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
Artykuł
Tytuł:
What’s past is prologue: the Age of Caliban
Autorzy:
Kowalcze-Pawlik, Anna
Powiązania:
https://bibliotekanauki.pl/articles/638715.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Shakespeare, Caliban, Prospero, monstrosity, bestial man, reception history, postcolonial studies, cultural studies, Renaissance literature, English drama
Opis:
The article provides a brief comparative study of the reception history of Shakespeare’s Caliban in the early modern period and in the contemporary literary criticism. The analysis aims to delineate a fundamental difference in the reception of the character of Caliban throughout the ages which I attribute to a historical shift in the understanding of the notions of humanity and monstrosity. The first part of the article concentrates on the description of the historical and social circumstances of the Elizabethan discourse of monstrosity and draws a link between them and the literary and political context of the time, while engaging into a close reading of The Tempest that brings to the fore the origin and nature of the “servant-monster”. The second part of the paper focuses on the gradual change in the interpretations of Caliban who ceased to be seen as a monstrosity and with time acquired undeniably human characteristics. That shift has been observable since the 19th century and has found its culmination in the postcolonial strain of Caliban’s contemporary interpretations, in which Prospero’s slave becomes a native trying to find a language for himself in a colonial regime his body and mind are subjugated to. The postcolonial project of the unfinished monstrous humanity of Sycorax’s son is congruous with the postmodern condition that can be dubbed, to use Harold Bloom’s phrase, “the Age of Caliban”. It is exactly that liminal and paradoxical notion of monstrous humanity that resides at the core of the contemporary fascination with “Monsieur Monster”.
Źródło:
Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2011, 6, 1
2084-3933
Pojawia się w:
Studia Litteraria Universitatis Iagellonicae Cracoviensis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bezdomni zmarli: rzecz o Szekspirowskich widmach
The homeless dead: the case of Shakespeare’s spectres
Autorzy:
Grzegorzewska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/2012206.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
cmentarz
Szekspir
Hamlet
Makbet
widma
obrzęd
Dziady
graveyard
Shakespeare
Macbeth
spectres
the custom of dziady
Opis:
The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
Źródło:
Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 257-270
2084-6045
2658-2503
Pojawia się w:
Prace Filologiczne. Literaturoznawstwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Cleopatra – a Queen, a Lover, a Mother: Transformations of the Image
Kleopatra – królowa, kochanka, matka – transformacja wizerunku.
Autorzy:
Wiśniewska, Lidia
Powiązania:
https://bibliotekanauki.pl/articles/437474.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
Tematy:
archetypes
Cleopatra VII
coincidentia oppositorum
Mircea Eliade
Karen Essex
Horace
image
imagology
mythical patterns
William Shakespeare
transformations
Opis:
Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition
Źródło:
ARGUMENT: Biannual Philosophical Journal; 2012, 2, 1; 151-169
2083-6635
2084-1043
Pojawia się w:
ARGUMENT: Biannual Philosophical Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Межкультурный диалог как способ выражения авторской позиции в рассказе Ю. Буйды Веселая Гертруда
Inter-cultural dialogue as a means of reflecting the author’s standpoint in the story Merry Gertrude by Y. Buyda
Autorzy:
Prokhorova, Tatyana
Powiązania:
https://bibliotekanauki.pl/articles/22591572.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
cultural dialogue
intertextuality
unity
Joy
eternity
time
Buyda
Schiller
Shakespeare
Heidegger
Opis:
The essay based on the analysis of the story Merry Gertrude by contemporary author Y. Buyda addresses the forms and functions of inter-cultural dialogue as a means of reflections of the author's standpoint.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2012, 5; 111-119
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Revulsion from sex”, czyli seksualne dewiacje u Szekspira
„Revulsion from sex” – sexual deviations in Shakespeare’s works
Autorzy:
Kowalska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/564018.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Katedra Porównawczych Studiów Cywilizacji
Tematy:
Shakespeare William
deviations
erotism
sexuality in dramas
picture of desire in art
dewiacje
erotyzm
seksualność w dramatach
obraz pożądania w sztuce
Opis:
Prezentowany artykuł, wykorzystując rozważania na pograniczu literaturoznawstwa i nauk społecznych*, stanowi próbę opisu i analizy seksualnych dewiacji w utworach W. Szekspira. Wykorzystując jako tło biografię autora (ukazaną w szerokim kontekście społeczno-historycznych uwarunkowań epoki elżbietańskiej) autorka odwołuje się do różnorodnych utworów pisarza (między innymi "Antoniusz i Kleopatra", "Burza", "Miarka za miarkę" oraz wiele innych) i zwraca uwagę na obecny w nich aspekt seksualności. W tekście wnikliwie zanalizowane zostały konteksty biograficzne oraz różnorodny materiał źródłowy, z którego autorka wyodrębnia konkretne postawy Szekspirowskich bohaterów, charakteryzując i interpretując je pod kątem seksualności, erotyzmu, dewiacji i płciowości.
Presented article, using reflections of literature and social science, is attempt at describing and analising sexual deviations in W. Shakespeare's works. Using biography of the author as a background (showed in a wide context of sociohistorical conditions of Elizabethan period), the author appeals to various pieces of the writer (for example 'Antony and Cleopatra', 'The Tempest', 'Measure for Measure' and many more) and pays attention to aspects of sexuality in them. In the text biographical contexts and varied source materials were analised carefully. Concrete attitudes of Shakespeare's characters are marked off, characterised and interpreted from an angle of sexuality, erotism and deviation.
Źródło:
Magazyn antropologiczno-społeczno-kulturowy MASKA; 2013, 18; 72-86
1898-5947
Pojawia się w:
Magazyn antropologiczno-społeczno-kulturowy MASKA
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Additional Dialogue by…Versions of Shakespeare in the World’s Multiplexes
Autorzy:
Paterson, Ronan
Powiązania:
https://bibliotekanauki.pl/articles/648136.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare in film
cinema adaptation
genre adaptation
Shakespeare in multiplexes
Opis:
William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and thrillers, as well as trans-cultural assimilations. But this very proliferation throws up other questions, as to what can legitimately be called an adaptation of Shakespeare. Not every story of divided love is an adaptation of Romeo and Juliet. Different adaptations and assimilations have enjoyed differing degrees of success, and the essay interrogates those aspects which make the popular cinema audience flock to see Shakespeare in such disguised form, when films which are more faithfully based upon the original plays are so much less appealing to the audience in the Multiplexes.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 53-69
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Apollo Nałęcz-Korzeniowski and Cyprian Norwid: looking for common ground
Autorzy:
Samsel, Karol
Powiązania:
https://bibliotekanauki.pl/articles/638862.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Cyprian Norwid, Apollo Nałęcz-Korzeniowski, William Shakespeare, metadramatic strategies, translation strategies, modern comedy
Opis:
The aim of the present article is to determine the extent to which Apollo Nałęcz-Korzeniowski (Joseph Conrad’s father) and Cyprian Norwid - both of whom can be linked to the development of European modernism - shared a common approach to literature and the main social questions of their times. To this end I have made an analysis of the translation and metadramatic strategies adopted by both writers, whose approach to the practical problems of translation is modern in every respect. Korzeniowski and Norwid draw attention to the difficulties involved in adapting a writer’s natural style not only to a different linguistic context, but also to the specific translatability limitations imposed by a different literary culture. Both authors cite the symptomatic example of the musicality of Shakespearean verse, which Korzeniowski examines in the case of A Comedy of Errors and Norwid in Julius Caesar. Unlike Korzeniowski, who treats the original text as a literary whole, Norwid strays beyond the bounds of his own theory of translation by adding a philosophical component based on neoplatonism - as well as his own theory of “reading idiolects” - thus assuming the position of a ‘modern fragmentarist’ who makes a creative selection of text to be translated. The metadramatic ideas of Korzeniowski and Norwid found their fullest expression in the former’s Studya nad dramatycznością w utworach Szekspira (An Enquiry into Shakespeare’s Dramatic Art - 1868) and in the latter’s preface to his play entitled Pierścień Wielkiej-Damy (The Great Lady’s Ring - 1872). In their reinterpretations of Shakespearean drama, both writers sought to join in the literary ‘revisionism’ that took place in Europe after 1848 (and in Polish literature only after 1863) in order to lay the foundations of ‘modern comedy’. What they came up with was Norwid’s concept of the tragicomic (or ‘white tragedy’) and Korzeniowski’s concept of ‘flight into the realm of delusion’, both of which relate to the Shakespearean experience of ‘theatre within theatre’: in Norwid’s ‘actor’ and Korzeniowski’s ‘Man being in a state of delusion’ we have two models of a humanity that resorts to internal escapism in reverse, as it were - a Hamlet-like ‘flight into consciousness’. The legacy of the events of the 1863 January Uprising can be seen in the idea - put forward by both authors (albeit from differing standpoints) - of a synthesis of dramatic art and the life of the nation, in order that Society may take a long, hard look at itself.
Źródło:
Yearbook of Conrad Studies; 2013, 8
2084-3941
Pojawia się w:
Yearbook of Conrad Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modernity and Tradition in Shakespeare’s Asianization
Autorzy:
Yang, Lingui
Powiązania:
https://bibliotekanauki.pl/articles/648207.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
Asian tradition
modernity
Opis:
Do Marjorie Garber’s premises that Shakespeare makes modern culture and that modern culture makes Shakespeare apply to his reception in Asian contexts? Shakespeare’s Asianization, namely adaptation of certain Shakespeare elements into traditional forms of local cultures, seems to testify to his timelessness in timeliness. However, his statuses in modern Asia are much more complicated. The complexity lies not only in such a cross-cultural phenomenon as the Asianizing practice, but in the Shakespearization of Asia-the idealization of him as a modern cultural icon in a universalizing celebration of his authority in many sectors of modern Asian cultures. Yet, the very entities of Asia, Shakespeare, modernity, and tradition must be problematized before we approach such complexities. I ask questions about Shakespeare’s roles in Asian conceptions of modernity and about the relationship between his literary heritage and Asian traditions. To address these questions, I will discuss this timeliness in Asian cultures with a focus on Shakespeare adaptations in Asian forms, which showcase various indigenous approaches to his text-from the elitist legacy maintaining to the popularist re-imagining. Asian practices of doing Shakespeare have involved other issues. For instance, whether or not the colonial legacies and postcolonial re-inventions in the dissemination of his works in Asian cultures confirm or subvert the various myths about both the Bard and modernity in most time of the 20th century; in what ways Shakespeare has been used as at once a negotiating agent and negotiated subject in the processes of the prince’s translations and adaptations into Asian languages, costumes, landscapes, cultures and traditions.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 5-10
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
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