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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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.

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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.

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3

Habicht, Werner. "National Insularity and the Reception of Shakespeare." Actes des congrès de la Société française Shakespeare, no. 12 (November 1, 1994): 141–48. http://dx.doi.org/10.4000/shakespeare.1277.

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4

Rüdiger Ahrens. "Shakespeare in Germany: Critical Reception and Translation." Journal of English Language and Literature 59, no. 6 (December 2013): 939–55. http://dx.doi.org/10.15794/jell.2013.59.6.003.

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5

Marlow, Christopher. "Provincial Shakespeare." Critical Survey 32, no. 4 (December 1, 2020): 36–50. http://dx.doi.org/10.3167/cs.2020.320404.

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With reference to aspects of the career of the twentieth-century actor-manager Donald Wolfit and the use of the concept of provincialism in English criticism, this article argues that idealist and universalist values are repeatedly valorised in order to devalue materialist and what might be called ‘provincial’ interpretations of Shakespeare’s plays. I pay attention to conditions of production of early modern drama in the sixteenth century, and to Wolfit’s Second World War performances of Shakespeare, the reception of which is offered as evidence for the persistence of a critical prejudice against what is understood as provincial marginality. The article concludes with a reading of The Merry Wives of Windsor that argues that the play supports the provincial values that have so often been dismissed by critics.

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6

Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (January 15, 2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s concept of distributed personhood offered by S. Greenblatt is very suitable for analysing modern Lithuanian literature that seeks a creative relationship with Shakespeare’s works. The concept maintains that characters of particular dramas can break loose from the defined interpretative framework. Lithuanian exodus drama reinterprets Shakespeare’s works and characters. The plays by Ostrauskas and Algirdas Landsbergis explore the variety of human existence and language, the absurd character of the artist, meaningless human existence and the critique of totalitarianism. Modern Lithuanian poetry interprets Shakespeare‘s works so that they serve as a way to contemplate the theme of modern writing, meaningless human existence, the tragic destiny of an individual and Lithuania, miserable human nature, the playful nature of literature, the clownish mask of the poet, the existential silence of childhood, the topic of life as a theatrical performance, the everyday experience of modern women in theatre. The most frequently interpreted dramas are Hamlet, King Lear and Macbeth – Lithuanian literary imagination inscribed them into the field of existentialist and absurd literature.

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7

Morozova, Svetlana N., and Dmitry N. Zhatkin. "Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article one)." LAPLAGE EM REVISTA 7, no. 2 (January 7, 2021): 209–16. http://dx.doi.org/10.24115/s2446-6220202172703p.209-216.

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The works of K.I. Chukovsky, dedicated to the great English playwright Shakespeare («Combat with Shakespeare» (1935), «Crippled Shakespeare» (1939), «Translations of Shakespeare (On the method of Shakespeare’s translation) » (1946), etc.), became an important page in literary critical reception of Shakespeare in Russia. K.I. Chukovsky related the reason for the change in the ideological concept of Shakespeare’s works by Russian translators not only with public perceptions in Russia, but also with the quality of French and German adaptations of the works of the English playwright that came into Russian literature. From the analysis of various works of Shakespeare K.I. Chukovsky used examples to prove the degree of distortion of the meaning of the work due to literal adherence to the ideas about the maximum correspondence between the external organization of the translation and the original. This article aims to analyze the reception of the Russian translation of Shakespeare from the gaze of K.I. Chukovsky.

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8

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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9

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

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10

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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11

Guerrero, Isabel. "‘My native English now I must forgo’: Global Shakespeare at the Edinburgh International Festival." Cahiers Élisabéthains: A Journal of English Renaissance Studies 103, no. 1 (August 27, 2020): 57–74. http://dx.doi.org/10.1177/0184767820935129.

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This article focuses on productions of William Shakespeare’s plays in languages other than English throughout the history of the Edinburgh International Festival. It aims to demonstrate that there has been an evolution towards global Shakespeare at the Edinburgh International Festival, and that Shakespeare stagings have been both an active agent and a product of the interconnectedness of theatre cultures in international festivals. The article considers three categories that illustrate the evolution of Shakespeare festival productions: Shakespeare without his language, heteroglossic Shakespeare, and new-brand Shakespeare. These categories are used to evaluate audience reception and assess shifts in Shakespeare studies regarding global Shakespeare.

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12

SoJung kim. "Reception and Translation: Shakespeare in the Late Qing Dynasty Period." Journal of Chinese Language and Literature ll, no. 66 (August 2014): 351–76. http://dx.doi.org/10.15792/clsyn..66.201408.351.

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13

Theisen, Bianca. "The Drama in Rags: Shakespeare Reception in Eighteenth-Century Germany." MLN 121, no. 3 (2006): 505–13. http://dx.doi.org/10.1353/mln.2006.0077.

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14

Lorenzo-Modia, María Jesús. "The Reception of Galician Performances and (Re)translations of Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 75–88. http://dx.doi.org/10.1515/mstap-2017-0020.

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This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.

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15

Dávidházi, Péter. "Cult and criticism: Ritual in the European reception of Shakespeare." Neohelicon 17, no. 1 (March 1990): 59–78. http://dx.doi.org/10.1007/bf02092756.

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16

Keinänen, Nely. "Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 109–25. http://dx.doi.org/10.1515/mstap-2017-0022.

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This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.

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17

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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18

Gallimore, Daniel. "Canonising Shakespeare in 1920s Japan." Critical Survey 33, no. 1 (March 1, 2021): 8–22. http://dx.doi.org/10.3167/cs.2021.330102.

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In 1927, just before completing the first Japanese translation of Shakespeare’s Complete Works, Tsubouchi Shōyō (1859–1935) selected eight of his translations for inclusion in his own Selected Works, which were published in fifteen volumes in conclusion to his career as one of the leading exponents of cultural reform of his generation. His choice is idiosyncratic as it omits the plays that had become most popular during the period of Shakespeare’s initial reception in late nineteenth-century Japan, but includes a number that were relatively unknown, such as Measure for Measure. This article suggests likely reasons for his selection before discussing the comments he makes on each play in his translation prefaces, and thus provides an overview of what Tsubouchi had come to value about Shakespeare.

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19

Blank, Daniel. "‘Our Fellow Shakespeare’: A Contemporary Classic in the Early Modern University." Review of English Studies 71, no. 301 (January 25, 2020): 652–69. http://dx.doi.org/10.1093/res/hgz146.

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Abstract This essay discusses the reception of Shakespeare’s works among the students and fellows of early modern Oxford and Cambridge. Taken at face value, the documentary record would seem to suggest that Shakespeare had no place there, as authorities at the two English universities aimed to prevent the presence of his work in the academic sphere. However, this essay uses a variety of literary and archival evidence to show that Shakespeare’s works not only entered into scholarly discourse, but also achieved a status that had previously been reserved for ancient authors. I argue that the best window into Shakespeare’s reception among early modern scholars can be found in academic drama, and I examine two university theatrical productions that engage closely with his works: the Parnassus plays, performed at Cambridge between 1598 and 1601, and Narcissus, performed at Oxford in 1602. These plays not only provide early examples of Shakespeare’s reception among intellectuals, but also illustrate how the scholars of Oxford and Cambridge figured Shakespeare as a ‘classical’ author—an author as worthy of imitation as Homer or Ovid. The process of establishing Shakespeare as a ‘classic’ in the academic setting, this essay ultimately argues, began much earlier than scholars have realized.

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20

Kang Kim. "“O brave new world”: Contemporary Reception of Shakespeare and Popular Culture." Journal of Classic and English Renaissance Literature 23, no. 1 (June 2014): 175–204. http://dx.doi.org/10.17259/jcerl.2014.23.1.175.

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21

Tychinina, Alyona, and Dan Paranyuk. "The Fantastic Shakespeare: Character’s Passionary Confocality in the Aspect of Reception." Pitannâ lìteraturoznavstva 98 (December 28, 2018): 191–207. http://dx.doi.org/10.31861/pytlit2018.98.191.

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22

Zhou, Lu. "Reception of Svetlana Alexievich in China." Transcultural Studies 14, no. 1 (July 31, 2018): 123–29. http://dx.doi.org/10.1163/23751606-01401008.

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In this paper we would like to offer an analysis of issues related to the translation of Alexievich’s works into Chinese. Furthermore, we will look at reviews of her books by Chinese scholars and critics. On the one hand, opinions of professional literary critics will be represented. On the other hand, we would like to show Chinese writers’ perception of her literary works. We will discuss her possible influence on modern Chinese literature. The conclusions will offer our reflections on how cultural, historical and conceptual connections have been forged between Alexievich’s literary legacy and her Chinese audience.

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23

Hu, Danian. "The Reception of Relativity in China." Isis 98, no. 3 (September 2007): 539–57. http://dx.doi.org/10.1086/521157.

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24

Werstíne, Paul. "Shakespeare, More or Less: A.W. Pollard and Twentieth-Century Shakespeare Editing." Florilegium 16, no. 1 (January 1999): 125–45. http://dx.doi.org/10.3138/flor.16.011.

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Those who have disputed Shakespeare's authorship of the plays and poems usually attributed to him have been inclined to name the eminent Shakespeare scholars who have vilified the anti-Stratfordian cause. In the Preface to his 1908 book The Shakes-peare Problem Restated, the urbane Sir Granville George Greenwood quoted Sidney Lee, then chair of Shakespeare's Birthplace Trust, mocking the Baconian theory as "foolish craze,' morbid psychology,' madhouse chatter" (vii) and John Churton Collins, chair of English Literature at the University of Birmingham, denouncing it as "ignorance and vanity" (viii). More recently, Charlton Ogburn has listed among the detractors of the Oxfordian theory Louis B. Wright, former director of the Folger Shakespeare Library (154, 161, 168); S. Schoenbaum, author of Shakespeare's Lives, which devotes one hundred pages "to denigration of...anti-Stratfordian articles and books" (152); and Harvard Shakespeare professors G. Blakemore Evans and Harry Levin (256-57). In view of the energy and labour expended by numerous prominent scholars defending Shakespearean authorship, it is not surprising to discover that this defence has influenced reception of Shakespeare's works and their editorial reproductions. This essay deals with the very successful resistance movement against the anti-Stratfordians that was led by A.W. Pollard from 1916 to 1923, and with the peculiar influence that Pollard's efforts have continued to exert, even upon today's Shakespeare editors.

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25

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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26

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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27

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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28

Miles, Robert. "Trouble in the Republic of Letters: The Reception of the Shakespeare Forgeries." Studies in Romanticism 44, no. 3 (2005): 317. http://dx.doi.org/10.2307/25602003.

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29

Courtney Lehmann. "Shakespeare Films in the Making: Vision, Production and Reception (review)." Shakespeare Quarterly 60, no. 3 (2009): 385–88. http://dx.doi.org/10.1353/shq.0.0083.

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30

Samuel Crowl. "Shakespeare Films in the Making: Vision, Production and Reception (review)." Comparative Drama 42, no. 2 (2008): 237–40. http://dx.doi.org/10.1353/cdr.0.0010.

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31

Helen M. Whall. "Shakespeare Films in the Making: Vision, Production and Reception (review)." Shakespeare Bulletin 27, no. 2 (2009): 269–72. http://dx.doi.org/10.1353/shb.0.0083.

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32

Thompson, Ayanna. "Racial Authenticity: The Tension between Production & Reception in the Shakespeare Archive." Shakespeare Bulletin 32, no. 4 (2014): 683–86. http://dx.doi.org/10.1353/shb.2014.0063.

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33

Anna Kamaralli. "Shakespeare Films in the Making: Vision, Production and Reception (review)." Theatre Journal 60, no. 4 (2008): 681–82. http://dx.doi.org/10.1353/tj.0.0114.

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34

Cetera-Włodarczyk, Anna. "Shakespeare in purgatory: (re)writing the history of the post-war reception." Theatralia, Special Issue (2021): 17–32. http://dx.doi.org/10.5817/ty2021-s-2.

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35

Morozova, Svetlana N., and Dmitry N. Zhatkin. "Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)." LAPLAGE EM REVISTA 7, no. 2 (January 7, 2021): 217–24. http://dx.doi.org/10.24115/s2446-6220202172704p.217-224.

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The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

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36

Lipshitz, Yair. "Biblical Shakespeare: King Lear as Job on the Hebrew Stage." New Theatre Quarterly 31, no. 4 (October 9, 2015): 359–71. http://dx.doi.org/10.1017/s0266464x15000664.

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Comparisons between King Lear and the biblical Book of Job have become commonplace in scholarship. This paper traces the impact of the Lear–Job connection on the staging and reception of Shakespeare’s play in Hebrew theatre. Due to this connection, King Lear was put within the orbit of a central cultural endeavour for Zionism: the re-appropriation of the Hebrew Bible for the formation of a new national identity. In the mid-twentieth century, the play appealed to directors who searched for Hebrew ‘biblical’ theatre, and a web of intertextual allusions in the press tied Shakespeare’s tragedy to the Book of Job and to rabbinic interpretations of it. However, the equivocal position held by Job within the Zionist imagination undermined the place of King Lear as well. Ultimately, the two were intertwined in the politics of their reception in Hebrew theatre. Yair Lipshitz is a Senior Lecturer at the Department of Theatre Arts in Tel Aviv University. In his research, he explores the various intersections between theatre, performance, and Jewish religious traditions. He is the author of two books in Hebrew: The Holy Tongue, Comedy’s Version (Bar Ilan University Press, 2010) and Embodied Tradition: Theatrical Performances of Jewish Texts (forthcoming).

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37

Cerezo Moreno, Marta. "Shakespeare and Mercy at the Vatican, 2016." International Journal of English Studies 20, no. 3 (December 30, 2020): 145–64. http://dx.doi.org/10.6018/ijes.416521.

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This article explores a central chapter in the history of the Catholic reception of Shakespeare’s work during the contemporary age: the Catholic readings in 2016 of Shakespeare’s dramatic presentation of mercy in the context of the celebrations of the 400th anniversary of Shakespeare’s death and the Holy Year of Mercy. This study directs its focus first to Catholic public manifestations on mercy −such as printed volumes, articles and cycles of lectures− which incorporated Shakespeare’s reflections on mercy within their religious debate. Second, it studies how the Globe to Globe Hamlet performance at the Holy See on 13 April 2016 triggered the interpretation within the Vatican context of Hamlet as a play which, despite its focus on revenge and crime, opens up glimpses of mercy that allow a redefinition of justice.

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38

Wiśniewski, Bartosz. "The Reception of Roman Obligations in China." Confrontation and Cooperation: 1000 Years of Polish-German-Russian Relations 4, no. 1 (December 1, 2018): 40–45. http://dx.doi.org/10.2478/conc-2018-0007.

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Abstract The Chinese legal system has got many keystones. One of them is Roman law. It can be seen in obligations, in the very important part of private law. China has got a unique history and the Latin civilization has got the same characteristic too. Despite the fact of the independent development of the Roman Empire and the Chinese Empire those two legal systems were able to meet in the reception of Roman obligations in China in the twentieth century. That process may create some disputes. Roman law is one of the features of Western civilization. In the Far East, the situation is different. It is not possible to understand the Chinese legal culture without Confucianism, other philosophies, the role of relationships and the heritage of communism. The connection of two different legal systems in the sphere of obligation which was ended in 1999 when The Contract Law was promulgated may be evaluated in different ways. Maybe the most appropriate is the phrase that in current China everything is possible but nothing is easy.

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39

Yunfei, Bai. "The Reception of Victor Segalen in China." China Perspectives 2016, no. 1 (March 1, 2016): 59–63. http://dx.doi.org/10.4000/chinaperspectives.6927.

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40

Chang and Wanying. "The Reception of George Eliot in China." George Eliot - George Henry Lewes Studies 72, no. 1 (2020): 55. http://dx.doi.org/10.5325/georelioghlstud.72.1.0055.

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41

Ou, Li. "British Romanticism in China: Revised in Reception." IAFOR Journal of Literature & Librarianship 7, no. 1 (December 1, 2018): 5–28. http://dx.doi.org/10.22492/ijl.7.1.01.

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42

Rawson, Jessica. "China and the steppe: reception and resistance." Antiquity 91, no. 356 (April 2017): 375–88. http://dx.doi.org/10.15184/aqy.2016.276.

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43

McNair, Amy. "Engraved Calligraphy in China: Recension and Reception." Art Bulletin 77, no. 1 (March 1995): 106. http://dx.doi.org/10.2307/3046083.

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44

Sumillera, Rocío G. "Manuel Tamayo y Baus’s Un Drama Nuevo (1867) and the Reception of Hamlet in 19th-Century Spain." ELOPE: English Language Overseas Perspectives and Enquiries 10, no. 1 (May 9, 2013): 71–80. http://dx.doi.org/10.4312/elope.10.1.71-80.

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The present article discusses how Tamayo y Baus appropriates and refashions in Un drama nuevo (1867) the figures of Shakespeare and Yorick, as well as different elements of a number of tragedies by Shakespeare (Hamlet, Romeo and Juliet, Othello), in order to render homage to Shakespearean drama by means of a play that, even if set at the beginning of 17th-century England, particularly addresses the tastes and concerns of 19th-century Spanish audiences. Additionally, this article considers the extent to which the contemporary audience of Tamayo y Baus was acquainted with Shakespeare and Hamlet, taking into account both the translations into Spanish of the play and its performances in Spain up until 1867. The purpose of such an analysis is to speculate on the reception and interpretation of Un drama nuevo at the time of its release, and on the role it had in raising or renewing interest in Hamlet within the Spanish-speaking world.

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45

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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46

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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47

Cornfeld, Li, Victoria Simon, and Jonathan Sterne. "Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter." Communication, Culture and Critique 11, no. 3 (July 27, 2018): 418–35. http://dx.doi.org/10.1093/ccc/tcy015.

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Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.

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Klein, Holger. "Robert Nye’s Falstaff: A Remarkable Case of Creative Reception." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 209. http://dx.doi.org/10.14198/raei.2012.25.16.

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Among fictitious autobiographies as well as among historical novels, Robert Nye’s Falstaff (1976) is a special case in that it is not the autobiography of a historical personage, but of a dramatic character —who happens to be one of the most famous in Shakespeare, indeed in world drama, to be dictated by Falstaff to various amanuenses. After briefly discussing the sub-genre of fictitious autobiography, this paper will analyze the varied use of intertextuality, the tensions fabricated between the autobiographer and his helpers, and the critical thoughts and tendencies which Nye absorbed in preparing the work with particular emphasis on the clash between the Shakespearean intertexts and the diction surrounding it.

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Frenţiu, Luminiţa, and Codruţa Goşa. "From West to East: Romeo Must Die but Shakespeare is the Sun." Romanian Journal of English Studies 11, no. 1 (March 1, 2014): 167–82. http://dx.doi.org/10.2478/rjes-2014-0021.

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Abstract The paper presents a mini survey of the hallmark English language motion pictures which are explicitly based on William Shakespeare’s Romeo and Juliet. The selection of the six films under investigation takes into account various criteria such as aspects of chronology, culture, impact or novelty of approach. The analysis is based on four categories: genre, auteurism (authorship), reception and verisimilitude.

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50

Volceanov, George. "The New Romanian Shakespeare Series on the Move: From Page to Stage and Screen." Messages, Sages and Ages 3, no. 1 (August 1, 2016): 38–45. http://dx.doi.org/10.1515/msas-2016-0004.

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Abstract This article aims at presenting the impact that the New Romanian Shakespeare edition launched in 2010 by George Volceanov has had on the literati and theatres so far. It is, therefore, a stocktaking exercise and its main goal is to provide Shakespeare scholars with an initial data base for further investigation of theatrical productions which use the new translation as significant moments in the history of Shakespeare’s reception in Romania and, on the other hand, to occasion some reflective remarks on the six years of the series now at its tenth volume and 26 plays plus the Sonnets.

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