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Journal articles on the topic 'Shakespeare'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Chatterjee, Arup K. "Performing Calibanesque Baptisms: Shakespearean Fractals of British Indian History." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 59–74. http://dx.doi.org/10.18778/2083-8530.23.04.

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This paper uncovers new complexity for Shakespearean studies in examining three anecdotes overlooked in related historiography—the first Indian baptism in Britain, that of Peter Pope, in 1616, and its extrapolation in Victorian history as Calibanesque; the tale of Catherine Bengall, an Indian servant baptised in 1745 in London and left to bear an illegitimate child, before vanishing from Company records (like Virginia Woolf’s invention Judith Shakespeare vanishing in Shakespeare’s London); and the forgotten John Talbot Shakespear, a Company official in early nineteenth-century Bengal and desce

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2

Gallimore, Daniel. "Shakespearean comedy and Japanese (wo)men's Shakespeare: A refraction for the twenty-first century." Cahiers Élisabéthains: A Journal of English Renaissance Studies 111, no. 1 (2023): 42–57. http://dx.doi.org/10.1177/01847678231184547.

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Two adaptations of Shakespeare comedies between 2008 and 2010 by the Tokyo-based all-male Studio Life company coincided with the better-known all-male Shakespeares directed by Ninagawa Yukio (based just outside Tokyo) and a moment of rising awareness of gender issues in Japanese society. This article explores the role of Studio Life's (and Ninagawa's) translator Matsuoka Kazuko, arguing that just as the all-male format rendered the chauvinistic aspects of Shakespearean comedy more palatable to a mainly female audience, so too does Matsuoka's achievement as the first female translator of Shakes

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3

Desmet, Christy. "Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (2017): 15–26. http://dx.doi.org/10.1515/mstap-2017-0002.

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This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare

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YANG, Qing. "Canonization and Variations of Shakespeare’s Work in China." Cultura 19, no. 2 (2022): 115–29. http://dx.doi.org/10.3726/cul022022.0008.

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Abstract: In “Canonization and Variations of Shakespeare's Work in China,” Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to a literary master with a

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Mohan, Anupama. "Transculturated Shakespeare: Malayalam cinema and new adaptive modes." Indian Theatre Journal 5, no. 1 (2021): 73–85. http://dx.doi.org/10.1386/itj_00017_1.

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Malayalam cinema offers a unique body of work for scholars seeking to understand the heterogenous traditions of Indian engagement with Shakespeare. In this article, after a brief overview of the history of Malayalam reception of Shakespeare generally, I focus on the film adaptations of director Jayaraj (Kaliyāttam / Othello [1997]; Kannaki / Antony and Cleopatra [2002]; and Veeram / Hamlet [2017]). Of particular relevance is Jayaraj’s interest in Shakespeare’s female characters, whom he reshapes by immersing his adaptation in the local practices and idioms of Kerala culture, thus transforming

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6

Huertas-Martín, Víctor. "Hamlet Goes Legit." International Journal of English Studies 22, no. 1 (2022): 41–61. http://dx.doi.org/10.6018/ijes.490781.

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Using Shakespeare’s criticism and archival theory as lenses, this article enlarges understandings of the interconnections between a complex television series and Shakespeare. Forming a Shakespearean archive, Sons of Anarchy (SOA), based on Hamlet and other plays by Shakespeare, is packed with Shakespearean allusions, rather than citations, whose impact in the overall work is yet to be explored. Shakespearean formations, identifiable in the series’ para-texts, episodes, and transmedia materials, add political weight to SOA. This intertextuality invites us to regard Shakespeare’s influence in co

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7

Harrington, Garry. "“Whose Play is it?” Translating Shakespeare Into English." Linguaculture 1, no. 2 (2010): 125–36. http://dx.doi.org/10.47743/lincu-2010-2-0248.

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The paper will look at contemporary published versions of the Shakespearean plays which purport to provide “simplified” or “modernized” readings. Gone are Shakespeare’s polysemy and heteroglossia, to be replaced by a single “meaning” of a given line which in effect goes beyond interpretation to constitute what is in effect a translation of sorts (and underscores consideration s which I think have a direct bearing on translating Shakespeare into other languages as well). This principle may best be illustrated at a close examination of two of Shakespeare’s most consistently twin-tongued characte

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Ushakova, Olga M. "Masks and Soul: Shakespearean images in T.S. Eliot’s Poetry." Literature of the Americas, no. 15 (2023): 42–69. http://dx.doi.org/10.22455/2541-7894-2023-15-42-69.

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Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characte

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CAHILL, PATRICIA A., and KIM F. HALL. "Forum: Shakespeare and Black America." Journal of American Studies 54, no. 1 (2019): 1–11. http://dx.doi.org/10.1017/s0021875819000902.

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This introduction both models how one might read race, blackness, activism and Shakespeare and contextualizes the many “Shakespeares” that might be at work in the essays in this cluster, which emerge from the Shakespeare Association of America seminar Shakespeare and Black America. It suggests that scholars in this Shakespearean subfield have political, pedagogical and personal investments that both overlap with and diverge from Shakespeare study as traditionally understood. It addresses some of the complexities of performing, teaching and reading Shakespeare not as an agent of cultural domini

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10

Lewis, Seth. "The Myth of Total Shakespeare: Filmic Adaptation and Posthuman Collaboration." Multicultural Shakespeare: Translation, Appropriation and Performance 24, no. 39 (2022): 53–69. http://dx.doi.org/10.18778/2083-8530.24.04.

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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal

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11

García-Periago, Rosa M. "The re-birth of Shakespeare in India: celebrating and Indianizing the Bard in 1964." Sederi, no. 22 (2012): 51–68. http://dx.doi.org/10.34136/sederi.2012.3.

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While the Tercentenary of Shakespeare’s death (1916) was hardly celebrated in India and marked the beginning of a period in which Shakespeare was hidden, the Quartercentenary of his birth (1964) spawned a large number of collections, theatre performances and even exhibitions to pay homage to the Bard. Although a special issue of the journal Indian Literature published in 1964 contributed to the re-emergence of Shakespeare, the most revolutionary projects in the making of a vernacular Shakespeare occurred on the Indian stage via Utpal Dutt’s Shakespearean productions in Bengali. Following Arjun

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Rautela, Sangeeta. "THE INFLUENCE OF HUMANISM IN SHAKESPEARE'S PLAYS." International Journal of Global Research Innovations & Technology 03, no. 01(II) (2025): 1–10. https://doi.org/10.62823/ijgrit/3.1(ii).7298.

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Renaissance's prevalent intellectual tide, humanism, had an immense impact on William Shakespeare's works. They portray the principal precepts of humanism with a focus on individual agency, reason, and moral philosophy. This essay looks into how the works of Shakespeare encapsulate the ideals of humanism in deep character development, moral dilemmas, and changing views on humankind. Concentrating on plays like Hamlet, King Lear, The Tempest, and Macbeth, this research explores how Shakespearean drama transcends medieval fatalism to depict characters with free will, self-awareness, and a profou

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Merchant, Melissa, and Sarah Courtis. "‘There is a double meaning in that’: Bogan Shakespeare and double-access audiences." Australasian Journal of Popular Culture 14, no. 1 (2025): 27–42. https://doi.org/10.1386/ajpc_00104_1.

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Since 2016, Western Australian-based company BS Productions have presented a series of adaptations and appropriations of the Shakespearean canon, titled Bogan Shakespeare Presents. This article explores how Bogan Shakespeare’s productions appeal to double-access audiences, examining how they facilitate engagement by inclusive and diverse audiences. In order to evaluate the Bogan Shakespeare productions, this article draws on theories of double-access audiences, adaptation and appropriation. With unique insights into Bogan Shakespeare’s workshopping processes, this article considers how each Sh

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Foster, Donald W. "A Funeral Elegy: W[illiam] S[hakespeare]'s “Best-Speaking Witnesses”." PMLA/Publications of the Modern Language Association of America 111, no. 5 (1996): 1080–105. http://dx.doi.org/10.2307/463152.

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A Funeral Elegy was written in February 1612 by “W. S.,” a poet of “name and credit” closely familiar with Shakespearean texts. The pamphlet was registered by a stationer, Thomas Thorp, whose livelihood depended chiefly on the Shakespeare-Jonson theatrical circle and who had published Shakespeare's Sonnets in 1609. Privately issued and surviving in just two copies, A Funeral Elegy received scant notice until 1989, when I first presented archival, statistical, and literary evidence that WS could be William Shakespeare. Focusing on intertextual evidence derived in part from new electronic resour

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DADABHOY, AMBEREEN. "Wincing at Shakespeare: Looking B(l)ack at the Bard." Journal of American Studies 54, no. 1 (2019): 82–88. http://dx.doi.org/10.1017/s0021875819002056.

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This article explores how black artists and intellectuals approach, challenge, and appropriate the works of William Shakespeare. Beginning with W. E. B. Du Bois's contention “I sit with Shakespeare and he winces not,” I examine how Keith Hamilton Cobb in American Moor interrogates Shakespeare's presentation of black identity. In particular, I suggest that modes of ambivalence undergird black American engagement with Shakespeare and that this ambivalence creates the space for black artists to interrogate Shakespeare's representation of blackness and white culture's gatekeeping of the Shakespear

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16

Guerrero, Isabel. "Shakespeare in La Mancha: Performing Shakespeare at the Almagro Corral." Sederi, no. 27 (2017): 27–46. http://dx.doi.org/10.34136/sederi.2017.2.

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Shakespeare is one of the most often performed playwrights at the Festival de Teatro Clásico de Almagro [The Almagro Festival of Classical Theater], an event initially created to celebrate Golden Age drama in which, nowadays, Shakespearean productions often outnumber those by individual national authors. Throughout the history of the festival, several Shakespearean productions have been staged in the Corral de Comedias, an original seventeenth-century venue that reactivates the use of space encoded in the playtext due to its similarities with Renaissance playhouses. This article has a double p

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CORREDERA, VANESSA I. "“How Dey Goin’ to Kill Othello?!” Key & Peele and Shakespearean Universality." Journal of American Studies 54, no. 1 (2019): 27–35. http://dx.doi.org/10.1017/s0021875819001981.

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Claims for Shakespearean universality often position Shakespeare's works as resonating with all people across all time. But how far can one take such a claim? A 2013 sketch on Comedy Central's Key & Peele, entitled “Othello Tis My Shite!”, uses satire precisely in order to challenge assertions of Shakespearean universality. I argue that the sketch – which follows two Renaissance Moors, Lashawnio and Martinzion, who attend Shakespeare's Othello – suggests that Shakespeare may find the limits of speaking for “all people” when depicting black masculinity. Yet the sketch's twist ending helpful

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Sharon-Zisser, Shirley. "Thin(k)ging Shakespeare." Pragmatics and Cognition 17, no. 1 (2009): 177–95. http://dx.doi.org/10.1075/pc.17.1.06sha.

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This review article examines three recent books which offer philosophical reflections on Shakespeare’s texts: Colin McGinn’s Shakespeare’s Philosophy, Anthony Nuttall’s Shakespeare as Thinker, and Tzachi Zamir’s Double Vision: Moral Philosophy and Shakespearean Drama. Taking as its points of departure Freudian-Lacanian psychoanalysis and Heideggerean philosophy, as well as Shakespearean stylistics, the article argues that, whereas the books examined approach the Shakespearean text with a rationalist and thematic conception of thinking as conscious and cognitive content, this conception is prec

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19

Zhatkin, Dmitry N., and Vera V. Serdechnaia. "The project of the "Shakespeare Encyclopedia" in the legacy of Sigismund Krzyzhanovsky and the history of the idea." Tekst. Kniga. Knigoizdanie, no. 37 (2025): 122–34. https://doi.org/10.17223/23062061/37/8.

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The article analyzes the idea of a Shakespearean encyclopedia in its development in the Russian reception of Shakespeare. The authors consider the project of a Shakespearean encyclopedia preserved in the archive of Sigizmund Krzhizhanovsky, the principles of its construction in comparison with other projects (in particular, a project by G.G. Shpet) and realized editions (in particular, edited by I.O. Shaitanov). Krzhizhanovsky wrote this project in 1936. The full title of this project preserved in the archive is as follows: "Shakespearean Encyclopedia (A Handbook for University Students, Reade

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20

Zhatkin, Dmitry, and Vera V. Serdechnaia. "THE IMAGE OF SHAKESPEARE AND SHAKESPEAREAN THEATRE IN SIGIZMUND KRZHIZHANOVSKY’S WORKS." Проблемы исторической поэтики 21, no. 2 (2023): 217–35. http://dx.doi.org/10.15393/j9.art.2023.12483.

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The authors analyze the corpus of Shakespearean and theater studies by a Russian writer and thinker Sigizmund Krzhizhanovsky (1887–1950), who wrote about Shakespeare since the 1920s. The purpose of the work was to review and streamline the principles of analysis of the image of Shakespeare and Shakespeare’s theater, Shakespeare’s dramaturgy in Krzhizhanovsky’s heritage, taking into account the newly discovered archival documents. The authors explore the works of Krzhizhanovsky as a kind of metatext, representing a look at Shakespeare from the standpoint of a figure of the Silver Age. Krzhizhan

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Reuss, Gabriella. "The chair leg and the stadium." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 185–200. http://dx.doi.org/10.1177/0184767818767449.

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To contribute to the colourful palette of Europe’s noteworthy contemporary Shakespeares, this article analyses the unique approach to Shakespeare of the Hungarian director László Bagossy through case studies of two productions, The Tempest (2012) and Hamlet (2014). Bagossy’s Shakespearean productions peeled method acting off from Shakespeare for good and effectively demonstrated how a change in performance traditions (distancing, operatic, realist) can initiate a novel handling and reading of the familiar classics.

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Schandl, Veronika. "“A rose by any other name”. Contemporary Hungarian Shakespeare Adaptations on Stage and in Cyberspace." Theatron 16, no. 4 (2022): 129–42. http://dx.doi.org/10.55502/the.2022.4.129.

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The essay is a survey of recent Hungarian Shakespeare adaptations. In the first part, the essay looks at adaptations that experiment with the Shakespearean text, yet they still market themselves as Shakespeare productions; while they keep most of the Shakespearean plotlines, they freely alter the structure of the Shakespearean texts, dismantle chronologies, shift language registers, and contextualize the plays in a contemporary Hungarian setting. Examples are Örkény Theatre’s 2019 Macbeth and The Shaxpeare Car Wash in Kertész Street. In the second part, the essay moves over to appropriations t

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Beloufa, Chahra. "The Speech Act of Thanking in Shakespeare: The Case of Romeo and Juliet and All’s Well that Ends Well." NOTION: Journal of Linguistics, Literature, and Culture 4, no. 1 (2022): 9–22. http://dx.doi.org/10.12928/notion.v4i1.5750.

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Shakespeare’s written words are not innocent. Many individual words from his dramatic texts can be “obscure or impenetrable”. They are not only meant to embellish the scene and the context, yet their elaboration is aimed to set up meaning and effect. In this part, we will analyze and look at how this utterance operates in characters’ dialogues. We will try to highlight Shakespeare conventionalized thank you, which can be not only a sign of gratitude but a complex emotion that adds to the dramatic situation. In the construction of Shakespeare's dialogues in the plays, many linguistic features a

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Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.

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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic t

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Mišterová, Ivona. "Czech-ing Shakespeare: Tracing Shakespeare’s Influence (not only) in Czech Advertisements." American & British Studies Annual 17 (December 6, 2024): 62–74. https://doi.org/10.46585/absa.2024.17.2578.

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Shakespeare’s plays are indisputably among the most translated, staged, and adapted works for both theatre and screen. The texts undergo updating, recontextualization, and transcultural adaptation to engage audiences across different age groups, thereby facilitating their reception. This article explores Shakespeare’s position in modern popular culture. Initially, Shakespeare’s status in popular culture is discussed, drawing on the concepts of Graham Holderness (1988), Douglas Lanier (2002, 2006), and Marjorie Garber (2008). The article then examines selected popular Shakespearean representati

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Werstíne, Paul. "Shakespeare, More or Less: A.W. Pollard and Twentieth-Century Shakespeare Editing." Florilegium 16, no. 1 (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" (v

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Huertas Martín, Víctor. "Traumatic Redemption Chronotope as Theoretical Model to Study Serial Shakespeares." REDEN. Revista Española de Estudios Norteamericanos 1, no. 1 (2019): 27–48. http://dx.doi.org/10.37536/reden.2019.1.1371.

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T     his article proposes a methodology to study Shakespearean intertexts in contemporary complex TV series. While the presence of Shakespeare’s inter-texts in contemporary complex TV seems ubiquitous, a sustained and theoretically focused academic study of the impact of Shakespeare in these works has not been produced. Reviewers and social media users’ comments have proposed readings of the series pointing at the importance of the series’ redemptive qualities. Taking Hannah Wolfe Eisner’s “Into the Middle of Things: Traumatic Redemption and the Politics of Form”

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Caputo, Nicoletta. "LOOKING FOR RICHARD III IN ROMANTIC TIMES: THOMAS BRIDGMAN'S AND WILLIAM CHARLES MACREADY'S ABORTIVE STAGE ADAPTATIONS." Theatre Survey 52, no. 2 (2011): 275–300. http://dx.doi.org/10.1017/s0040557411000391.

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In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakesp

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Alhawamdeh, Hussein A. "‘Shakespeare Had the Passion of an Arab’." Critical Survey 30, no. 4 (2018): 1–21. http://dx.doi.org/10.3167/cs.2018.300402.

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This article analyses the Shakespearean appropriation in Fadia Faqir’s Willow Trees Don’t Weep (2014) to show how Faqir’s novel establishes a new Arab Jordanian feminist trope of the willow tree, metaphorically embodied in the female character of Najwa, who does not surrender to the atrocities of the masculine discourse. Faqir’s novel, appropriating a direct text from Shakespeare’s Cymbeline and an allusion to Shakespeare’s Othello, does not praise the Bard but dismantles the Shakespearean dramatization of the submissive woman. In this article, I claim that Faqir’s Willow Trees warns against m

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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.

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This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued tha

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Thurman, Chris. "Dostoevsky in English and Shakespearean Universality: A Cautionary Tale." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 99–114. http://dx.doi.org/10.18778/2083-8530.21.07.

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This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued tha

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32

Cerdá, Juan F. "Contemporary Shakespearean direction in Spain." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (2018): 28–40. http://dx.doi.org/10.1177/0184767818762194.

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This article seeks to enquire into different redistributions of Shakespeare’s aura and into different conceptions of authorship articulated around recent stagings of Shakespeare’s works in Spain. Faced, now, with the task of making Shakespeare relevant in a world of diversified cultural offers and a highly competitive cultural market, I inspect three trends in contemporary theatre direction: the universalizing, the localizing and the post-theatrical attitude. The essay reflects on how modern theatre directors negotiate Shakespearean drama and how they confront cultural heritage while at the sa

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Tang, Renfang. "East Meets West: Identity and Intercultural Discourse in Chinese huaju Shakespeares." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (2019): 61–81. http://dx.doi.org/10.18778/2083-8530.20.06.

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This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity o

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Shevchenko, E. A. "Shakespeare between Copperfield and Micawber. On the function of Shakespeare’s words in <i>David Copperfield</i>." Voprosy literatury, no. 6 (March 22, 2022): 117–35. http://dx.doi.org/10.31425/0042-8795-2021-6-117-135.

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The article explores the function of Shakespeare’s words as quoted by two characters of David Copperﬁeld — David and Micawber. Each showing excellent memory of Shakespeare’s works, the two heroes embody opposing borrowing strategies. Whereas David carefully judges if the narrated subject matches a Shakespearean quote in its semantic and expressive power and may choose to adapt or altogether reject it upon reflection, Micawber borrows from Shakespeare almost unconsciously, at the same time showing a particular weakness for the most memorable and tragic lines. This inapt quoting oﬅen reduces Mic

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Singh, Jyotsna G. "Global Shakespeares: Journeys and Destinations." SEL Studies in English Literature 1500-1900 62, no. 1 (2022): 103–9. http://dx.doi.org/10.1353/sel.2022.a922560.

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Abstract: This piece examines Global Shakespeares as a worldwide phenomenon today, evident in the proliferating Shakespearean adaptations and appropriations. It begins with the premise that scholars and practitioners no longer approach the contextual coordinates of individual plays only within traditional English sources and Western performance histories; instead, their interest lies in global, intertextual, and cross-cultural mediations of Shakespeare in a dazzling array of languages, aesthetic traditions, and geopolitical fault lines across boundaries of nation, race, gender, and class hiera

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Hossain, Md Amir. "The Impact of Existentialism in Shakespeare’s Hamlet." Journal of English Language and Literature 3, no. 1 (2014): 205–12. http://dx.doi.org/10.17722/jell.v3i1.40.

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This article attempts to treat Shakespeare as existentialism’s prolific precursor, as a writer who focuses on existentialist ideas in his own distinctive theatrical and poetic terms long before they were fully developed in the philosophical and literary terms of the 20th century. The plays of Shakespeare and existentialist philosophy are equally fascinated by issues such as authenticity and in-authenticity, freedom of thought, being and nothingness, authenticity, freedom, and self-becoming. In recent years, Shakespearean criticism has shied away from these fundamental existentialist concerns a

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Serdechnaya, V. V., and D. N. Zhatkin. "Translation Strategies of M. Kuzmin in Translating Shakespeare." Nauchnyi dialog 12, no. 3 (2023): 269–90. http://dx.doi.org/10.24224/2227-1295-2023-12-3-269-290.

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The article deals with the reception of the works of William Shakespeare in the translations of Mikhail Kuzmin (1872–1936). The relevance of the research is due to the insufficient study of the reception of Shakespeare’s work in the heritage of Kuzmin, including in his translation heritage. The novelty of the study lies in a comprehensive understanding of the place of Shakespeare in the creative activity of M. Kuzmin, including as a translator and theater critic; in the restoration of the Shakespearean context in the work of the author in question; in the analytical understanding of Kuzmin’s t

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Mouelhi, Oumeima. "The German Shakespeare." American International Journal of Humanities, Arts and Social Sciences 2, no. 1 (2020): 9–17. http://dx.doi.org/10.46545/aijhass.v2i1.147.

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Over The past four hundred years, Shakespeare has played a significant role within a European framework, particularly, where a series of political events and ideologies were being shaped. The birth of the nation during the late 18th and 19th centuries, the first and second world wars, the process of European unification during the 1990s, are a case in point. This part challenges the idea of an all-encompassing universal Shakespeare by demonstrating that Shakespeare and his plays transmitted across different histories, languages, and traditions meant something significantly different in these g

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Raffl Hazim Muhsin, Murtada Saad Abdulazeez, Wenas Sheiyal Yaber Al-Badri, and Zahraa Salih Hameed. "Macbeth Re-imagined on Screen: The Cinematic Adaption of William Shakespeare’s Macbeth in the 2021 Movie." Creative Launcher 10, no. 3 (2025): 1–11. https://doi.org/10.53032/tcl.2025.10.3.01.

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Shakespeare’s plays have been adapted for as long as there have been plays by Shakespeare. Throughout several centuries, the literary works produced by this writer have consistently held a prominent position within the realm of academic studies. Moreover, these works have inspired numerous adaptations and imitations across various mediums, garnering significant attention from the general public and scholars alike. The results of William Shakespeare have garnered considerable popularity, leading to extensive scholarly discourse, including a wide range of subjects. These talks span from analyzin

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Holland, Peter. ""A Kind of Character in thy Life": Shakespeare and the Character of History." Sederi, no. 23 (2013): 7–31. http://dx.doi.org/10.34136/sederi.2013.1.

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This article explores the early modern concept of “character” – and Shakespeare’s use of the word – as a way to rethink the nature of Shakespearean biography. Through the material of evidence of Shakespeare’s character, his writing, I turn to the figuring of “history” in Shakespeare’s plays, the writing of letters (leaving traces of characters as writing), before finally imaging a different kind of Shakespeare biography.

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Terceiro, Danielle. "Graphic Novel Hamlet: Reaching Beyond Stage and Page." Borrowers and Lenders The Journal of Shakespeare Appropriations 15, no. 1 (2023): 78–96. http://dx.doi.org/10.18274/bl.v15i1.328.

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The persistence, abundance, and diversity of Shakespearean adaptations across many media shows Shakespearean narratives to be “successful replicators,” the terminology proposed by Bortolotti and Hutcheon (2007). In the past decade, many graphic novel adaptations of Shakespeare’s plays have been produced. While graphic novels have their own affordances that allow the Shakespearean plays to be assembled for “performance” on the page, at the same time they open up connotations that would not be available in a conventional stage performance. The conventions of the comic book allow storyworlds to b

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Hatfull, Ronan James, and Ronan Hatfull. "‘Excess of It’: Reviewing 'William Shakespeare’s Long Lost First Play (abridged)'." Exchanges: The Interdisciplinary Research Journal 4, no. 1 (2016): 61–67. http://dx.doi.org/10.31273/eirj.v4i1.147.

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It is timely in 2016, the 400th anniversary of Shakespeare’s death, to consider his legacy as a figure ingrained within popular culture. This critical review will investigate one of the chief exponents and parodists of the dichotomy which Shakespeare symbolises between supposed ‘highbrow’ and ‘lowbrow’ culture: the Reduced Shakespeare Company, a comedic theatre troupe who, to use their own slogan of droll self-deprecation, have been ‘reducing expectations since 1981’.The review will investigate the company’s most recent and tenth production, William Shakespeare’s Long Lost First Play (abridged

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Sequeira Mendes, Maria. "Teatro Praga’s Omission of Shakespeare – An Intercultural Space." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (2017): 91–104. http://dx.doi.org/10.1515/mstap-2017-0007.

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Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a

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Fonseka, Edirisingha Arachchige Gamini. "Sustaining Tradition with Inspiration from Modernity: Countering Elitism in Teaching Shakespearean Drama." Moderna Språk 107, no. 2 (2013): 90–98. http://dx.doi.org/10.58221/mosp.v107i2.8077.

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The tradition of teaching English Literature in most universities round the world has evolved in such a way that a degree programme in English is not considered complete without a component of Shakespearean drama. Yet the poetics and the noetics of the Shakespeare plays written in a 16th Century dialect have become bitter delicacies for most students, as the comprehension and personalization of Shakespeare texts remain an unresolved challenge. The traditional mechanism of teaching Shakespeare texts involves reading the lines with a glossary, comparing the meanings with influential critical int

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Meyer, John M. "“Nor doth this wood lack worlds of company:” the American Performance of Shakespeare and the White-Washing of Political Geography." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (2022): 119–46. http://dx.doi.org/10.18778/2083-8530.26.08.

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The paper examines the spatial overlap between the disenfranchisement of African Americans and the performance of William Shakespeare’s plays in the United States. In America, William Shakespeare seems to function as a prelapsarian poet, one who wrote before the institutionalization of colonial slavery, and he is therefore a poet able to symbolically function as a ‘public good’ that trumps America’s past associations with slavery. Instead, the modern American performance of Shakespeare emphasizes an idealized strain of human nature: especially when Americans perform Shakespeare outdoors, we te

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Novitz, Julian. "‘The Time Is out of Joint’: Interactivity and Player Agency in Videogame Adaptations of Hamlet." Arts 9, no. 4 (2020): 122. http://dx.doi.org/10.3390/arts9040122.

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Although Shakespeare and his plays have been a frequent subject of videogame adaptations in the past, these have often been confined to either theatre-making games (which present the staging of Shakespeare plays using the mechanisms of strategy or simulation videogame genres) of education/trivia games that aim to familiarise players with Shakespeare’s texts. While references to Shakespeare abound in videogames, there have been relatively few attempts to directly adapt one of his plays into the form of an interactive videogame narrative, where the player controls one or more of the principal ch

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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

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Lee, Hyon-u. "The Yard and Korean Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 39–52. http://dx.doi.org/10.2478/mstap-2013-0004.

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Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called “talchum (mask dance)” or “talnori (mask play).” The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as pl

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TAYLOR, ANTONY. "SHAKESPEARE AND RADICALISM: THE USES AND ABUSES OF SHAKESPEARE IN NINETEENTH-CENTURY POPULAR POLITICS." Historical Journal 45, no. 2 (2002): 357–79. http://dx.doi.org/10.1017/s0018246x0200242x.

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This article seeks to locate William Shakespeare in the traditions of nineteenth-century popular politics in Britain. The bards of radicalism are usually seen as the romantic poets, particularly Byron and Shelley. Nevertheless, Shakespeare's national standing, the lack of hard details about his life, and the subversive messages many radicals believed to have discovered in his plays allowed reformers to project him as a ‘son of the soil’, and to contest appropriations of him by the aristocratic patrons of events like the Shakespeare Tercentenary of 1864. Through the agitation surrounding this c

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Upadhyay, Siddharth Shankar. "UP AND DOWN, UP AND DOWN: DUPING IN A MIDSUMMER NIGHT’S DREAM." Journal of English Language and Literature 09, no. 04 (2022): 29–34. http://dx.doi.org/10.54513/joell.2022.9405.

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Elizabethan audience had a taste for wit and an interest in discovering the artistry behind the invention and the execution of the joke. Duping is a dramatic device which satisfied this relish for the display of wit in the Elizabethan comedies. This paper argues that Shakespeare uses duping as a narrative technique in A Midsummer Night’s Dream to give the play its dramatic, structural and thematic unity. The paper discusses how Shakespeare’s comedies unlike traditional comedies of the time do not focus on the correction of human folly but rather offer a commentary on the human nature and turn

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