Relevant bibliographies by topics / Asian Shakespeare

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Asian Shakespeare'

Author: Grafiati
Published: 11 December 2022
Last updated: 26 January 2023

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Journal articles on the topic "Asian Shakespeare"

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Tian, Min. "The Reinvention of Shakespeare in Traditional Asian Theatrical Forms." New Theatre Quarterly 14, no. 55 (August 1998): 274–84. http://dx.doi.org/10.1017/s0266464x00012203.

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Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min Tian denies that a ‘true’ recreation is possible – but suggests that such productions can, paradoxically, help us to ‘reinvent’ Shakespeare in fuller accord with our own times, notably by exploiting the potential of stylized gesture and movement, and the integration of music and dance, called for by proponents of a modernistic ‘total’ theatre after Artaud. In considering a wide range of Shakespearean productions and adaptations from varying Asian traditions, Min Tian suggests that the fashionably derided ‘universality’ of Shakespeare may still tell an intercultural truth that transcends stylistic and chronological distinctions. Min Tian holds a doctorate from the China Central Academy of Drama, where he has been an associate professor since 1992. The author of many articles on Shakespeare, modern drama, and intercultural theatre, he is now a doctoral candidate at the University of Illinois at Urbana-Champaign.
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Yang, Lingui. "Modernity and Tradition in Shakespeare’s Asianization." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 5–10. http://dx.doi.org/10.2478/mstap-2013-0001.

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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.
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Huang, Alexander C. Y. "Asian Shakespeare 2.0." Asian Theatre Journal 28, no. 1 (2011): 1–6. http://dx.doi.org/10.1353/atj.2011.0002.

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Hamana, Emi. "This Is, and Is Not, Shakespeare: A Japanese-Korean Transformation of Othello." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 179. http://dx.doi.org/10.14198/raei.2012.25.14.

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The purpose of this paper is to address the critical impact of local Shakespeare on global Shakespeare by examining a Japanese-Korean adaptation of Othello. Incorporating elements of Korean shamanistic ritual and elements from Japanese noh to create a new reading of Shakespeare’s play with its special concern with Desdemona’s soul, the two theatres interact powerfully with each other. Local Shakespeare functions as a cultural catalyst for the two nations vexed with historical problems. By translating and relocating Shakespeare’s Othello in East Asia, the adaptation succeeds in recreating Shakespeare’s play for contemporary local audiences. In considering the adaptation, this paper explores the vital importance of local Shakespeare and local knowledge for the sake of global Shakespeare as a critical potential. The adaptation might evoke a divided response among a non-local audience. While on the one hand, it attempts to create an ‘original’ production of the Shakespeare play through employing the two Asian cultures, on the other, it employs the Shakespeare play as a conduit for their cultural exchange. This is, and is not, Shakespeare. The paper finally suggests that for all this ambivalence, the adaptation shows some respectful, if unfamiliar, feelings that could be shared by many people around the globe.
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Olive, Sarah. "Digital Asian Shakespeare Festival, 11th World Shakespeare Congress, Singapore, 18–24 July 2021." Cahiers Élisabéthains: A Journal of English Renaissance Studies 106, no. 1 (October 7, 2021): 75–83. http://dx.doi.org/10.1177/01847678211044095.

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The 2021 Digital Asian Shakespeare Festival nested within the 11th World Shakespeare Congress in Singapore, ‘where communities of Shakespeare scholars, teachers and practitioners in over 40 countries’ gathered online. Lee Hyon-u, the Festival Director, arranged an astonishing array of Asian performances. Lee wrote of the festival as offering ‘rare opportunities for delegates to enjoy the diversity and depth of Asian Shakespeare while breaking through the barrier of the Covid pandemic’. This article argues that recent Asian Shakespeare productions included in the festival offer inspiration for those staging Shakespeare worldwide as the arts attempt to recover from the pandemic.
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Das, Chandrima, Samrat Laskar, Piotr Maszewski, Grzegorz Sikorski, and Anirban Bhattacharjee. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 12, no. 27 (June 26, 2015): 125–46. http://dx.doi.org/10.1515/mstap-2015-0011.

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Miola, S. Robert, ed. Macbeth. By William Shakespeare. New York and London: W. W. Norton & Company, 2004. Pp. xxiii + 384. [South Asian Edition] Tiffany Ann Conroy Moore, Kozintsev’s Shakespeare Films: Russian Political Protest in Hamlet and King Lear. Jefferson, North Carolina, and London: McFarland & Company, 2012. Pp. viii + 194 Sosnowska, Monika. Hamlet uzmysłowiony (Sensuous Hamlet). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013. Pp. 201 Courtney, Krystyna Kujawińska and Monika Sosnowska, eds. Shakespeare 2014—w 450. rocznicę urodzin (Shakespeare 2014—For the 450th Anniversary of His Birth). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2014. Pp. 235 Laura Estill, Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Delaware: University of Delaware Press, 2015. Pp. xxviii+255
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Kaori, Kobayashi. "‘The Actors Are Come Hither’: Shakespeare Productions by Travelling Companies in Asia." New Theatre Quarterly 32, no. 1 (January 7, 2016): 49–60. http://dx.doi.org/10.1017/s0266464x15000858.

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In 1882, a critic of the journal Theatre noted that ‘the theatrical life of the present day might be described as a round of glorified strolling. The ‘circuits’ of Bristol, Norwich, and York of the last century are now replaced by those of the United States, South Africa, India, and Australia, and a modern actor thinks as little of a season in Melbourne or New York as his grandfather did of a week’s ‘starring’ in Edinburgh.’ Yet the story of how these Western theatre companies reached audiences in the faraway lands of the British Empire and Asia is still relatively untold. In this article Kaori Kobayashi explores in detail some itineraries around the turn of the twentieth century of these travelling companies, many of them relatively obscure, showing that the companies had a particular and significant impact on the development of Shakespearean performance and interpretation in the East. In essence, it is impossible to understand the rise of ‘Asian Shakespeare’ without also grasping how Western touring companies helped shape the East’s engagement with the West’s most canonical dramatist. Kaori Kobayashi is Professor of English at Nagoya City University, author of The Cultural History of The Taming of The Shrew (in Japanese, 2007), and editor of Shakespeare Performance Studies in Japan (in Japanese, 2010).
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Calbi, Maurizio. "“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 30, 2017): 59–75. http://dx.doi.org/10.1515/mstap-2017-0005.

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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.
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Li Lan, Yong, and Roweena Yip. "Teaching with the Asian Shakespeare Intercultural Archive (A|S|I|A)." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 1 (January 2, 2020): 8–25. http://dx.doi.org/10.1080/13569783.2019.1687291.

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Suematsu Michiko and Kobayashi Kaori. "Asian Shakespeare Intercultural Archive (A-S-I-A): A Collaborative Digital Project." Shakespeare Review 46, no. 1 (March 2010): 23–34. http://dx.doi.org/10.17009/shakes.2010.46.1.002.

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Dissertations / Theses on the topic "Asian Shakespeare"

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Tan, Jerry Lee. "An Asian Stable Man and Royal Duke Revel with the Fury of an Afro-Asian God!" VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/12.

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The purpose of this thesis is to examine the actor's process in tackling the roles of Harry Dalton in Equus by Peter Shaffer, Duke Senior in As You Like It by William Shakespeare, and Dionysus in The Bacchae by Euripedes. Each production is assigned its own chapter, respectively. The chapters explore each role vocally, psychologically, and physically, including the examination of the Alexander Technique. Reflection on the experience of portraying the character and an evaluation of the actor's growth also transpires. The fourth chapter, Finding My Light, summarizes related observations and analysis as a result of performing all three roles. Finally, the fifth chapter, Curtain Call: A Tableau of Contemplation, deliberates on three years of graduate education. It features the benefits and shortcomings realized as a result of participating as one of the first students the Professional Studio Acting Track of Virginia Commonwealth University.
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Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.

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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe. This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici. The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet. Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?
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Tungtang, Paradee. "Shakespeare in Thailand." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/36865/.

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Unlike most Asian nations to which Shakespeare was imported with the colonizers during the mid-1800s to impose Western literary culture on the colonized, in the case of Thailand, it is the other way round. Thailand (or Siam as it was called then) managed to escape colonization by Western powers, but during this politically unstable period, Siam felt the urgent need to westernize the country. A period of intensive westernization thus began. Shakespeare arrived as one of several significant elements of the nation’s self-westernization in literary education. In 1916, the name of Shakespeare became widely known in Siam as one of his plays, The Merchant of Venice, was translated by King Vajiravudh (1881-1925), who is highly regarded as a prolific dramatist and all-around man of letters in the country. The King himself initiated Western literary translation by translating three plays by Shakespeare, namely The Merchant of Venice (1916), As You Like It (1921), and Romeo and Juliet (1922), and also by adapting Shakespeare’s Othello (1925) into a Siamese conventional dance drama playtext. Although there were some other attempts before and after the King to translate Shakespeare, none of them has been successful in leaving a memorable impact in Thai literary circles as much as the King’s version. Translating and staging Shakespeare’s works in Thailand became rare, practised only within a small circle of literary scholars. During the first few decades of the twentieth century, there have been a handful of attempts to translate and stage Shakespearean plays by commercial Thai theatre practitioners. To stage Shakespeare’s plays in Thailand especially in a contemporary context, most production teams have encountered a similar difficulty, that of bridging the gap to bring Shakespeare to Thai popular audiences who embrace different backgrounds in dramatic practice and aesthetics. The main purposes of this study are, therefore, to examine how Shakespeare has been translated, staged, and received by Thai readers and audiences from the late nineteenth century when Shakespeare was introduced in Siam until today, and to locate his influences and impact on Thai literary and theatrical culture. This study is designed to shed light on the history of Thai translations of Shakespeare and also to provide an analysis of the translation strategies adopted by early Thai translators to domesticate Shakespeare into the Thai context. So the thesis examines the process of text appropriation and domestication adopted by Thai translators and theatre practitioners to make Shakespeare accessible to Thai readers and popular audiences. The use of Shakespeare’s plots and allusions to Shakespeare’s plays in contemporary Thai television soap operas is also another main focus of the study. This study also suggests that the domestication process applied to Shakespeare both in translation and in staging is influenced by the changes in the social, political and aesthetic contexts of each different period; furthermore, the process of domestication obviously becomes less problematic the further the country moves towards westernization.
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Ng, Elaine Hui Ru. "Contemporary Shakespeare performances in Asia and the intercultural imperative." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7293/.

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This thesis examines and re-evaluates what interculturality means and how it manifests itself in contemporary Asian Shakespeare performances. The thesis is organised into four chapters. The first three chapters focus on the distinctive theatre cultures of South Korea, Hong Kong and Singapore respectively. Each of these three chapters includes brief historical surveys that trace the development of Shakespeare production, and contextualises the diverse approaches to, and concepts of, intercultural Shakespearean performativity in these countries. These chapters also contain performance case studies that are representative of twenty-first century Asian Shakespeare productions from South Korea, Hong Kong and Singapore. The close analysis of these selected Shakespeare performances explores the larger topics of authenticity, translation and identity. These performances also demonstrate how theatrical interculturalism impacts and complicate the ways in which we understand these common subjects in Shakespeare performance studies. Through these historical reviews and in-depth performance analysis, the thesis reassesses the value and validity of existing intercultural theory, and attempts to expand this field of study by suggesting alterative ways of thinking about intercultural Shakespeare performance. Chapter Four puts forward a proposed model of theatrical interculturalism that can be used to consider and discuss different types of (inter)cultural exchanges that materialise in Shakespeare performance.
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PERRY, JAY MARTIN. "The Chinese Question: California, British Columbia, and the Making of Transnational Immigration Policy, 1847-1885." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394761542.

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Luong, Van Nhan. "Translation in Vietnam : a case study of Shakespeare's Romeo and Juliet." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/377678/.

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Translation is not simply a transmission from one language to another language, but the bridge connecting languages, cultures, and people around the world throughout history, from past to present, in time and space. In the mutual relationship with literary systems, translation in some cases is the pioneer orienting domestic literature from stylistics, genres to content. Translation in Viet Nam, however, has never been studied systematically, and at present is like a chaotic market in which the rhythm of three main factors, translation, proof-reading, and criticism are marching to different tunes. The thesis focuses on evaluating the functions and contributions of translation in the development of literature and society in Vietnam. Besides, the thesis uses Shakespeare’s Romeo and Juliet as a case study to clarify problems in translation in Vietnam. The results synthesized from the formulation of research questions have revealed that translation in Vietnam is absolutely a great transformer of culture and a fertilizer of Vietnamese literature. The case study Shakespeare’s Romeo and Juliet has pointed out that present problems of translation in Vietnam are the shortage of criticism which consequently produces many poor quality translations called ‘disasters’, and of classic books for high education and research. Within deep analysis into the sematic features of the Vietnamese translation of Shakespeare’s Romeo and Juliet in comparison to its Shakespeare’s English, the thesis has concluded that this translation, which has been used popularly in schools over fifty years, is no longer suitable for present audiences. It is, therefore, encouraged to re-translate the text. The thesis besides providing a whole picture of translation in Vietnam and insights into the practice of translating Shakespeare’s Romeo and Juliet into Vietnamese, is a valuable source for Vietnamese translation scholars to indicate strategies for the development of translation in Vietnam, and for Vietnamese translators to re-translate not only other plays of Shakespeare but also classical works of the world.
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Kapadia, Parmita. "Bastardizing the bard: Appropriations of Shakespeare's plays in postcolonial India." 1997. https://scholarworks.umass.edu/dissertations/AAI9737547.

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Shakespeare's dramatic work occupies a strange and double-edged position in the Indian literary consciousness. On the one hand, it is a colonial text that the British imported to India as a tool to illustrate proper 'moral' behavior to their Indian subjects. On the other hand, it has taken on a decidedly Indian identity, an identity marked by the post-colonial conditions of hybridity, subversion, and negotiation. As a result, the Shakespeare industry as it exists in contemporary India is a multifaceted and even contradictory institution. In this dissertation, I study how Indian directors and scholars have appropriated and adapted the Shakespeare canon to suit their individual needs. In the latter part of the nineteenth century and the first half of the twentieth, the continued teaching of English literature resulted in a growing class of hybrid Indians who, by their successful absorption of English education and culture, persisted in fracturing colonial authority. In "Signs Taken for Wonders: Questions of Ambivalence and Authority Under a Tree Outside Delhi, May 1817," Homi Bhabha argues that these subjects articulate a discourse that subverts and alters the colonial status quo through intervention. Subversion and intervention articulated through forms of mimicry offer limited alternatives to colonial subjugation. I have found that Indian productions and interpretation of Shakespeare engage in such mimicry, simultaneously asserting and disrupting colonial authority. Infusing the English texts with Indian concerns both challenges colonial authority and articulates post-colonial realities. Indian appropriations of Shakespeare's drama are not new, post-colonial phenomena. During the colonial period, the plays were often used to explore cultural and political tensions. Today, Shakespeare's plays serve as vehicles to investigate the realities of post-colonial existence. Shakespeare productions, particularly those staged in English, best represent the multiple, ambiguous, hybrid, and hyphenated realities and identities of post-1947 India. The cross-culturation that marks this growing genre situates Western, canonical texts within the dual institutions of Indian theater and literary criticism. Shakespeare has, in effect, become an Indian commodity.
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Books on the topic "Asian Shakespeare"

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Olive, Sarah, Uchimaru Kohei, Adele Lee, and Rosalind Fielding. Shakespeare in East Asian Education. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4.

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Bi-cultural critical essays on Shakespeare. Woodbridge, England: D.S. Brewer, 1994.

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Late Shakespeare: A new world of words. Oxford [England]: Clarendon Press, 1997.

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Brooks, Douglas A. Shakespeare and Asia. Lewiston: Edwin Mellen Press, 2009.

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Brooks, Douglas A. Shakespeare and Asia. Lewiston: Edwin Mellen Press, 2009.

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Stephen, Landrigan, ed. Shakespeare in Kabul. London: Haus Publishing, 2012.

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Russell, Brown John. New Sites For Shakespeare. London: Taylor & Francis Group Plc, 2004.

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Russell, Brown John. New Sites For Shakespeare. London: Taylor & Francis Inc, 2004.

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Shakespeare, Brecht, and the intercultural sign. Durham, [N.C.]: Duke University Press, 2001.

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Russell, Brown John. New sites for Shakespeare: Theatre, the audience, and Asia. London: Routledge, 1999.

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Book chapters on the topic "Asian Shakespeare"

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Bale, Rebekah, and Henrique Fátima Boyol Ngan. "Asian Shakespearean Tourism." In Shakespeare and Tourism, 154–70. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429055683-12.

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Brown, John Russell. "Asian Theatres and European Shakespeares." In Studying Shakespeare in Performance, 215–26. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-1-137-26824-2_15.

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Olive, Sarah, Kohei Uchimaru, Adele Lee, and Rosalind Fielding. "Correction to: Shakespeare in East Asian Education." In Shakespeare in East Asian Education, C1. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_8.

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Marino, Alessandra. "Cut’n’mix King Lear: Second Generation and Asian-British Identities." In Shakespeare and Conflict, 170–83. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137311344_14.

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Chen, Yilin. "Afterword: Technology in Teaching Shakespeare in Taiwan." In Shakespeare in East Asian Education, 219–33. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_7.

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Uchimaru, Kohei. "Teaching and Studying Shakespeare in Higher Education in Early Twentieth-Century Japan." In Shakespeare in East Asian Education, 105–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_4.

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Lee, Adele. "Shakespeare in the Hong Kong Chinese Classroom: Exploring an Intercultural Approach to Teaching." In Shakespeare in East Asian Education, 25–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_2.

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Olive, Sarah. "The Chinese Universities Shakespeare Festival as an Extracurricular Activity Exemplifying Prominent Approaches to English Language Learning." In Shakespeare in East Asian Education, 67–103. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_3.

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Olive, Sarah. "The West and the Resistance: Stakeholders’ Perceptions of Teaching Shakespeare for and against Westernisation in Japanese Higher Education." In Shakespeare in East Asian Education, 145–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_5.

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Fielding, Rosalind. "Yamasaki Seisuke and the Shakespeare for Children Series in Japan." In Shakespeare in East Asian Education, 187–218. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64796-4_6.

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