Cahiers Élisabéthains最新文献

{"title":"Erratum to ‘The theatre of the confused: Tokyo’","authors":"","doi":"10.1177/01847678231209829","DOIUrl":"https://doi.org/10.1177/01847678231209829","url":null,"abstract":"","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"12 1","pages":"163 - 163"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139303862","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}

{"title":"‘Something rich and strange’: Translating Shakespeare's poetry into Japanese","authors":"Jessica Chiba","doi":"10.1177/01847678231184076","DOIUrl":"https://doi.org/10.1177/01847678231184076","url":null,"abstract":"Translating poetry is difficult, and in a language so far removed from English as Japanese, the complications are manifold: rhyme creates no impact, and there are no inherent stresses out of which to create Western-style rhythms. Shakespeare's poetic drama, then, presents serious obstacles to translation. Through an investigation of the different approaches to translating Shakespeare's plays into Japanese, and what it means to do so, this article reconsiders the presence of Shakespeare's works in Japan to suggest that foreignness may be a more crucial part of the popularity of the dramas than universality.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129756287","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}

{"title":"Hot Shakespeare, cool Japan: Editorial introduction","authors":"Sarah Olive","doi":"10.1177/01847678231183378","DOIUrl":"https://doi.org/10.1177/01847678231183378","url":null,"abstract":"This issue is titled ‘Hot Shakespeare, Cool Japan’, something Atsuhiko Hirota explores in his foreword. I reached for this title partly to avoid confusion with around a dozen existing works partly or wholly named ‘Shakespeare in Japan’ or ‘Shakespeare in Contemporary [or Modern] Japan’. I wanted to capture something of Shakespeare’s continuing, if fraught, presence in Japan. ‘Hot’ can mean attractive and appealing (‘Shakespeare looks hot in the Cobb portrait’), as well as something ‘difficult or awkward to deal with’ (‘Shakespeare’s absence from his young family is a hot potato for biographers’) or ‘controversial or contentious’ (‘Shakespeare’s future in Japanese classrooms is hotly debated’). I also liked the promise of ‘fresh’ or ‘exciting’ takes that ‘hot Shakespeare’ captures. It succinctly captures my own experience of teaching, researching, and watching Shakespeare as a Megumi visiting professor in the English Department at Kobe College during the academic year 2022–23, on loan from Bangor University. This involved lively conversations about both Shakespeare and Japan with students and colleagues as well as some literally hot sonnet readings and Shakespeare scavenger hunts, under the bright sun, in the campus’s beautiful Shakespeare Garden. This opportunity rounded out a decade of shorter stays, involving a range of Japanese universities in Kantō and Kansai. ‘Cool’ Japan structurally suggests a contrast with ‘hot Shakespeare’, but it is not quite an antonym for ‘hot’; indeed, it is often used as a synonym meaning ‘hip’, ‘stylish’, and attractive. ‘Cool Japan’ invokes flows of influence between the two countries since products and experiences considered part of the ‘Cool Japan’ phenomenon are enjoyed by British Japanophiles, while Shakespeare has travelled back and forth between Japan and the United Kingdom in the form of texts, productions, and academics. Additionally, the phrase ‘Cool Japan’ draws on ‘Cool Britannia’, as Hirota explains in his foreword. ‘Cool Britannia’ and ‘Cool Japan’ both purportedly originated with cultural and economic commentators: in Britain during the late 1990s and in Japan in the midnoughties. ‘Cool Britannia’ became synonymous with New Labour’s campaigns to celebrate the resurgence of Britain’s cultural industries (Britpop music, art, and fashion) but, as that government declined and the 2008 financial crisis took hold, the phrase soured and","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129879738","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}

{"title":"Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century","authors":"Daniel Gallimore","doi":"10.1177/01847678231184547","DOIUrl":"https://doi.org/10.1177/01847678231184547","url":null,"abstract":"Two adaptations of Shakespeare comedies between 2008 and 2010 by the Tokyo-based all-male Studio Life company coincided with the better-known all-male Shakespeares directed by Ninagawa Yukio (based just outside Tokyo) and a moment of rising awareness of gender issues in Japanese society. This article explores the role of Studio Life's (and Ninagawa's) translator Matsuoka Kazuko, arguing that just as the all-male format rendered the chauvinistic aspects of Shakespearean comedy more palatable to a mainly female audience, so too does Matsuoka's achievement as the first female translator of Shakespeare's complete plays reveal the possibility of a Japanese woman ‘becoming’ Shakespeare.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125749213","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}

{"title":"Foreword: Japan and Shakespeare: Acceptance and transformations in the twenty-first century","authors":"A. Hirota","doi":"10.1177/01847678231181621","DOIUrl":"https://doi.org/10.1177/01847678231181621","url":null,"abstract":"Why a collection of studies on ‘Shakespeare in Japan’ in 2023? Is it because Japan has become (suddenly, as it seems to me) popular with tourists? Although the number of overseas visitors to the archipelago recorded the highest ever level each year until the outbreak of the COVID-19 pandemic and is recovering steadily, and although we hear many good words from them, looking from inside the negative factors have long been predominant. Certainly, Japan is a relatively convenient, safe, and clean place: one can generally expect trains to run on time; the last railway strike I remember was in the 1980s; and I have never seen nationwide industrial action comparable to that in France in the spring of 2023. Yet, we must admit that the country is in decline. While prices had long been stable until recently, that was only one aspect of an economy hardly growing as long as for three decades – the phenomenon nowadays referred to as ‘Japanization’. The population is ageing and dwindling at alarming speed – making the sustainability of the public pension system doubtful. The government’s deficit and debt are horrendous, and the trade deficit has become chronic despite the devaluation of the currency (part of the attraction for visitors). The promotion of tourism by the government including the ‘Cool Japan’ campaign (an imitation of Tony Blair’s ‘Cool Britannia’) may be cynically regarded as a desperate attempt when industrial products ‘Made in Japan’ no longer attract the world: they are promoting scenery with temples, cherry blossoms, Mt Fuji, and Shinkansen HST in place of cameras and video recorders. Why, then, should anyone be interested in Japanese productions of Shakespeare? The study of ‘Shakespeare in Japan’ has a certain length of history. Taking a look at the MLA International Bibliography, we find articles published in languages other than","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133919666","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}

{"title":"How can we make Shakespeare more accessible in Japan?","authors":"Rena Endo","doi":"10.1177/01847678231181618","DOIUrl":"https://doi.org/10.1177/01847678231181618","url":null,"abstract":"Although there used to be many opportunities to see Shakespeare's plays regularly in Japan, many of the theatre companies that performed Shakespeare have been dissolved in recent years. This article focuses on the Shakespeare for Children Company, a group that was founded in 1995 and is still performing Shakespeare under the company's new name, Yellow Helmets. Their success comes from the fact that they work to make Shakespeare enjoyable, understandable, and accessible. These features are analysed in this article with a close look at their scripts and questionnaire for a production of The Winter's Tale in 2018.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134569657","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}

{"title":"The Japanese preoccupation with Osamu Dazai in the twenty-first century","authors":"Kohei Uchimaru","doi":"10.1177/01847678231184066","DOIUrl":"https://doi.org/10.1177/01847678231184066","url":null,"abstract":"This paper considers the underlying factors that dictated Osamu Dazai's adaptation of Hamlet in 1941, The New Hamlet, alongside the intellectual background against which he rewrote the play. Despite his reference to the critique of the Romantic interpretations of the play, Dazai's protagonist is represented as an indecisive man who is seized by what Carl Schmitt called ‘Romantic irony’, namely an impulse to suspend practical judgements. Underlying such a representation of Hamlet is Dazai's lack of a criterion of justice (or belief systems), which can be seen as a tragedy not only for Dazai and his contemporary young people but also for young people living in twenty-first century Japan.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128963866","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}

{"title":"Performance review: A Midsummer Night’s Dream by Shoichiro Kawai","authors":"Sarah Temmar","doi":"10.1177/01847678231185692a","DOIUrl":"https://doi.org/10.1177/01847678231185692a","url":null,"abstract":"Sarah Olive is a Senior Lecturer in English Literature at Aston University, Birmingham, UK. During the Japanese academic year 2022–23, she was the Megumi visiting professor in the English Department at Kobe College. Her books include Shakespeare in East Asian Education, co-authored with Kohei Uchimaru, Adele Lee, and Rosalind Fielding (2021), and Shakespeare Valued (2015). She is the Lead Editor of the international peer-reviewed journal Jeunesse: Young People, Texts, Cultures (University of Toronto Press).","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127056610","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}

{"title":"The brightest star: The Meisei Shakespeare Collection","authors":"Mariko Nagase, J. Jowett","doi":"10.1177/01847678231185667","DOIUrl":"https://doi.org/10.1177/01847678231185667","url":null,"abstract":"The Kodama Memorial Library at Meisei University contains one of the world's most important Shakespeare collections. This article introduces the Meisei collection to Shakespearians internationally, describing the history and scope of the collection, and the website reproducing copies of some of its Shakespeare and Jonson folios. The article examines examples of Meisei copies of early editions from the perspective of bibliography and book history. These case studies highlight the importance of individual copies in the collection in preserving information about publishing and ownership from the early modern period to our own and the significance of the Meisei collection itself.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114074970","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}

{"title":"The Influence of the Noh Play Tamura on Akira Kurosawa's Throne of Blood","authors":"T. Kuwayama","doi":"10.1177/01847678231175852","DOIUrl":"https://doi.org/10.1177/01847678231175852","url":null,"abstract":"This paper analyses the impact of the traditional Japanese Noh play Tamura on Akira Kurosawa's film adaptation of Macbeth, Throne of Blood. It examines the presence of Noh elements in the banquet scene, where a solo dance from Tamura is performed, and explores the connection between Tamura's conclusion and the film's final scene, in which the protagonist Washizu is bombarded with arrows. By identifying the banquet scene's dancer with the rebel leader and examining its implications, this study provides a nuanced analysis of the film's ending.","PeriodicalId":428479,"journal":{"name":"Cahiers Élisabéthains","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133159646","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}