Multicultural Shakespeare-Translation Appropriation and Performance最新文献_第4页

Jan Kott is Dead, Long Live to the ˂“Hybrid”˃ Critic 简·科特去世了，《混血》评论家万岁

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2022-03-15 DOI: 10.18778/2083-8530.24.11

Elizaveta Tsirina Fedorova, Jose Saiz Molina, Julia Haba Osca

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‘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 “你怎么能对我说我是国王?”:新历史主义及其对莎士比亚历史剧中国王形象设计的(再)解读

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.09

James W. Dale

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The Inverted Initiation Rituals in Shakespeare with a Special Emphasis on Hamlet 莎士比亚作品中颠倒的入会仪式——以哈姆雷特为例

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.10

A. Wicher

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Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth 与贾特拉的交叉:《麦克白夫人》跨文化表现中的孟加拉民间戏剧元素

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.06

Aabrita Dutta Gupta

{"title":"Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth","authors":"Aabrita Dutta Gupta","doi":"10.18778/2083-8530.23.06","DOIUrl":"https://doi.org/10.18778/2083-8530.23.06","url":null,"abstract":"This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitute her through the medium of Indian classical dance and music juxtaposed with Shakespearean dialogues from Macbeth. This paper will argue the possibilities posited by this transgressive re-reading of a major Shakespearean tragedy by concentrating on a possible understanding through a Hindu religious sect —Vaishnavism, as embodied through the medium of jatra. To form a radically new stage narrative in order to bring into focus the dilemma and claustrophobia of Lady Macbeth is perhaps the beginning of a new generation of Shakespeare explorations. Iyenger’s production not only dramatizes the tragedy of Lady Macbeth through folk dramatic tradition, dance and music, but also Indianises it with associations drawn from Indian mythological women like Putana (demoness) and Shakti (sacred feminine).","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"40 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86366440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History 表演卡利班式洗礼:英属印度历史的莎士比亚分形

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.04

A. Chatterjee

{"title":"Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History","authors":"A. Chatterjee","doi":"10.18778/2083-8530.23.04","DOIUrl":"https://doi.org/10.18778/2083-8530.23.04","url":null,"abstract":"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).","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"45 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89582729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The Readers of 17th-Century English Manuscript Commonplace Book Hesperides, or the Muses’ Garden 17世纪英语手稿的读者:赫斯庇得斯，或缪斯的花园

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.12

Tianhu Hao

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The Domestication and Arabization of the Bard: Towards the Reception of Shakespeare in the Arab World 吟游诗人的归化与阿拉伯化:阿拉伯世界对莎士比亚的接受

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.03

M. Hassoon

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From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination 从社会正义到隐喻:俄罗斯人想象中的奥赛罗

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.05

Natalia Khomenko

{"title":"From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination","authors":"Natalia Khomenko","doi":"10.18778/2083-8530.23.05","DOIUrl":"https://doi.org/10.18778/2083-8530.23.05","url":null,"abstract":"Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"51 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86715228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation 四字成语与日语莎翁译本的修辞学

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.02

Daniel Gallimore

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The Shakespeare Brand in Contemporary “Fair Verona” 当代“维罗纳集市”中的莎士比亚品牌

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2021-06-30 DOI: 10.18778/2083-8530.23.07

E. Oggiano

{"title":"The Shakespeare Brand in Contemporary “Fair Verona”","authors":"E. Oggiano","doi":"10.18778/2083-8530.23.07","DOIUrl":"https://doi.org/10.18778/2083-8530.23.07","url":null,"abstract":"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.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73268499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1