Relevant bibliographies by topics / Shakespeare in China

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

Academic literature on the topic 'Shakespeare in China'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Shakespeare in China"

1

Zhang, Wei. "The Development of Marxist Shakespearean Criticism in China." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 99–113. http://dx.doi.org/10.18778/2083-8530.20.08.

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Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.
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Dai, Yun-fang. "“I should like to have my name talked of in China”: Charles Lamb, China, and Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 83–97. http://dx.doi.org/10.18778/2083-8530.20.07.

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Charles and Mary Lamb’s Tales from Shakespeare played an essential role in Chinese reception history of Shakespeare. The first two adaptations in China,Xiewai qitan 澥外奇譚and Yinbian yanyu 吟邊燕語, chose Tales as the source text. To figure out why the Lambs’ Tales was received in China even earlier than Shakespeare’s original texts, this paper first focuses on Lamb’s relationship with China. Based on archival materials, it then assumes that the Lambs’ Tales might have had a chance to reach China at the beginning of the nineteenth century through Thomas Manning. Finally, it argues that the decision to first bring Shakespeare to China by Tales was made under the consideration of the Lambs’ writing style, the genre choice, the similarity of the Lambs’ and Chinese audiences, and the marketability of Tales. Tracing back to the first encounter between Tales and China throws considerable light on the reception history of Shakespeare in China. It makes sense that nothing is coincidental in the history of cultural reception and the encounters have always been fundamentally influenced by efforts from both the addresser and the receptor.
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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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Sun, Yu, and Longhai Zhang. "Shakespeare across the Taiwan Strait: A Developmental Perspective." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 115–31. http://dx.doi.org/10.18778/2083-8530.20.09.

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Shakespeare studies in Mainland China and Taiwan evolved from the same origin during the two centuries after Shakespeare being introduced into China in the early nineteenth century. Although Shakespeare was first seen on the Taiwan stage in the Japanese language during the colonial period, it was after Kuomintang moved to Taiwan in 1949 that Shakespeare studies began to flourish when scholars and theatrical experts from mainland China, such as Liang Shih-Chiu, Yu Er-Chang, Wang Sheng-shan and others brought Chinese Shakespeare to Taiwan. Since the 1980s, mainland Shakespeareans began to communicate actively with their colleagues in Taiwan. With the continuous efforts of Cao Yu, Fang Ping, Meng Xianqiang, Gu Zhengkun, Yang Lingui and many other scholars in mainland China and Chu Li-Min, Yen Yuan-shu, Perng Ching-Hsi and other scholars in Taiwan, communications and conversations on Shakespeare studies across the Taiwan Strait were gradually enhanced in recent years. Meanwhile, innovations in Chinese adaptations of Shakespeare have resulted in a new performing medium, Shake-xiqu, through which theatrical practitioners on both sides explore possibilities of a union of Shakespeare and traditional Chinese theatre. This paper studies some intricate relationship in the history of Shakespeare studies in mainland China and Taiwan from a developmental perspective and suggests opportunities for positive and effective co-operations and interactions in the future.
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Yao, Dadui. "Shakespeare in Chinese as Christian Literature: Isaac Mason and Ha Zhidao’s Translation of Tales from Shakespeare." Religions 10, no. 8 (July 26, 2019): 452. http://dx.doi.org/10.3390/rel10080452.

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The introduction of Shakespeare to China was through the Chinese translation of Mary and Charles Lamb’s adaptation of Shakespeare’s plays, Tales from Shakespeare. The Western missionaries’ Chinese translations of the Lambs’ adaptation have rarely been studied. Isaac Mason and his assistant Ha Zhidao’s 1918 translation of the Lambs’ book, entitled Haiguo Quyu (Interesting Tales from Overseas Countries), is one of the earliest Chinese versions translated by Christian missionaries. Although Mason was a Christian missionary and his translation was published by The Christian Literature Society for China, Mason adopted an indirect way to propagate Christian thoughts and rewrote some parts that are related to Christian belief. The rewriting is manifested in several aspects, including the use of four-character titles with Confucian ethical tendencies, rewriting paragraphs with hidden Christian ideas and highlighting themes closely related to Christian ethics, such as mercy, forgiveness and justice. While unique in its time, such a strategy of using the Chinese translation of Shakespeare for indirect missionary work had an impact on subsequent missionary translations.
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Brockbank, J. Philip. "Shakespeare Renaissance in China." Shakespeare Quarterly 39, no. 2 (1988): 195. http://dx.doi.org/10.2307/2870630.

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Berry, Edward. "Teaching Shakespeare in China." Shakespeare Quarterly 39, no. 2 (1988): 212. http://dx.doi.org/10.2307/2870632.

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Hawley, Stewart. "Shakespeare in China (review)." Asian Theatre Journal 25, no. 1 (2007): 163–65. http://dx.doi.org/10.1353/atj.2008.0006.

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Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

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Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
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Chatterjee, Sudipto. "Shashibiya: Staging Shakespeare in China." Theatre Survey 47, no. 2 (September 12, 2006): 347–49. http://dx.doi.org/10.1017/s0040557406370305.

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Dissertations / Theses on the topic "Shakespeare in China"

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Sun, Yanna. "Shakespeare in China." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.

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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.
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Chen, Shu-Fen. "Shakespeare in Taiwan : struggle for cultural independence from Mainland China and Euro-America." Thesis, University of Manchester, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.493886.

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The name of Shakespeare was already known in China by 1856, but it was not until 1902' that one of his plays, The Merchant of Venice, was performed by students in Shanghai. Since then Shakespeare's works have been frequently translated, produced and studied in China. Taiwan, being part of China in its cultural heritage, inevitably received Shakespeare in the Chinese manner, whether through translations, productions or critical and academic studies. This dissertation surveys the development of Shakespeare studies and production in Taiwan and makes use of first-hand experience of Shakespeare performance and of conversations with academics and directors in order to assess likely future developments. The purpose of the study is thus to examine how the Taiwanese received, translated, studied and produced Shakespeare in the past, how they are doing so at present and what they may do in the future. Among other things considered here is the possibility of presenting Shakespearean tragedy in an essentially Chinese or Taiwanese mode; that is, through a theatrical form which does not admit of the tragic in the Shakespearean sense of the word. Chapter One discusses the early Taiwanese reception of Shakespeare in the context of the history of modem drama in Taiwan, as a branch of Chinese drama but also as a form that developed under the influence of Japan. The second chapter introduces the background to the Taiwanese staging of Shakespeare's plays, focusing on the three main theatrical performing styles: Peking Opera (PO), Spoken Drama (SD), and Little Theatre (LT). The transition from SD to LT indicated a move from Chinese influence towards that of the United States of America. Chapter Three provides a historical survey of Shakespeare studies in Taiwan since the 1949 split from China. Earlier writing is discussed, followed by reference to the studies of various leading Shakespearean scholars who analyse Shakespeare's plays in terms of psychological analysis, feminism and political theory. Taiwanese theatre criticism is also Chapter Four looks at a Taiwanese Peking Opera staging of Macbeth (The Kingdom of Desire) in the traditional theatrical performing style ('Chinese style'), based on an earlier Japanese production. This provides an opportunity to discuss in more detail the possibility of reconciling two different views of dramatic art, technique and focus. Chapter Five examines a Taiwanese Spoken Drama staging of King Lear, a 'Western style' production although, in reality, an extension of Chinese productions. This introduces a discussion of 'alienation' techniques as a substitute for the dimensions of moral engagement and emotional 'catharsis' found in Shakespearean tragedy. Chapter Six discusses the future of Shakespeare in Taiwan. A mainland Chinese-based experience is recommended to help the Taiwanese accept Shakespeare, while it is argued that a new genuinely Taiwanese Shakespeare experience might possibly be formed by a combination of the Taiwanese Spoken Drama performing style and the Little Theatre experience. Translation and the problems observed by translators are described, with some suggestions for future approaches and strategies. Chapter Seven provides a brief conclusion by suggesting that Taiwan can now claim her own distinctive approach to the work of Shakespeare and, in so doing, make her own contribution to international Shakespeare criticism and to the theatre of the twenty-first century.
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Wong, Yan Jenny. "The translatability of the religious dimension in Shakespeare from page to stage, from West to East : with reference to The Merchant of Venice in Mainland China, Hong Kong and Taiwan." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6240/.

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The research is a hermeneutic-cum-semiotic approach to the study of the translatability of religious language in a secular play, using The Merchant of Venice in China as a reference. Under the ”power turn” or “political turn” in translation studies, omissions and untranslatability of religious material are often seen as the product of censorship or self-censorship in the prevalent socio-political context. But the theology of each individual translating agent is often neglected as an important contributing factor to such untranslatability. This thesis offers a comprehensive approach in tracing the hermeneutical process of the translators/directors as a reader and the situational process and semiotics of theatre translation, which altogether gives rise to the image of translated literature which in turn influences audience reception. This interdisciplinary study thus traverses the disciplines of translation studies, hermeneutics, theatre studies, and sociology. In this thesis I argue that while translation theorists under the current “sociological turn” view social factors as the overarching factors in determining translation activities and strategies, I will show how the interaction between the translator’s or the dramatist’s theology and religious values interact with the socio-cultural milieu to carve out a unique drama production. Often, as one can see from my case studies, it is the religious values of the translating agents that become the overarching factor in determining the translation product, rather than social factors. This thesis further argues that the translatability of religious discourse should be understood in a broader sense according to the seven dimensions proposed by Ninian Smart, rather than merely focusing on untranslatability as a result of semantic and linguistic differences.
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"Popular Shakespeare in China: 1993-2008." 2013. http://library.cuhk.edu.hk/record=b5884314.

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Li, Jun.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
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Sun, Yanna [Verfasser]. "Shakespeare in China / vorgelegt von Yanna Sun." 2008. http://d-nb.info/990753824/34.

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Books on the topic "Shakespeare in China"

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Levith, Murray J. Shakespeare in China. London: Continuum, 2004.

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Shakespeare in China. London: Continuum, 2006.

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Shashibiya: Staging Shakespeare in China. Hong Kong: Hong Kong University Press, 2003.

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Xianqiang, Meng. A historical survey of Shakespeare in China. Changchun: Shakespeare Research Centre of Northeast Normal University, 1996.

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International conference on Shakespeare in China - performance and perspectives (1999 Shanghai, China). Shakespeare in China: Performance and perspectives : a collection of theses. Shanghai: [Shanghai Theatre Academy], 1999.

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Zhang, Hsiao Yang. Shakespeare in China: A comparative study of two traditions and cultures. Newark: University of Delaware Press, 1996.

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Zhongguo Sha xue jian shi: Shakespeare in China : a brief history / by Meng Xianqiang. Changchun Shi: Dongbei shi fan da xue chu ban she, 1994.

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Chinese Shakespeares: Two centuries of cultural exchange. New York: Columbia University Press, 2009.

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Shakespeare in China. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.

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Liu, Houling. Shakespeare in China, 1986. Shanghai, 1987.

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Book chapters on the topic "Shakespeare in China"

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Huang, Alexander C. Y. "Comical Tragedies and Other Polygeneric Shakespeares in Contemporary China and Diasporic Chinese Culture." In Shakespeare and Genre, 157–72. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137010353_9.

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Wang, Zuoliang. "The Shakespearean Moment in China." In China Academic Library, 11–16. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-45475-6_2.

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"Shakespeare and Confucius." In Shakespeare in China, 114–27. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-006.

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"Shakespeare in Hong Kong and Taiwan." In Shakespeare in China, 93–113. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-005.

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"The Early History of Shakespeare in China." In Shakespeare in China, 1–23. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-001.

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"Shakespeare and Mao, 1 October 1949–1966." In Shakespeare in China, 24–41. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-002.

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"The Great Proletariat Cultural Revolution." In Shakespeare in China, 42–54. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-003.

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"After the Cultural Revolution, 1976–2000." In Shakespeare in China, 55–92. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-004.

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"The Paradox of Shakespeare in the New China." In Shakespeare in China, 128–38. Bloomsbury Publishing Plc, 2004. http://dx.doi.org/10.5040/9781472555274.ch-007.

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"The Dual Tradition of Bardolatry in China." In Shakespeare Survey 71, 39–45. Cambridge University Press, 2018. http://dx.doi.org/10.1017/9781108557177.006.

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