Linguaculture, volume 1, number 2, 2010
Abstract & KeywordsThe paper focuses on passages that, within a context of national identity, enable us to clarify notions of empire, state, and nation in these three writers. In the course of working in this area, I believe I have uncovered an important public debate on the topic between Marlowe and Peele.
Abstract & KeywordsThe paper examines migratory motifs and allusions to the Black Sea area from the classical texts into three Shakespearean comedies and a history play. The analysis focuses on how Shakespeare used classical myth related to the Pontus Euxinus to compare, but mainly to contrast these territories with his contemporaries’ assumptions about them. In addition, the paper looks at how Shakespeare made (tragic) drama out of classical historical texts, or the geographical narratives of wonder.
Abstract & KeywordsAt the SHINE-conference in Murcia in 1999 I claimed that sonnet 66 has been largely disregarded by Anglo-American critics whereas, in continental Europe, it has been frequently used as a medium of protest in crucial political situations. In the light of more recent findings I will revise this claim and draw attention to English poets and novelists from the Romantic period to Modernism reworking or working with the sonnet with a political thrust.
Juan Francisco Cerdá
Abstract & KeywordsThe paper focuses on the critical reception of Shakespeare’s work in Spain, beginning with the second half of the 18th century, showing how the Spanish literary scene became a space for critical controversy that illustrates the aesthetic differences between neoclassical and dissident criticism at the time. The paper demonstrates that this initial aesthetic conflict conceals ulterior issues dealing with the identity of Spanish drama and of Spain as a nation, the decaying quality of Spanish theatrical production at the time, and the neoclassical political programme for moral instruction and social reform.
Abstract & KeywordsIn my paper, I look at the reception of Shakespeare in wartime, under circumstances that challenge and foreground the notion of national borders and territories within Europe. By looking at several Shakespeare cults during the Great War, I seek to illustrate how notions of the nation and of Europe are variable, and with it the concept of "European Shakespeare."
Abstract & Keywords
The numerous Polish productions of Macbeth in an overt or covert fashion address issues that have been at the core of political debate in the past decade, such as the state’s engagement in military missions that are in fact real wars. Furthermore, they also comment on the new Polish political system (is its till “new”?) and the situation of individuals in it, how they can profit in it. The paper discusses productions such as Andrzej Wajda’s (2004) from the Stary Theatre in Kraków, Maja Kleczewska’s (2004) from the Kochanowski Theatre in Opole, Grzegorz Jarzyna’s (2005; the full title is “2007: Macbeth”) from the Teatr Rozmaitości (TR) in Warsaw, and Piotr Kruszczyński’s (2005) from the Polski Theatre in Warsaw.
Jozef De Vos
Abstract & KeywordsThe paper discusses an interesting theatrical experiment carried out by director Ivo van Hove in 2007, staging in one performance Shakespeare’s three Roman tragedies Coriolanus (1608), Julius Caesar (1599) and Antony and Cleopatra (1606-1607), in a veritable tour de force for the company Toneelgroep Amsterdam and the audience. It looks at the use of theatrical space and sets and actors to make the three, almost simultaneous performances work together or against one another, forcing the viewers to constantly make the connection between the relate d plots, trying to understand the director’s concept of the production and fully enjoying the spectacle.
Abstract & KeywordsThe German-speaking director Stéphane Braunschweig centres his work mostly on the German contemporary, yet he turned to Shakespeare on a few occasions, especially in this memorable staging of Measure for Measure performed in English by actors from Nottingham Playhouse, premiered at the 1997 Official Edinburgh Festival, then performed at the Barbican, and which toured in France with great success. In this paper I would like to discuss the artistic and cultural imp act of borrowings from English, Italian and French cultures in a play set in a rather non-defined Vienna by Shakespeare, also taking into account the differences of reception according to the country where it was performed.
Abstract & KeywordsIn this paper two British movies — Derek Jarman’s The Tempest (1980) and Peter Greenaway’s Prospero’s Books (1991) — will be compared to the American Mazursky’s (1982). Their different settings of the island, in particular, will reveal different cultural attitudes towards a number of issues: if the Greek island of Mazursky underlines the Atlanticism of the play associated to a realistic European recolonization, Jarman’s and Greenaway’s postmodern choices – although often in conflict — emphasize the dreamy, fantasmatic quality The Tempest shares with the movies.
Abstract & KeywordsThe 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 characters, Prince Hal and Hamlet. My paper concludes with a short foray into 21st century “alternative” Shakespeares in English, with a particular focus upon recently emerging “rap” versions of some of the more famous passages.
Shakespeare in Romania. 1900-1950; Shakespeare in Romania. 1950 to the present (p. 139)
First Time Globally Reprinted. A Quatercentenary Anthology (1609-2009) (p. 146)