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McDougall, Derek. "Wittgenstein’s Remarks on William Shakespeare." Philosophy and Literature 40, no. 1 (2016): 297–308. http://dx.doi.org/10.1353/phl.2016.0004.
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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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Roche, Anthony. "‘Mirror up to nation’: Synge and Shakespeare." Irish University Review 45, no. 1 (May 2015): 9–24. http://dx.doi.org/10.3366/iur.2015.0146.
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Christopher Murray, Philip Edwards, and Rebecca Steinburger have examined the ways in which the Irish Dramatic Revival drew on the example and plays of Shakespeare. Their emphasis falls on Yeats and O'Casey, both of whom have written extensively on Shakespeare in their prose essays and autobiographies. The allusions to Shakespeare by Synge are much briefer and more cryptic. And yet there is a deep and complex relationship between Shakespeare and Synge, as this essay will indicate. The one writer who has paired the two is James Joyce, in the Library chapter of Ulysses, set in the same year that Ireland's National Theatre was founded. The essay also looks at the neglected fact that Synge, while an undergraduate at Trinity College, Dublin, took lectures on Shakespeare from Professor Edward Dowden and made copious extracts from Dowden's Shakespeare: His Mind and Art. The essay goes on to examine Synge's key remarks on Shakespeare in relation to Irish writers and to compare the return of the dead father in The Playboy of the Western World and Hamlet.
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Cetera-Włodarczyk, Anna, and Jarosław Włodarczyk. "„Niech się połączą niebiosa i ziemia…”: w poszukiwaniu (nowej) astronomii w Antoniuszu i Kleopatrze Williama Shakespeare’a." Poznańskie Studia Polonistyczne. Seria Literacka, no. 31 (January 2, 2018): 23–46. http://dx.doi.org/10.14746/pspsl.2017.31.1.
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Shakespeare appears to be one of the most intensely studied authors exemplifying mutual influence of literature and science. Significantly enough, astronomical references deserve a particular attention due to the spectacular change of paradigm resulting from the replacement of the concept of the geocentric cosmos with the concept of the heliocentric universe. Starting from some general remarks concerning the methodological assumptions of such analyses and the specificity of Shakespeare canon, the paper offers an in-depth study of Anthony and Cleopatra as one of the most representative plays with regard to the number, suggestiveness and interpretative potential of astronomical references. The paper exemplifies the way in which the play combines traditional astronomical and astrological allusions with some unconventional images, usually featuring imaginative hyperboles, which inscribe the fate and feelings of the characters into a cosmic framework. These references repeatedly trigger some fascinating and yet risky interpretations which strive to present Shakespeare as part of the scientific revolution of the age. Refraining from any value judgment, the paper highlights the overall importance of reading Renaissance literature, and Shakespeare in particular, against the background of the history of science in a way which allows for precise identification of contemporary sources of astronomical knowledge as well as for the reconstruction of the actual paths of dissemination of such ideas.
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McCourt, Frank. "Teacher Man." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 2 (July 1, 2008): 1–2. http://dx.doi.org/10.33178/scenario.2.2.1.
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I went to O'Mahony's Bookshop to buy the first book in my life, the one I brought to America in the suitcase. It was The Works of William Shakespeare: Gathered into One Volume, published by the Shakespeare Head Press, Oldhams Press Ltd. and Basil Blackwood, MCMXLVII. Here it is, cover crumbling, separating from the book, hanging on through the kindness of tape. A well-thumbed book, well marked. There are passages underlined that once meant something to me though I look at them now and hardly know why. Along the margins notes, remarks, appreciative comments, congratulations to Shakespeare on his genius, exclamation marks indicating my appreciation and befuddlement. Inside the cover I wrote, 'Oh, that this too, too solid flesh, etc.' It proves I was a gloomy youth. When I was thirteen/fourteen I listened to Shakespeare plays on the radio of Mrs. Purcell, the blind woman next door. She told me Sheakespeare was an Irishman ashamed of what he came from. A fuse blew the night we listened to Julius Caesar and I was so eager to find out what happened to Brutus and Mark Antony I went to O'Mahony's Bookshop to get the rest of the story. A sales clerk ...
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Lamzina, Anna Vladislavovna. "To the problem of reception of Shakespearean motifs in dramaturgy of Anna Akhmatova." Litera, no. 12 (December 2020): 84–91. http://dx.doi.org/10.25136/2409-8698.2020.12.33685.
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The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eliš”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eliš”, which substantiates the novelty of this research.
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Marczak, Mariola. "Filmowe czytanie Szekspira. Adaptacja jako interpretacja. O książce "Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a", red. O. Katafiasz, Kraków 2017, ss. 434." Studia Filmoznawcze 39 (July 17, 2018): 173–83. http://dx.doi.org/10.19195/0860-116x.39.12.
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FILM READING OF SHAKESPEARE. ADAPTATION AS INTERPRETATIONThe text is a review of a book entitled Lustra i echa. Filmowe adaptacje dzieł Williama Shakespeare’a Mirrors and Echoes. Film Adaptation of William Shakespeare’s Works edited by Olga Katafiasz. The monograph is a compilation of studies and essays prepared by filmologists, theatre studies and culture studies scholars referring to various film adaptations of William Shakespeare’s works. At the beginning the reviewer reminds film theories concerning film adaptation and the output of filmology on the topic of film adaptations of Shakespeare’s works. The author situates the book in view within the map of past and update researches of both types and evaluates their quality as a part of them. She underlines that the variety of points of view and research approaches to Shakespeare himself and to his oeuvre in Olga Katafiasz’s elaboration highlight the distinctive place of Shakespeare in nowadays culture, including pop-culture. Moreover, the variety of scholar and artistic approaches to the master from Stratford reveals also cognitive and creative abilities of film art and makes clear cultural productivity and actuality of Shakespeare. The latter means first of all possible achievement of historical and cultural accommodation to different discourses as well as of being a tool of update cultural communication. Namely in Marczak’s opinion Mirrors and Echoes… provides a practical implementation of the film theory of adaptation as interpretation of the source text and endeavors to be a response to those who ask whether Shakespeare remains a vivid author, delivering important questions and important answers for human beings of 21st century.
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Bakhtin, M. M. "Bakhtin on Shakespeare: Excerpt from “Additions and Changes to Rabelais”." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 522–37. http://dx.doi.org/10.1632/pmla.2014.129.3.522.
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The text translated below is an excerpt from notes the Russian thinker Mikhail Mikhailovich Bakhtin wrote in the mid 1940s as he prepared to revise the manuscript of his now famous book on François Rabelais. The notes were first published, posthumously, in 1992. A corrected edition with commentary, used for this translation, followed in 1996 (Coбpaни COчинений 5: 80-129). The part where Bakhtin focuses primarily on Shakespeare's tragedies is presented here (80-99). The omitted sections contain summaries of materials Bakhtin was reading (on Dante, Galileo and his contemporaries, Heine, and especially Gogol and Ukrainian folk culture), brief comments on various themes (the name and the nickname, Dostoevsky, Cinderella, riddles), and stand-alone philosophical remarks.
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Martinez, Dolores. "From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood." Arts 7, no. 3 (September 10, 2018): 50. http://dx.doi.org/10.3390/arts7030050.
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Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jō 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption.
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Ridgway, George. "Successful Presentations and GP Registrars." InnovAiT: Education and inspiration for general practice 3, no. 7 (June 18, 2010): 422–26. http://dx.doi.org/10.1093/innovait/inp230.
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All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts. Shakespeare, (1600) As You Like It, Act 2, scene 7. Oral presentations may be thought of as performances. At the heart of all performances should lie the question: Am I serving my audience well and what can I do to raise my standard? To gauge if your audience enjoyed and valued your presentation, you can listen to their applause and remarks made in the discussion section in addition to reading your peers' review. For your oral presentations most of this feedback may be captured through a well designed evaluation form.
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Freeman, Lisa A. "On the Art of Dramatic Probability: Elizabeth Inchbald's Remarks for The British Theatre." Theatre Survey 62, no. 2 (April 6, 2021): 163–81. http://dx.doi.org/10.1017/s0040557421000053.
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In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was complete, the plays were bound together and sold as a twenty-five-volume set. As the surviving diary entries from the two-year period during which she wrote her Remarks testify, the task proved both arduous and unrelenting for Inchbald, especially as she had no hand in selecting the plays to be included and no control over the order in which she was asked to compose her critical commentaries. Working almost constantly, no sooner had she read one play, drafted her remarks, and copyedited the proof, than she had to turn to the next play sent by Longman, collect her thoughts, and start the process all over again. For the most part, as Annibel Jenkins has noted, “[T]here seems to be no pattern of publishing by date or genre; a tragedy by Shakespeare came out one week and a contemporary comedy the next.” At one point, the strain of this process was so unbearable that Inchbald even tried to renege on her contractual obligations, writing to Longman, “begging to decline any further progress.” This request, as her first biographer, James Boaden, records, Longman “could not be expected to permit; and she was therefore compelled to remark through the whole year.” In the event, and however “dreadful” the task may have been for Inchbald, the widely advertised series proved a “great commercial success,” and Inchbald's Remarks have come down to us as one of the first great achievements in English dramatic criticism of the early nineteenth century.
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Rand, Nicholas. "The Translator and the Myth of the Public: "Introductory Remarks" to the First French Translations of Swift, Young, and Shakespeare." MLN 100, no. 5 (December 1985): 1092. http://dx.doi.org/10.2307/2905447.
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Köhler, Werner. "Was Robert Koch inspired by William Shakespeare? Some remarks on an article by William Fry: Prince Hamlet and Professor Koch." Zentralblatt für Bakteriologie 288, no. 2 (October 1998): 161–65. http://dx.doi.org/10.1016/s0934-8840(98)80033-9.
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RIVLIN, ELIZABETH. "Shakespeare for Use and Pleasure: Elizabeth Nunez's and Terry McMillan's Middlebrow Fiction." Journal of American Studies 54, no. 1 (December 9, 2019): 19–26. http://dx.doi.org/10.1017/s0021875819001002.
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This essay investigates how Elizabeth Nunez's Prospero's Daughter (2006) and Terry McMillan's How Stella Got Her Groove Back (1996) engage with Shakespeare. By taking a middlebrow approach that emphasizes readers’ use of and pleasure in Shakespeare and that aims to cultivate an inclusive multiracial readership, Nunez and McMillan show that black readers can lay claim to a Shakespeare that they participate in (re)defining. While Nunez's novel frames Shakespeare's political uses within pleasurable genres of contemporary popular fiction, McMillan suggests that she and her readers can remake Shakespeare, the name of her heroine's love interest, into a figure associated with pleasure.
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Culpeper, Jonathan, and Merja Kytö. "Data in historical pragmatics." Journal of Historical Pragmatics 1, no. 2 (August 30, 2000): 175–99. http://dx.doi.org/10.1075/jhp.1.2.03cul.
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In this paper we examine four speech-related text types in terms of how linguistically close they are to spoken face-to-face interaction. Our “conversational” diagnostics include lexical repetitions, question marks (as an indicator of question-answer adjacency pairs), interruptions, and several single word interactive features (first- and second-person pronouns, private verbs and demonstrative pronouns). We discuss the nature of these diagnostics and then consider their distribution across our text types and across the period 1600 to 1720. We reveal: (1) a differential distribution across our text types (and suggest a number of explanatory factors), and (2) a shift over our period towards features associated with spoken face-to-face interaction (and make the tentative suggestion that this finding may be due to the development of “popular” literatures). We also make some preliminary remarks about our Shakespeare sample.
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Lockey, Brian C. "The Elizabethan Legacy of Sir Thomas More: Sir John Harington, Anthony Munday, and the tentative rise of the ecumenical English renaissance." Moreana 56 (Number 211), no. 1 (June 2019): 28–41. http://dx.doi.org/10.3366/more.2019.0049.
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Tudor historians of Henry VIII's reign strove both to define the great political theological controversies of the day and to shape the future understanding of past events. This essay considers how Roman Catholic accounts of the life and martyrdom of Sir Thomas More, including those by Nicholas Harpsfield and Thomas Stapleton, shaped subsequent Protestant works of fiction, written during the 1590s. The essay explores, in particular, the collaborative play, Sir Thomas More, by Anthony Munday and revised by Shakespeare and others; and Sir John Harington's references to More and Bishop John Fisher in the preface to his translation of Orlando Furioso and his extensive anecdotal remarks about More's scatological witticisms in his satirical tract, The Metamorphosis of Ajax. Such fictional works presage both the hesitant trend towards ecumenism and the imagined reunion of Christendom of the subsequent Jacobean reign, and the later emergence of the transnational secular public sphere, which transpired during the late seventeenth and eighteenth centuries.
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Sosnowska, Monika. "NECROPHELIA AND THE STRANGE CASE OF AFTERLIFE." Studia Anglica Posnaniensia 48, no. 2-3 (December 1, 2013): 103–23. http://dx.doi.org/10.2478/stap-2013-0010.
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ABSTRACT Drawing on Allan Edgar Poe’s provocative statement that “The death ... of a beautiful woman is, unquestionably, the most poetic topic in the world” (1951: 369), I will focus on the pivotal role of Shakespeare’s Ophelia in attesting to this assertion. Ophelia’s drowning is probably the most recognizable female death depicted by Shakespeare. Dating back to Gertrude’s “reported version” of the drowning, representations of Ophelia’s eroticized death have occupied the minds of Western artists and writers. Their necrOphelian fantasies materialized as numerous paintings, photographs and literary texts. It seems that Ophelia’s floating dead body is also at the core of postmodern thanatophiliac imagination, taking shape in the form of conventionalized representations, such as: video scenes available on YouTube, amateur photographs in bathtubs posted on photo sharing sites, reproductions and remakes of classical paintings (e.g. John Everett Millais), and contemporary art exhibitions in museums. These references will demonstrate that new cyber story - digital afterlife - is being built around the figure of Shakespearean Ophelia, unearthing the sexual attraction of the lifeless female body.
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Şerban, Andreea. "‘Ophelia divided from herself ’ (Hamlet, 4.5.2944–45)." Critical Survey 33, no. 1 (March 1, 2021): 103–18. http://dx.doi.org/10.3167/cs.2021.330108.
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Manga – one of Japan’s cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare’s canonical works have long been appreciated for their educational value and ‘friendly’ introduction to Shakespeare’s dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare’s Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia’s afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times.
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Cetera-Włodarczyk, Anna. "“It takes a genius to set the tune, and a poet to play variations on it”: Some Remarks on the Irksome (Im)possibility of Editing Shakespeare in Translation." Przekładaniec, no. 36-37 (2019): 46–62. http://dx.doi.org/10.4467/16891864epc.19.003.11261.
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Selim, Yasser Fouad. "Decentering the Bard: The Localization of "King Lear" in Egyptian TV Drama "Dahsha"." Multicultural Shakespeare: Translation, Appropriation and Performance 18, no. 33 (December 30, 2018): 145–60. http://dx.doi.org/10.18778/2083-8530.18.10.
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Dahsha [Bewilderment] is an Egyptian TV series written by scriptwriter Abdelrahim Kamal and adapted from Shakespeare’s King Lear. The TV drama locates Al Basel Hamad Al Basha, Lear’s counterpart, in Upper Egypt and follows a localized version of the king’s tragedy starting from the division of his lands between his two wicked daughters and the disinheritance of his sincere daughter till his downfall. This study examines the relationship between Dahsha and King Lear and investigates the position of the Bard when contextualized in other cultures, revisited in other locales, and retold in other languages. It raises many questions about Shakespeare’s proximity to the transcultural/transnational adaptations of his plays. Does Shakespeare’s discourse limit the interpretation of the adapted works or does it promote intercultural conversations between the varying worldviews? Where is the Bard positioned when contextualized in other cultures, revisited in other locales, and retold in other languages? Does he stand in the center or at the margin? The study attempts to answer these questions and to read the Egyptian localization of King Lear as an independent work that transposes Shakespeare from a central dominant element into a periphery that remains visible in the background of the Upper Egyptian drama.
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Holland, Peter. "‘Musty Superfluity’: Coriolanus and the Remains of Excess." Actes des congrès de la Société française Shakespeare, no. 25 (November 1, 2007): 89–101. http://dx.doi.org/10.4000/shakespeare.1030.
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Carmona Escalera, Carla. "Using Wittgenstein’s philosophy to erase conceptual misconceptions in dance practice. A fourfold approach = Usar la filosofía de Wittgenstein para borrar los conceptos erróneos en la práctica de la danza. Un enfoque cuádruple." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 71. http://dx.doi.org/10.20318/revhisto.2019.4895.
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Abstract: A fourfold use of Wittgenstein’s later philosophy in order to tackle fundamental conceptual misconceptions in the domain of dance practice is proposed: the extension to dance of the insights of his remarks on other arts, the application to dance instructions of his method of examination of the use of language, the extension to dance of the insights of his remarks on aesthetics, and the use of some of the fundamental concepts of his later philosophy, such as “aspect-seeing”, or “form of life”.In the first section, Wittgenstein’s paragraphs on Shakespeare are used in order to clarify the nature of representation, his remarks on archi tecture are used to shed light on the gestural carácter of a dance movement and to differentiate dance movement from mere bodily movement, and his remarks on music are used in order to elucidate the relationship between a movement and its so-called meaning. In the second section, an analysis looks at how language is used in the dance studio to tackle the problem of affectation in dance practice, and to propose measures to overcome this tendency, such as awareness of the use of the mirror in the studio. In the third section, Wittgenstein’s understanding of aesthetic satisfaction as something that clicks is understood as a tool to fight dualistic tendencies in dance practice. The fourth section discusses how insight into Wittgenstein’s concepts of “aspect- seeing” and “form of life” can contribute to superseding affectation. In dance, aspect seeing involves directing one’s gaze back to the movement in question. Instead of blaming the incorrect execution of a movement on a lack of dramatic skill on the part of the dancer, an approach that reinforces the idea of dance performance as a dualistic process, it can be attributed to aspect blindness, allowing for the redirection of the dancer’s attention to the movement. In this regard, it is proposed that dancers be helped to appreciate that a movement is charged with the atmosphere of a whole form of life. By understanding this relationship, it should become clear for dancers that expressivity is something that depends neither on their mental state nor on their ability to transfer the latter to the movement in question.Key words: aesthetics, aspect-seeing, dance, dance instruction, form of life, mind-body dualism, Wittgenstein.Resumen: Propongo un uso cuádruple de la filosofía madura de Wittgenstein con vistas a abordar confusiones conceptuales fundamentales en el ámbito de la práctica de la danza: extender a la danza aquellas de sus observaciones perspicaces sobre otras artes que sean relevantes, aplicar a las instrucciones de danza su análisis del uso del lenguaje, extender a la danza sus observaciones sobre la estética y usar en el contexto de la danza algunos de los conceptos fundamentales de su filosofía madura, tales como el de «ver aspectos» o el de «forma de vida».En la primera sección, se usan los parágrafos sobre Shakespeare de Wittgenstein para clarificar la naturaleza de la representación, sus observaciones sobre arquitectura para arrojar luz sobre el carácter gestual del movimiento de danza y para diferenciar un movimiento de danza de un simple movimiento corporal. Asimismo, sus observaciones sobre música se usan con el fin de dilucidar la relación entre un movimiento y su presunto significado. En la segunda sección, analizo cómo se usa el lenguaje en el estudio de danza con vistas a afrontar el problema de la afectación en la práctica de la danza y propongo una serie de medidas con el propósito de superar esta tendencia, como, por ejemplo, tomar conciencia del uso del espejo en el estudio de danza. En la tercera sección, la comprensión de Wittgenstein de la satisfacción estética como algo que hace click se propone como herramienta para encarar las tendencias dualistas en la práctica de la danza. La cuarta sección enfoca cómo la familiaridad con los conceptos de Wittgenstein de «ver aspectos» y «forma de vida» puede contribuir a superar la afectación. En la danza, ver aspectos supone reencauzar la mirada, enfocando de nuevo el movimiento en cuestión. En lugar de echar la culpa de una ejecución incorrecta de un movimiento a una falta de talento dramático por parte del bailarín, idea que refuerza la imagen de la representación de danza como un proceso dualista, se podría atribuir a la ceguera para los aspectos, y así reorientar la atención del bailarín al movimiento. De igual modo, se propone que los bailarines deberían ser llevados a apreciar que un movimiento ha de participar de la atmósfera de toda una forma de vida. Tras comprender esta relación, para el bailarín debería resultar evidente que la expresividad no es algo que dependa de su estado mental, ni de su habilidad para transferir ese estado mental al movimiento en cuestión.Palabras clave: estética, danza, instrucción de danza, forma de vida, dualismo mente-cuerpo, ver aspectos, Wittgenstein.
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Cousin, Geraldine. "The Touring of the Shrew." New Theatre Quarterly 2, no. 7 (August 1986): 275–82. http://dx.doi.org/10.1017/s0266464x00002232.
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Of all Shakespeare's plays which touch on raw contemporary nerves, The Taming of the Shrew is probably the most contentious – and arguably the least acceptable, in a period of crystallizing feminist consciousness. Yet the play stubbornly remains in the repertoire, almost demanding to be reinterpreted – either against the perceived grain of the text, or by clarifying subtextual sympathy for a less chauvinist point of view than Petruchio's. Here, Geraldine Cousin, who teaches theatre studies in the University of Warwick, and contributed a study of the Footsbarn company's Hamlet and Lear to NTQ1, discusses the problems involved in staging The Taming of the Shrew at the present time, taking a closer look at two recent itinerant productions – by the Medieval Players, and by the touring group of the Royal Shakespeare Company.
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Fayard, Nicole. "Je suis Shakespeare: The Making of Shared Identities in France and Europe in Crisis." Multicultural Shakespeare: Translation, Appropriation and Performance 19, no. 34 (June 30, 2019): 31–53. http://dx.doi.org/10.18778/2083-8530.19.02.
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This essay investigates the ways in which Shakespearean production speaks to France and wider European crises in 2015 and 2016. The Tempest and Romeo and Juliet were directed by Jérôme Hankins and Eric Ruf respectively in December 2015 and reflected significant contemporaneous issues, including: (1) two Paris terrorist attacks which sent shock waves throughout France and Europe; (2) the belief that shared identities were under threat; (3) concerns over shifting power dynamics in Europe. The portrayal of these issues and their reception bring into question the extent to which cultural productions can help to promote social change or shape perceptions of national and pan-European events. This essay focuses on whether the plays successfully complicate binary narratives around cultural politics in a context of crises by creating alternative representations of difference and mobilities. It concludes that appropriating Shakespeare’s cultural authority encourages some degree of public debate. However, the function of Shakespeare’s drama remains strongly connected to its value as an agent of cultural, political and commercial mobility, ultimately making it difficult radically to challenge ideologies.
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Dale, James. "‘How can you say to me I am a King?’: New Historicism and its (Re)interpretations of the Design of Kingly Figures in Shakespeare’s History Plays." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 2021): 143–58. http://dx.doi.org/10.18778/2083-8530.23.09.
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The 1980’s saw the emergence of New Historicist criticism, particularly through Stephen Greenblatt’s work. Its legacy remains influential, particularly on Shakespearean Studies. I wish to outline New Historicist methodological insights, comment on some of its criticisms and provide analytical comments on the changing approach to historical plays, asking “What has New Historicism brought into our understanding of historical plays and the way(s) of designing kingly power?” Examining Shakespeare’s second tetralogy, I will review Greenblatt’s contention that these plays largely focus on kingly power and its relationship to “subversion” and “containment”. I intend to focus on aspects of the plays that I believe have not received enough attention through New Historicism; particularly the design of the kingly figures.
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Morrison, Michael A. "The Voice Teacher as Shakespearean Collaborator: Margaret Carrington and John Barrymore." Theatre Survey 38, no. 2 (November 1997): 129–58. http://dx.doi.org/10.1017/s0040557400002106.
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In the annals of staged Shakespeare, John Barrymore, Arthur Hopkins, and Robert Edmond Jones have been much honored for their landmark productions of Richard III and Hamlet, first seen in New York during the 1919– 20 and 1922–23 seasons. Another collaborator in these revivals, however, has received little scholarly attention: Margaret Carrington, a Canadian-born voice teacher who contributed significantly to the success of these productions by “remaking” Barrymore's voice. Although reviews of Barrymore's performances in the years preceding his Shakespearean debut often mentioned his “monotonous” vocal quality, the result of his studies with Carrington was a vocal instrument of extraordinary range and flexibility. As Heywood Broun remarked in 1923: “Someone ought to write a tale about Barrymore called ‘The Story of a Voice.’ It is one of the most amazing adventures in our theatre. Here was a particularly pinched utterance distinctly marred by slipshod diction. Today it is among the finest voices in the American theatre.”
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Kumar Sarkar, Dipak. "Age in the Eye of Shakespeare, focus on; As You Like It." International Journal of Comparative Literature and Translation Studies 8, no. 2 (April 30, 2020): 31. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.2p.31.
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Being aged is an inevitable process of nature but the way society and its institutions define aged people may not be an acceptable process to judge every single aged people, as each human is different from others in regard to physic, life philosophy and mentality signifying that every human is an unique creation of the Creator. However, Shakespeare, being so much celebrated, praised and a universal writer delineates his characters and their involvement to his drama being somehow dogmatic in regard to age. This paper aims at the approach of Shakespeare towards the young and the elderly characters and tries to bring out a hypothesis based on gerontological theory in mind. The key objective of this paper is to find out what Shakespeare thinks about the aged people and how the aged characters been portrayed in As You Like It. Furthermore, this paper will distinguish the thought of Shakespeare, being xenophobic about the aged, with that of the gerontologists’ remark of approaching an aged man. In order to achieve its aim, a critical analysis planted on the gerontological view of Age will be conducted. Decisively, this paper hopes to come up with the attitude Shakespeare possesses at the time of treating an elderly man.
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Le Lay, Maëline. "Africanizing classical European playwrights (Shakespeare and Molière)." Bulletin of the School of Oriental and African Studies 81, no. 3 (October 2018): 493–512. http://dx.doi.org/10.1017/s0041977x18001027.
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AbstractThis article analyses Shakespeare and Molière's enduring appeal in various African countries and the diversity of their plays’ adaptations. The starting point is the discrepancy between the two playwrights, Shakespeare in Africa being an artistic phenomenon (a controversial one in some quarters), while the adaptation of Molière remains mainly the domain of school curricula. This article will first provide a historical overview of activities related to the introduction of Shakespeare and Molière's works in Africa. Second, it will set out to analyse the varied adaptation and “Africanization” of both playwrights’ work. It will shed light on the political and scholarly disputes over the incorporation of these authors in school curricula after independence and examine the ways in which these classical European texts were domesticated in Africa.
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Aspinall, Dana E., and Courtney Lehmann. "Shakespeare Remains: Theater to Film, Early Modern to Postmodern." Sixteenth Century Journal 34, no. 4 (December 1, 2003): 1177. http://dx.doi.org/10.2307/20061690.
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Goy-Blanquet, D. "PHILIP SCHWYZER. Shakespeare and the Remains of Richard III." Review of English Studies 65, no. 272 (February 28, 2014): 930–31. http://dx.doi.org/10.1093/res/hgu006.
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Brennan, M. G. "PHILIP SCHWYZER, Shakespeare and the Remains of Richard III." Notes and Queries 62, no. 1 (February 6, 2015): 146–48. http://dx.doi.org/10.1093/notesj/gju204.
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Flachmann, Michael. "Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Merchant of Venice. Edited by Charles Edelman. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Taming of the Shrew. Edited by Elizabeth Schafer. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; King Henry V. Edited by Emma Smith. $23 paper." Theatre Survey 45, no. 1 (May 2004): 158–61. http://dx.doi.org/10.1017/s0040557404410084.
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In their “Editors' Preface” to the Cambridge University Press Shakespeare in Production series, J. S. Bratton and Julie Hankey proudly describe the “comprehensive dossier of materials,” including “eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions and rewritings,” that make up the heart of this brilliant and exceptionally useful collection of Shakespeare editions. Conceived by Jeremy Treglown and first published by Junction Books, the series was later printed by Bristol Classical Press as Plays in Performance, though none of the original four titles remains in print. Already published in the descendant Cambridge Shakespeare in Production series are nine plays—A Midsummer Night's Dream, Much Ado about Nothing, Antony and Cleopatra, Hamlet, The Tempest, King Henry V, Romeo and Juliet, The Taming of the Shrew, and The Merchant of Venice—with Macbeth, Twelfth Night, Troilus and Cressida, Othello, and As You Like It forthcoming.
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DE BARROS, ERIC L. "Teacher Trouble: Performing Race in the Majority-White Shakespeare Classroom." Journal of American Studies 54, no. 1 (December 9, 2019): 74–81. http://dx.doi.org/10.1017/s0021875819002044.
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The topic of race has long enriched Shakespeare scholarship. Race scholarship remains marginalized in the broader world of Shakespeare studies. The simultaneous “truth” of these statements reveals a deeply rooted professional ambivalence. And while recent attention has been paid to its manifestation at conferences and in journals, this essay explores its challenge to black teacher–scholars in the majority-white classroom. Rethinking The Merchant of Venice as an educational play, with Portia and Shylock performing as nontraditional teachers, I develop the concept of “teacher trouble” from Judith Butler's “gender trouble” to reflect personally on the perils and liberatory potential of antiracist performative strategies.
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Burnett, Mark Thornton. "Shakespeare Remains: Theater to Film, Early Modern to Postmodern (review)." Shakespeare Quarterly 54, no. 4 (2003): 469–71. http://dx.doi.org/10.1353/shq.2004.0029.
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Klimova, M. N. "Lady Macbeth in the Context of Russian Culture: From a Character to a Plot." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 73–88. http://dx.doi.org/10.25205/2410-7883-2020-1-73-88.
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Lady Macbeth, the ambitious wife of the title character of the Scottish tragedy of W. Shakespeare, became a household name. Her name is represented in collective consciousness both as a symbol of insidiousness and as a reminder of the torments of a guilty conscience. Lady Macbeth entered the world culture, as an image of a strong and aggressive woman, who is ready for a conscious violation of ethical norms and rises even against the laws of her nature. N. S. Leskov describes appearance of that kind of a character in a musty atmosphere of a Russian province in his famous novella “Lady Macbeth of the Mtsensk District” (1864). He pegged this image as the product of a suffocating lack of freedom of his contemporary reality. The author moved typical features of the Shakespearean heroine to a Russian soil, into the thick of people’s life and created a special love-criminal plot of complex origin for the purposes of its full disclosure in new conditions. The novella plot organically absorbs a number of Shakespearean motifs and images despite of the fact that it is outwardly far from the events of the tragedy “Macbeth”. Notwithstanding that Leskov’s novella had been leaving out by critics’ attention for more than 60 years, it was included in the gold fund of Russian classics in the 20 th century, evoked many artistic responses in literature and art, gained international fame and complemented the content of the “Russian myth” in world culture. Not only Leskov’s novella is discussed in the article but also other variants of the Russian Lady Macbeth’s plot such as the poem of N. Ushakov, the story of Yu. Dombrovsky, named after the Shakespearean heroine, as well as a fragment of the novel by L. Ulitskaya “Jacob’s Ladder” with discussing of the draft of one of the possible staging of the essay. Also, a hidden presence of this plot for the first time is noticed in the story “Rus” by E. I. Zamyatin and in the ballad-song “Lesnichikha” by V. Dolina. Moreover, the article gives analysis of transpositions of this literary source into theater, music and cinema languages: its first stage adaptation by director A. Dikiy, the opera “Katerina Izmailova” by D. D. Shostakovich, and its screen versions and cinema remakes such as “Siberian Lady Macbeth” by A. Wajda, “Lady Macbeth of the Mtsensk District” by R. Balayan, “Moscow Nights” by V. Todorovsky, “Lady Macbeth” by W. Oldroyd. The moral evaluation of the Katerina Izmailova’s story left for Leskov as a frightening mystery of an immense Russian soul, but in the further processing of the plot it ranges from condemnation to justification and even apology of the heroine. Adaptations of this plot are also differ in the degree of dependence of the central female image from his Shakespearean prototype.
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Rasmussen, Eric. "Who edited the Shakespeare First Folio?" Cahiers Élisabéthains: A Journal of English Renaissance Studies 93, no. 1 (March 6, 2017): 70–76. http://dx.doi.org/10.1177/0184767817697300.
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The question of who edited the Shakespeare First Folio remains one of the greatest unsolved mysteries in textual studies. This essay will examine two possible candidates, Leonard Digges and John Florio, and will propose a new methodology of editorial attribution that may have some utility in identifying the agent who was responsible for preparing the great folio for the press in 1623.
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Frolova, Anna. "Remake/remix: Shakespeare’s code in Brothers Presnyakov’s works." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 347–54. http://dx.doi.org/10.31648/pw.3257.
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Art researchers of modern literature are connected with the classical heritage.The remake becomes one of the forms of the code conversion of classics, which gives context and allows the creation of “an expressive sociocultural portrait of our time”. The remix assumes a creation of the secondary work in a more modern option and often presents the “text pieces” rearranged in any order. In the modern literature process it is possible to note the paradoxical phenomenon when the same plot is portrayed by the same author twice. The Brothers Presnyakovs create works at an interval of five years with the identical name, “Playing the Victim”, but in different genres (the play and the novel). Texts are connected by special relations: they have a distinct subject similarity, an identical system of images and are united with their correlation to Shakespeare’s tragedy “Hamlet”. In this article, there is an attempt to understand why the authors readdress the mastered material and how the meanings of the universal language of classics based on absolute values are transformed.
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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.
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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.
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Clayton, Tom. "Whither Hamlet's “Words, Words, Words”? Notes on Dialogue and Designs in Hamlet." Ben Jonson Journal 25, no. 2 (November 2018): 214–41. http://dx.doi.org/10.3366/bjj.2018.0225.
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Four Hamlets and Hamlets have evolved from recent text-editorial practice, corresponding with, respectively, Q1 1603, Q2 1604–05, F 1623, and the composite received text combining Q2 and F. Q2 is the fullest and most authoritative text, F is a slightly shorter, cut revision containing passages omitted in Q2. At present, Q1—half the length of Q2—is either young Shakespeare's first version or, more likely, a later derivative of F1's ancestor (c. 1601–03). Although the most recent editors (of Arden 3 and the New Oxford Shakespeare) favor individual editions of Q1, Q2, and F, there remains much to be said for the received composite text that intercuts longer passages omitted in Q2 and F as a reader's text of the whole literary Hamlet. This Hamlet benefits from full dialogue by and about the Prince, including his important speeches cut in F and in most productions, 1.4.17–38 (notably “So oft it chances”), and his last soliloquy, 4.4.32–66 (“How all occasions do inform against me”). The whole Hamlet is a salutary corrective to the post-Romantic Hamlet-as-Coleridge and Olivier's voice-overed “man who could not make up his mind.” Not mad, he feigns well in prose that serves as easily in genial conversation with those of lower social station—guards, players, gravediggers—and like much else shows him something of a mensh. Hamlet was every inch a king-in-waiting (not much longer: “This is I, Hamlet the Dane”), and he dies, politically responsible, casting his vote for Fortinbras. In the perspective of our own time, “His greatest operational weapon is his humanity.”
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Poutiainen, Hannu. "Autoapotropaics: Daimon and Psuché between Plutarch and Shakespeare." Oxford Literary Review 34, no. 1 (July 2012): 51–70. http://dx.doi.org/10.3366/olr.2012.0029.
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Translation, Walter Benjamin says, grants to a work its future survival, the living-on (überleben) of what is essential in it; yet even for Benjamin, the relevance of a translation, as guarantor of such survival, remains premised, even if only tangentially, on a notion of correctness which, whether semantic or stylistic, risks reducing survival to the mere prolongation of a life already bounded. This essay, tracing the history of a mistranslation as it figures in Shakespeare's Julius Caesar, proposes to read, in a deconstructive gesture that affirms life as openness, the paradoxical forms of survival to which an irrelevant and incorrect translation may chance to give birth.
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Blatherwick, Simon, and Andrew Gurr. "Shakespeare's factory: archaeological evaluations on the site of the Globe Theatre at 1/15 Anchor Terrace, Southwark Bridge Road, Southwark." Antiquity 66, no. 251 (June 1992): 315–33. http://dx.doi.org/10.1017/s0003598x00081448.
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The physical form of the Elizabethan theatre, as shown by contemporary prints and engravings, has long been an important field of study for Shakespeare scholars. The discoveries in the late 1980s on Bankside of first the 16th-century Rose theatre and then the Globe have provided material remains of these structures, but at the same time posed new questions relating to design and construction, as this account of the excavation of part of the Globe site in 1989 and 1991 graphically demonstrates.
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Hart, Jonathan Locke. "Aesthetics and Ethics Intertwined: Fictional and Non-Fictional Worlds." Interlitteraria 22, no. 2 (January 16, 2018): 236. http://dx.doi.org/10.12697/il.2017.22.2.3.
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Montaigne and Las Casas are important thinkers and writers, as are many others, including Shakespeare, as a poet, whose work is complex enough in its modernity that it would be hard to condemn him as a poet as Plato did Homer. Aristotle analyzed Greek tragedy to see how it worked in terms of a framework of anagnorisis and catharsis, that is, recognition and the purging of pity and terror. Shakespeare revisits and reshapes Homer in Troilus and Cressida and remakes Plutarch in Julius Caesar and Antony and Cleopatra while playing on the classical epic and mythological themes in Venus and Adonis and Rape of Lucrece. Plato, a poet as well as a philosopher, and a great writer if one does not like those categories, may have feared the poet within himself. Although assuming with Plato that philosophy is more universal and just than poetry, Aristotle takes the analysis of poetry and drama seriously in Poetics, and also discusses ethics, aesthetics and style in Rhetoric. So, while I discuss Plato as a framework, I am not presuming that writing on the relations among the good, the true, the just and the beautiful stop with him. I am also making the assumption that Las Casas, Montaigne, Shakespeare and other poets and writers deserve to be taken seriously in the company of Plato. Las Casas and Montaigne respond to radically changing realities and shake the very basis of traditional ethics (especially in understanding of the “other”) and work in harmony with the greatest poets and writers of a new era often called modernity like Shakespeare, who is in the good company of Manrique, Villon, Ronsard, Du Bellay, Juan de la Cruz, Luis de León, Lope de Vega, Quevedo and Calderón. Long before, Dante and Petrarch were exploring in their poetry ethical and aesthetic imperatives and broke new ground doing so. Nor can Las Casas and Montaigne be separated from other great writers like Rabelais and Cervantes, who carry deep philosophical and ethical sensibility in their work while responding to reality by providing aesthetically – even sensuously – shaped images that always leave a margin for ambiguity because conflicts are part of an ambiguous reality.
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Craig, Hugh. "Is the Author Really Dead? An Empirical Study of Authorship in English Renaissance Drama." Empirical Studies of the Arts 18, no. 2 (July 2000): 119–34. http://dx.doi.org/10.2190/4baj-f8tk-ndeu-fw4p.
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For some time there has been debate in literary studies, and especially in the field of Shakespearean scholarship, about the importance of authorship in understanding and categorizing literary texts. In an analysis of affinities between 100 plays by various authors from the Shakespearean period, based on frequencies of very common words, authorship emerged as distinctly more important than genre or date in grouping plays. Cluster analysis showed further that, while authorial affinities are overwhelmingly dominant in the early stages of clustering, where only the closest pairings are considered, a small subset ofan author's plays typically remains apart from his other works as the analysis proceeds. The study indicates that in Shakespearean drama authorship is objectively detectable, and indeed very important, though it must also be acknowledged that these authors also regularly created texts which are not easily assimilable to the larger clusterings oftheir works.
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Gardiner, Caroline. "From Bankside to the West End: a Comparative View of London Audiences." New Theatre Quarterly 10, no. 37 (February 1994): 70–86. http://dx.doi.org/10.1017/s0266464x00000105.
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The received wisdom regarding the composition of the audience for Shakespeare's theatre has shifted in accordance with the social assumptions of the times – from Alfred Harbage's assertion of a popular, homogeneous audience, evolved for the egalitarian 'forties, to Ann Jennalie Cook's argument for a ‘privileged’ audience, put forward in the elitist 'eighties. While Andrew Gurr's Playgoing in Shakespeare's London corrects the worst excesses of both views, it remains dependent upon a great deal of inference from inadequate documentation, often directed to other purposes, and sometimes upon necessary guesswork, however rooted in common-sense. Caroline Gardiner teaches and researches in the Department of Arts Policy and Management at City University, whence have emerged the most detailed attempts to ‘profile’ the theatregoing populace of contemporary London: and here she suggests that some of the approaches and even the findings of modern audience researchers may shed new light on the controversy. Sometimes the results are surprising – and include the possibility that, relative to the pool of population available, theatre is now actually a more popular activity than in Shakespeare's London. However, she concludes that, overall, the percentage attending the theatre has remained remarkably constant, and constantly low.
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Atroch, Daniel Cavalcanti. "A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 100. http://dx.doi.org/10.17851/2358-9787.30.2.100-120.
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Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.
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Duus, Peter. "Presidential Address: Weapons of the Weak, Weapons of the Strong—The Development of the Japanese Political Cartoon." Journal of Asian Studies 60, no. 4 (November 2001): 965–97. http://dx.doi.org/10.2307/2700017.
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I Approach my topic—the development of the modern Japanese political cartoon—with some trepidation. Humor is a fragile product that can easily be damaged by academic scrutiny. As Evelyn Waugh once remarked, analyzing humor is like dissecting a frog—much is learned but in the end the frog is dead. Waugh was right. Most analyses of humor cannot be read for amusement. On the other hand, why should they be? If Shakespeare scholars are not expected to write in iambic pentameter, why should students of humor be expected to keep their readers in stitches? As the editor of the International Journal of Humor Studies recently told a reporter, “We are not in the business of being funny” (New York Times, 19 December 2000).
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Caiazza, Melanie G. "Shakespeare and the Remains of Richard III. Philip Schwyzer. Oxford: Oxford University Press, 2013. xi + 248 pp. $85." Renaissance Quarterly 68, no. 2 (2015): 791–93. http://dx.doi.org/10.1086/682551.
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Cornici, Antonella. "King Lear’s Fool." Theatrical Colloquia 10, no. 1 (May 1, 2020): 45–73. http://dx.doi.org/10.2478/tco-2020-0004.
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AbstractShakespeare does not introduce the Fool in his plays by accident or in order to entertain or to amuse. On the contrary, his lines are earnest, filled with undertones, his advices are witty, and their purpose is to amend the one they are aimed at, to point out their mistakes, to warn them, and even to intervene in the play’s plot. The journey of the Fool in King Lear shows that, without this character, the play would be situated somewhere at the border with the Irrational. All the characters seem to be lacking reason, they act without logic. By bringing in the Fool, one is presented the image of the “standstill” in which England’s Royalty was. All the irrationality is transferred to the King. The rest of the characters are, thus, “saved”, their actions being justified by affections that darken their minds and, obviously, accountable for those senseless actions is no one else but Lear.The disappearing of the Fool in King Lear remains a mystery that directors have “deciphered” in many ways. Shakespeare inserted this character in the middle of the first act and kept him throughout the play until the third act; then, gradually, the king’s fool disappeared. The manner this happens is almost imperceptible.The productions of this play are not numerous, King Lear, as critic Marina Constantinescu noticed, is, perhaps, one of the most difficult plays of Shakespeare, profoundly philosophical, linguistically complicated, filled with human nuances, sophisticatedly put on page.The performances to which we will make reference for the monologue of the Fool from King Lear are by Andrei şerban (2008 and 2012, Bulandra Theater) and Tompa Gábor (2006, Cluj National Theater).
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Döring, Tobias. "Titus und kein Ende." Poetica 51, no. 3-4 (December 16, 2020): 333–60. http://dx.doi.org/10.30965/25890530-05102006.
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Abstract As part of the discussion on the poetics of endings, this paper looks at Shakespeare’s early Roman revenge tragedy as a particularly rich case study. Readers, spectators, and critics of Titus Andronicus have long been puzzled and sometimes annoyed by the sense of uncertainty and irresolution which this play seems to leave us with, even though its final speeches take us through the motions of a strong conclusion. Recent criticism has especially focussed on the figure of the new emperor, whose words close the tragedy with traditional burial orders but whose authority remains in doubt. My paper reopens the case by drawing also on two German adaptations, Heiner Müller’s Anatomie Titus Fall of Rome (1984) and Botho Strauß’s Schändung (2005), as heuristic texts to highlight fundamental ruptures that are at stake here. Trying to put the question of endings also into the religious context of the English Reformation and into the culture of the playhouse, the paper argues that Shakespeare’s dramatic non-ending in Titus may indeed be quite productive.
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Kewes, Paulina. "“I Ask Your Voices and Your Suffrages”: The Bogus Rome of Peele and Shakespeare's Titus Andronicus." Review of Politics 78, no. 4 (2016): 551–70. http://dx.doi.org/10.1017/s0034670516000589.
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AbstractThis essay provides a contextual reading of Titus Andronicus, paying close attention to the play's collaborative authorship. Peele and Shakespeare are shown to have manufactured a superficially compelling but in reality utterly fake image of the Roman state as an imaginary laboratory for political ideas, especially the elective principle. Topical allusions and deliberate anachronisms encourage the audience to relate the subject matter to the present, viz., late Elizabethan England in the throes of a succession crisis and rent by confessional divisions. Unlike Peele's solo works, which exhibit a potent anti-Catholic bias, Titus remains confessionally elusive. The play invites the audience to reflect on the viability of particular modes of succession without committing itself either way, and shows that it is not institutional structures and processes but those who use and abuse them that make the difference to the state of the polity.