Relevant bibliographies by topics / Shakespeare in China: Aufnahme

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

Academic literature on the topic 'Shakespeare in China: Aufnahme'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Shakespeare in China: Aufnahme"

1

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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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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Huang, Alexander C. Y. "Shashibiya : Staging Shakespeare in China (review)." Asian Theatre Journal 22, no. 2 (2005): 371–74. http://dx.doi.org/10.1353/atj.2005.0029.

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Alexander C. Y. Huang. "Shakespeare in China (review)." Comparative Literature Studies 45, no. 1 (2008): 110–15. http://dx.doi.org/10.1353/cls.0.0009.

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Billings, Timothy James. "Shashibiya: Staging Shakespeare in China (review)." Shakespeare Quarterly 57, no. 4 (2006): 494–96. http://dx.doi.org/10.1353/shq.2006.0000.

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Orliski, Constance. "Book Review: Shashibiya: Staging Shakespeare in China." China Information 19, no. 2 (July 2005): 345–47. http://dx.doi.org/10.1177/0920203x0501900215.

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Shen, Fan. "Shakespeare in China: The Merchant of Venice." Asian Theatre Journal 5, no. 1 (1988): 23. http://dx.doi.org/10.2307/1124020.

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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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Dissertations / Theses on the topic "Shakespeare in China: Aufnahme"

1

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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5

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: Aufnahme"

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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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3

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

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4

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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Südkoreas neue Nordpolitik: Die Aufnahme diplomatischer Beziehungen Südkoreas zur Sowjetunion, zur Volksrepublik China und zu Osteuropa in der Regierungsära Roh Tae Woo. Frankfurt am Main: P. Lang, 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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Wolfgang, Stellmacher, ed. Auseinandersetzung mit Shakespeare: Texte zur deutschen Shakespeare-Aufnahme 1790-1830. Berlin: Akademie-Verlag, 1985.

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Book chapters on the topic "Shakespeare in China: Aufnahme"

1

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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"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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"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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"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 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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Li, Ruru. "‘A Drum, a Drum – Macbeth doth come’: When Birnam Wood moved to China." In Shakespeare Survey, 169–85. Cambridge University Press, 2004. http://dx.doi.org/10.1017/ccol0521841208.014.

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