1,720,976 research outputs found
Hamlet in Times of War: Two Appropriations of Shakespeare’s Tragedy in Former Yugoslavia in the 1990s
No full textShakespeare and World Cinema: a strategy for reading film
No full textGiven the plethora of recent Shakespeare films that have been produced around the world, we should think critically about how Shakespeare is mediated in the cinematic idiom and move away from a narrow focus on only one or two better-known examples (Burnett 2013). This chapter suggests three strategies to interrogate the separate bracketing of a so-called foreign Shakespeare and acknowledges the importance of plurality.‘Auteur’ theory facilitates an engagement with cinema that prioritizes the notion of the individual craftsperson possessed of a distinctive vision. A ‘regional’ approach permits consideration of the national and cultural characteristics of cinema without succumbing to a unitary modality which would favour only the nation-state as an option for analysis. And ‘Plays’ presents an opportunity to reflect on the ways in which particular dramas have proved resiliently popular as objects of filmic treatment. Crucially, in the extent to which they introduce issues around setting, genre, periodization, context and technique, these approaches are not hermetically sealed. Rather, they cross-fertilize and form a series of openings into a disparate field. In a number of respects, too, these approaches can be combined. Depending upon the particular film product, considerations of auteurship, region and playtext can be mixed and matched to furnish several modes for understanding and illuminating the diverse expressions of Shakespeare in his non-Anglophone screen re-imaginings...
<i>Henry V</i> in France
Get PDFHenry V is a difficult play to translate and stage in France, both because of its theme and of its multilingualism. The play is known for its nationalistic take on a painful event of French history, namely, the defeat of the French army at the battle of Agincourt. It also features multiple bilingual scenes where English and French meet, making it difficult to render in a monolingual French setting: In translation, originally bilingual dialogues run the risk of becoming obscure for a French audience faced with characters unable to communicate despite their common tongue. This double issue has led to a complex reception history on the other side of the Channel, where stage performances are rare and translations are sparse. This entry offers an overview of this phenomenon, addressing the double question of how the multilingualism of the play has been rendered in written translations, and how it has been adapted on French stages, including how foreign, non-French productions touring to France have participated in the dialogue of reception.<br/
Te Tangata Whai Rawa o Weniti/The Maori Merchant of Venice (The Merchant of Venice, film, dir Don C. Selwyn, Aotearoa/New Zealand 2002)
No full textTe Tangata Whai Rawa o Weniti/The Maori Merchant of Venice (2002) is Aotearoa/New Zealand’s first Shakespeare feature film and the first film ever with dialogue solely in te reo Māori, the indigenous language of Aotearoa/New Zealand. Don C Selwyn, the film’s director, adapted the screenplay from Dr Pei Te Hurinui Jones’s 1946 translation of The Merchant of Venice. The film followed Selwyn’s 1991 staged production of Jones’s translation. Te Tangata Whai Rawa o Weniti attempts to reclaim Shakespeare for te Ao Māori (the Māori world). At the same time, the film draws attention to less easily resolved dilemmas of colonisation behind its idyllic surface
Local and Global Myths in Shakespearean Performance
No full textThis collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns
Local and Global Myths in Shakespearean Performance
No full textThis collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality within broader European, neo-liberal, and post-colonial contexts. The study of local identities and global icons in the third part uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare. The fourth part revises persistent narratives concerning a political potential of Shakespeare’s plays in communist and post-communist countries. Finally, part five explores the influence of commercial and popular culture on Shakespeare myths. Michael Dobson’s Afterword concludes the volume by locating Shakespeare within classical mythology and contemporary concerns
"The god called Nothingness", Büchner, Shakespeare and Original Sin
Get PDFThis chapter presents two passages that resonate with Shakespeare. Robespierre's haunting broadly echoes the bloodstained hands motif in Macbeth. Simon's abuse of his wife echoes Hamlet's abuse of Ophelia in the nunnery scene. At one end of the spectrum, we find the citation shaping its host text: the relation here would be tuitional or doctrinal. At the other end, the host text absorbs the citation and transforms it: the relation here would be intuitive and dialectical. Thinking is nothing but its own mirror, consciousness cloudily reflected back as unconscious. Wittingly or not, the passage reproduces traditional theological doctrine in respect of the teeming multiplicity of mental sinfulness. Buchner's obsessive disinterring from Shakespeare's text of the kindred themes of original sin and the theatrum mundi arises from authentic "existence categories". They carry no hint of ideological back-formations of the kind associated with the apostle of reaction, Joseph de Maistre
Race and the "Global" in Shakespeare Studies
No full textThis chapter is a survey of scholarly works published in 2022–2023 within the field of Shakespeare studies. It is divided into four sections: Shakespeare and Race, Shakespeare and Pedagogy, Adaptation and Appropriation, and Global Shakespeare. The goal of this survey is to stage a conversation between scholars working with critical race studies and those working through “global” as an analytic. Relevant details in the works under discussion are teased out to amplify the connections among these themes. In terms of methodology, for edited volumes, this chapter focuses on the introduction and a sampling of chapters to show the texture of the collections
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