Journal articles: '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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Chatterjee, Sudipto. "Shashibiya: Staging Shakespeare in China." Theatre Survey 47, no. 2 (September 12, 2006): 347–49. http://dx.doi.org/10.1017/s0040557406370305.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

12

Fei, Faye Chunfang. "Shashibiya: Staging Shakespeare in China. By Li Ruru." TDR/The Drama Review 50, no. 2 (June 2006): 168–70. http://dx.doi.org/10.1162/dram.2006.50.2.168.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

14

Hao. "Why Did Milton Land in China Earlier than Shakespeare?" Comparative Literature Studies 57, no. 3 (2020): 497. http://dx.doi.org/10.5325/complitstudies.57.3.0497.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Matsuda, Yoshiko, Lan Zhou, and Yasumasa Okamoto. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 173–85. http://dx.doi.org/10.18778/2083-8530.21.11.

Full text

Abstract:

Emi Hamana, Shakespeare Performances in Japan: Intercultural-Multi-cultural-Translingual. Yokohama: Shumpusha, 2019. Pp. 188. Li Jun, Popular Shakespeare in China: 1993-2008. Beijing: University of International Business and Economics Press, 2016. Pp. 199. Soji Iwasaki’s Japanese Translation of Shakespeare, The Sonnets and A Lover’s Complaint. Revised edition. Tokyo: Kokubunsha, 2019. Pp. 242.

APA, Harvard, Vancouver, ISO, and other styles

16

Matsuda, Yoshiko, Lan Zhou, and Yasumasa Okamoto. "Book Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 173–85. http://dx.doi.org/10.18778/2083-8530.21.11.

Full text

Abstract:

Emi Hamana, Shakespeare Performances in Japan: Intercultural-Multi-cultural-Translingual. Yokohama: Shumpusha, 2019. Pp. 188. Li Jun, Popular Shakespeare in China: 1993-2008. Beijing: University of International Business and Economics Press, 2016. Pp. 199. Soji Iwasaki’s Japanese Translation of Shakespeare, The Sonnets and A Lover’s Complaint. Revised edition. Tokyo: Kokubunsha, 2019. Pp. 242.

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

18

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

19

Guozhen, Huang, and Horst Denkler. "Die Aufnahme des deutschen Expressionismus in China und sein EinfluSS auf die moderne chinesische Literatur." German Quarterly 60, no. 3 (1987): 365. http://dx.doi.org/10.2307/407202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Yan Xiaojiang. "On Liang Shiqiu’s Translation of The Complete Works of Shakespeare in China." Shakespeare Review 46, no. 1 (March 2010): 55–64. http://dx.doi.org/10.17009/shakes.2010.46.1.004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Tian, Min. "Shakespeare in China: A Comparative Study of Two Traditions and Cultures (review)." Theatre Journal 49, no. 4 (1997): 550–51. http://dx.doi.org/10.1353/tj.1997.0101.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Xiaolin, Zhu. "Zhu Shenghao as a translator of Shakespeare." Voprosy literatury, no. 4 (August 28, 2020): 204–16. http://dx.doi.org/10.31425/0042-8795-2020-4-204-216.

Full text

Abstract:

The article gives an account of life and work of Zhu Shenghao (1912–1944), primarily known for his translation of the complete works of Shakespeare, the first and one of the most influential Shakespeare editions in the Chinese language. Between 1938 and 1944, he managed to translate 31 and a half plays out of the 37 plays in the First Folio. His translation, still widely acclaimed today, grants elegance to its language and musical cadence to its prosaic style and contains poetic processing in typical scenes according to Chinese lyrical traditions. Besides, Zhu Shenghao is celebrated as a cultural hero for his effort in presenting Shakespeare’s dramatic works in a brilliant translation at a critical time when China was in urgent need of learning about the Western world. According to poly-system theory, it is fully illustrated in Zhu’s case that translation does play a significant part in shaping China’s modern cultural consciousness.

APA, Harvard, Vancouver, ISO, and other styles

23

Li, Ruru. "Macbeth Becomes Ma Pei: An Odyssey from Scotland to China." Theatre Research International 20, no. 1 (1995): 42–53. http://dx.doi.org/10.1017/s0307883300007021.

Full text

Abstract:

Ma Pei is the protagonist in Blood-Stained Hands (Xie shou ji), adapted from Macbeth by the Shanghai Kunju Troupe (Shanghai Kunju Tuan). This production was first presented at China's first Shakespeare Festival in the spring of 1986, and came to Britain for the 1987 Edinburgh Festival and subsequently went on tour, to great acclaim, to Manchester, Birmingham, Cardiff and London. Its significance is marked not only by a fusion of Shakespearian characterization into stock Kunju character types, but also by its forcing changes on the Kunju stage.

APA, Harvard, Vancouver, ISO, and other styles

24

Berry, Edward. "Shakespeare in China. Murray Levith. London and New York: Continuum, 2004. Pp. ix+156." Modern Philology 105, no. 2 (November 2007): 409–12. http://dx.doi.org/10.1086/588122.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Zhen, Chen. "Thomas Hardy Reception and Reputaion in China." International Journal of Social Sciences and Humanities Invention 5, no. 1 (January 24, 2018): 4327–30. http://dx.doi.org/10.18535/ijsshi/v5i1.13.

Full text

Abstract:

Thomas Hardy has been one of the best-loved novelists to Chinese readers for nearly a century, which is an uncanny phenomenon in the circle of literature reception and circulation in China. It seems that Hardy has some magic power to have kept attracting Chinese literature lovers with his keen insight into nature, profound reflection on humanity and whole-hearted concern about human fate in the vast universe. Hardy’s works saturated with nostalgic sentiments for the traditional way of rural life exert unusual resonance in Chinese readers in terms of receptional aesthetic. There is no denial that Hardy is rather loved and admired by generation upon generation of Chinese literates, which can find expression in his exceeding popularity among readers from all trades and walks, from all levels, which ranges from middle school students to professors. In China, his prestige ranks only after Shakespeare among English persons of letters.

APA, Harvard, Vancouver, ISO, and other styles

26

Owen, Stephen. "1616: Shakespeare and Tang Xianzu’s China. Tian Yuan Tan, Paul Edmondson, and Shih-pe Wang, eds. London: Bloomsbury Arden Shakespeare, 2016. xxii + 326 pp. $29.95." Renaissance Quarterly 70, no. 2 (2017): 815–17. http://dx.doi.org/10.1086/693305.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

28

KING, FRANK H. H. "Sealing the Mouth of Outrage Notes on the Meaning and Intent of Hart's These from the land of Sinim." Modern Asian Studies 40, no. 3 (July 2006): 725–36. http://dx.doi.org/10.1017/s0026749x06002095.

Full text

Abstract:

Seal up the mouth of outrage for a while,Till we can clear these ambiguities,And know their spring, their head, their true descent…And let mischance be clove to patience.–Shakespeare, Romeo and JulietSinim. A name…taken by many scholars as meaning China under the name Ts'in, but modern opinion mostly regards it as referring to Syene…–Couling, Encyclopaedia Sinica (1917)

APA, Harvard, Vancouver, ISO, and other styles

29

Wong, Jenny. "Lin Shu's Translation of Shakespeare's Religious Motifs in Twentieth-Century China." Studies in Church History 53 (May 26, 2017): 389–404. http://dx.doi.org/10.1017/stc.2016.23.

Full text

Abstract:

When Christian values fall into the hands of translators, how are these Christian values represented in a non-religious or areligious target culture? How do the translations reflect the conflicting ideologies of the time and of the individual translators? This article will examine Lin Shu's major translations of The Merchant of Venice in early twentieth-century China, an important period when reform of Confucianism encountered imported Western ideals. Close textual analysis of the translation produced by Lin Shu, a Confucian literatus and a reformist, reveals that religious content in English literary works was manipulated, Christian references often being omitted or adapted. This study illustrates the translator's strategies, picking and choosing what to domesticate in the translated work to suit his ideology, and how a society's expectations and ideologies shape the translation product. The analysis offers some perspectives for understanding how the translator's linguistic and religious roles and ideologies shaped the Chinese Shakespeare, and how the religious values were re-presented in early twentieth-century China.

APA, Harvard, Vancouver, ISO, and other styles

30

Joubin, Alexa Alice. "1616: Shakespeare and Tang Xianzu's China eds. by Tian Yuan Tan, Paul Edmondson, and Shih-pe Wang." Asian Theatre Journal 35, no. 1 (2018): 241–43. http://dx.doi.org/10.1353/atj.2018.0030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Alford, William P. "Tasselled Loafers for Barefoot Lawyers: Transformation and Tension in the World of Chinese Legal Workers." China Quarterly 141 (March 1995): 22–38. http://dx.doi.org/10.1017/s0305741000032896.

Full text

Abstract:

A prevalent image of China, both historically and in recent times, has been that of a civilization spared the malady of too many lawyers that is said to beset the United States and growing numbers of other nations. For better or worse, so such thinking goes, China has sought to address its problems primarily through reliance upon morality, custom, kinship or politics, rather than formal legality, with the result that there has been relatively little need for individuals whose work lies in the law. No wonder that it was Shakespeare, rather than a Chinese author, who gave voice to the much-cited, if arguably misunderstood, call to “kill all the lawyers first.”

APA, Harvard, Vancouver, ISO, and other styles

32

Kwa, Shiamin. "Tian Yuan Tan , Paul Edmondson and Shih-Pe Wang (eds): 1616. Shakespeare and Tang Xianzu's China. (The Arden Shakespeare.) xxii, 326 pp. London: Bloomsbury, 2016. $29.95. ISBN 978 1 4725 8341 3." Bulletin of the School of Oriental and African Studies 80, no. 1 (February 2017): 175–76. http://dx.doi.org/10.1017/s0041977x17000313.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Wang, Xiaonong. "Shakespeare Starts a New Century Travel in China: A Comparative Analysis of the Two New Chinese Re-Translations of Hamlet." International Journal of Comparative Literature and Translation Studies 1, no. 1 (April 30, 2013): 11–16. http://dx.doi.org/10.7575/aiac.ijclts.v.1n.1p.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Conceison, Claire. "Shashibiya: Staging Shakespeare in China. By Li Ruru. Hong Kong: Hong Kong University Press, 2004. xi, 305 pp. $49.50 (cloth); $29.95 (paper)." Journal of Asian Studies 64, no. 3 (August 2005): 709–11. http://dx.doi.org/10.1017/s0021911805001580.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Ding, Yi. "Novelty of Lin Zhaohua’s play “All people are Hamlets”." Культура и искусство, no. 6 (June 2020): 1–9. http://dx.doi.org/10.7256/2454-0625.2020.6.33012.

Full text

Abstract:

The “Hamlet 1990” directed by Lin Zhaohua represents a variant of the Shakespeare’s “Hamlet”. The title of the play hints to the spirit of creative search and novelty, characteristic for the theater era of the 1990s. It was a specific socially transformative period, when “various Soviet-style creative positions were sacrificed” and china moved towards independent thinking and development of social reforms. It is possible that “Hamlet” performed in 1990 reflected these trends in social transformations, which led to the director’s interpretation and restructuring of Shakespeare’s play based on new views and independent aesthetic perception. “Revenge is a scene, a story” and the director acts as the storyteller; it is up to him how this story will be told. In accordance with methodology of the formal school, the author conducts a reconstruction of this play and analyses the scenic texts from the perspective of modern Chinese theater, as well as from the position of director’s style. “Hamlet 1990” directed by Lin Zhaohua became a new word in theatrical arts. In an open scenic space, the connection between the actors and the viewers is not unidirectional, but is two-way; there is an effect of transfer of psychological payload and emotional interaction between them.

APA, Harvard, Vancouver, ISO, and other styles

36

Yang, Lingui. "Shashibiya: Staging Shakespeare in China. By Li Ruru. Hong Kong: Hong Kong University Press, 2003. Pp. xii + 305 + illus. $49.50 Hb; $29.95 Pb." Theatre Research International 30, no. 1 (March 2005): 95–96. http://dx.doi.org/10.1017/s0307883304290897.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Holland, Peter. "WHAT ARE YOU READING?" Theatre Survey 50, no. 2 (November 2009): 337–40. http://dx.doi.org/10.1017/s0040557409990111.

Full text

Abstract:

It's Easter and, two years out of three, that means it is also the annual meeting of the Shakespeare Association of America, this time at the appropriately named Renaissance Hotel (in the absence of a chain of Early Modern Hotels) in Washington, D.C. Never mind about the plenaries and panels and seminars, many of which were outstanding; all conferencegoers, whether Shakespeareans or not, know that the real excitement is to be found at the book display. Was this what King Lear was talking about when he suggested to Cordelia they would spend time in prison talking about “Who loses and who wins, who's in, who's out”? And the unseemly scenes on the last morning, when many publishers reduce their prices rather than ship the books back to the warehouse, are remarkably reminiscent of Harrods's china department on the first day of the sales.

APA, Harvard, Vancouver, ISO, and other styles

38

Steinfeld, Jemimah. "Rising star: Since Chairman Mao’s ban was lifted, China has embraced Shakespeare, with performances spanning from brash pro-government productions to a Tibetan Hamlet." Index on Censorship 45, no. 1 (April 2016): 8–11. http://dx.doi.org/10.1177/0306422016642999a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Mozharivska, Iryna. "Intertextuality and intermediality of modern drama-parable (based on play “The academy of laugh” by Koki Mitany)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 63–70. http://dx.doi.org/10.28925/2412-2475.2020.15.10.

Full text

Abstract:

The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.

APA, Harvard, Vancouver, ISO, and other styles

40

Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

Full text

Abstract:

Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.

APA, Harvard, Vancouver, ISO, and other styles

41

Tsui, Jean. "From erotic desire to egalitarian romantic passion." Babel. Revue internationale de la traduction / International Journal of Translation 64, no. 5-6 (December 31, 2018): 865–86. http://dx.doi.org/10.1075/babel.00061.tsu.

Full text

Abstract:

Abstract Informed by the sociological theory of “Conventionalization” developed by Frederick Bartlett, the article examines transformations the expression “love” brought to the indigenous Chinese socio-moral-emotive paradigm during the early twentieth century. It focuses on examining usages and semantic connotations of “愛”, a loose Chinese equivalence of love, in Yínbiān yànyǔ 吟邊燕語 (Chanting the Swallows’ Talks), a translation by Lín Shū 林紓 (1852–1924) of Charles and Mary Lamb’s Tales from Shakespeare published in 1904, a time that witnessed a vast number of translation projects as well as the transformative impacts they brought to China. By illustrating how “ai” in Lin’s translation has departed radically from its traditional usages as depicted in the mid-Qing novel The Story of the Stone (紅樓夢 Hónglóu mèng) and become a close equivalence of the western notion of love, the article shows that the Chinese’s emotional experiences during the early modern period may in all likelihood be different from those of the West, but the two seem to have become increasing comparable. When we seek to understand modern Chinese emotional experience, apart from asking how it is ethnically, socially, culturally, historically different, it might be equally important to ask in what ways the West has made it different from before, and how it has managed to retain its unique identity during a time of radical transformation.

APA, Harvard, Vancouver, ISO, and other styles

42

Craig, Martha J. "Xiao Yang Zhang. Shakespeare in China: A Comparative Study of Two Traditions and Cultures. Newark: University of Delaware Press; London: Associated University Presses, 1996. 279 pp. $38.50. ISBN: 0-8791-3536-2." Renaissance Quarterly 51, no. 3 (1998): 1047–49. http://dx.doi.org/10.2307/2901813.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Cavanagh, Sheila. "Review ofImagining China: the view from Europe: 1550–1700(curated by Timothy Billings with Jim Kuhn; video curator Alexander C.Y. Huang) at the Folger Shakespeare Library, 18 September 2009–9 January 2010." Shakespeare 6, no. 1 (April 2010): 119–26. http://dx.doi.org/10.1080/17450911003643142.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Osmanagić Bedenik, Nidžara. "Pandemic crisis management." Holistic approach to environment 10, no. 4 (September 14, 2020): 109–23. http://dx.doi.org/10.33765/thate.10.4.3.

Full text

Abstract:

The first recorded COVID-19 case emerged in China and, within a few months, it has spread to 210 countries globally, thrusting people into danger, uncertainty, fear, and of course physical and social isolation. The impacts of this pandemic are significant for every aspect of our lives. Crises include risk and chances at the same time. As Shakespeare said, “There is nothing either good or bad, but thinking makes it so“. This paper focuses on threats and opportunities of the pandemic crisis for humans and planet Earth. Crisis is defined as an unplanned and unwanted process of limited duration and impact, which endangers primary goals, and produces ambivalent outcome. Crisis management encompasses three phases: avoiding the crisis, identifying its symptoms when they occur and finding ways out of the crisis. There are several research questions related to that. First, could the COVID-19 crisis be avoided? Or at least could its onset be recognized early? Second, how can the pandemic crisis be measured in terms of its intensity and depth? Third, which ways lead us out of the crisis? And fourth, which lessons have to be learned? Exploring the novel literature and research findings provides new insights into the pandemic crisis and the crisis management process, which is the aim of the paper. With its results and major conclusions this paper provides a holistic perspective to the pandemic crisis and crisis management.

APA, Harvard, Vancouver, ISO, and other styles

45

Shorrock, Robert. "General." Greece and Rome 64, no. 1 (March 14, 2017): 98–101. http://dx.doi.org/10.1017/s0017383516000309.

Full text

Abstract:

For those readers seeking an engaging general introduction to the classical world, The Ancient World by Jeremy Toner would make an excellent first port of call. It is part of a new (though hardly original) series of ‘Small Introductions to Big Topics’ which thus far includes Politics, Art in History, and Shakespeare. The book chooses to focus not on toga-clad Romans and gleaming marbles temples but on that ‘other’ ancient world filled with noise, colour, death, and disease, populated not primarily by emperors and poets but by the ‘silent’ majority of slaves and the freeborn poor. Despite the catch-all title, this is a book which is more obviously about the Roman than the Greek world. This is, however, a small grumble and Toner's enthusiasm for his subject is infectious. Of particular interest is the discussion of watermills and the generation of energy (71–6), comparison between the empires of Rome and China (104–18), and the way in which a ‘Rome-coloured vision’ from the medieval period up to the high-classical watermark of the eighteenth and nineteenth centuries informed the West's perspective of, and engagement with, Islam (122–30). Illustrations are not abundant (and it is a shame not to have included a picture of the Vietnam Memorial discussed on pages 135–7), but they are decent enough, with several helpful maps of the Hellenistic and Roman worlds (with the seas – the Black Sea and Red Sea included – coloured pink – neatly complementing the book's presentation of a less-familiar-looking ancient world).

APA, Harvard, Vancouver, ISO, and other styles

46

Bies, Werner. "Auseinandersetzung mit Shakespeare – Texte zur deutschen Shakespeare-Aufnahme 1790– 1830, bearbeitet und eingel. v. Wolfgang Stellmacher." arcadia 22, no. 1-3 (January 1, 1987). http://dx.doi.org/10.1515/arcadia-1987-0116.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Sun, Yanna. "Shakespeare Reception in China." Theory and Practice in Language Studies 2, no. 9 (September 1, 2012). http://dx.doi.org/10.4304/tpls.2.9.1931-1938.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Yanna Sun. "Shakespeare reception in China." International Journal of English and Literature 3, no. 1 (January 2012). http://dx.doi.org/10.5897/ijel11.022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Huang, Alexander C. Y. "Murray Levith: Shakespeare in China." Archiv für das Studium der neueren Sprachen und Literaturen, no. 2 (December 15, 2008). http://dx.doi.org/10.37307/j.1866-5381.2008.02.28.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Sun, Yanna. "Translating Methods of Shakespeare in China." English Language Teaching 2, no. 2 (May 19, 2009). http://dx.doi.org/10.5539/elt.v2n2p138.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles