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Full-Text Articles in Social and Behavioral Sciences
Shakespeare And The Visualization Of Metaphor In Two Chinese Versions Of Macbeth, Alexander C.Y. Huang
Shakespeare And The Visualization Of Metaphor In Two Chinese Versions Of Macbeth, Alexander C.Y. Huang
CLCWeb: Comparative Literature and Culture
In his paper, "Shakespeare and the Visualization of Metaphor in Two Chinese Versions of Macbeth," Alexander Huang proposes that, in addition to political uses, visualization is an important dimension of cultural translations of Shakespeare. In recent studies, Shakespeare's global presence has been investigated from various perspectives of critical inquiry, especially with postcolonial theories and in East-West literary relations. Instead of faulting cultural imperialism or foregrounding political statements in theatre, Huang explores the visual dimension of cultural translation found in Kingdom of Desire (a Beijing opera adaptation of Macbeth) and Story of the Bloody Hand (a Kunqu opera appropriation of the …
Introduction To Shakespeare On Film In Asia And Hollywood, Charles Ross
Introduction To Shakespeare On Film In Asia And Hollywood, Charles Ross
CLCWeb: Comparative Literature and Culture
No abstract provided.
Kurosawa's Throne Of Blood And East Asia's Macbeth, Yuwen Hsiung
Kurosawa's Throne Of Blood And East Asia's Macbeth, Yuwen Hsiung
CLCWeb: Comparative Literature and Culture
Yuwen Hsiung presents in her paper, "Kurosawa's Throne of Blood and East Asia's Macbeth," a comparative study between Kurosawa's film Throne of Blood and a contemporary Taiwanese play, Kingdom of Desire, both of which are adaptations of Shakespeare's Macbeth. Stepping from Eastern cultural background, both show similar orientation towards the original play, for instance the sizing down of the number of witches and the decreasing of Macbeth's heroic status. Gilles Deleuze's theory of movement image provides an insightful look into Kurosawa's filmology, which emphasizes the interrelatedness of every individual under the same condition. The idea of collectivity could be examined …
Reality And Metaphor In Jane Howell's And Julie Taymor's Productions Of Shakespeare's Titus Andronicus, Lucian Ghita
Reality And Metaphor In Jane Howell's And Julie Taymor's Productions Of Shakespeare's Titus Andronicus, Lucian Ghita
CLCWeb: Comparative Literature and Culture
In his paper, "Reality and Metaphor in Jane Howell's and Julie Taymor's Productions of Shakespeare's Titus Andronicus," Lucian Ghita looks at how Jane Howell's 1985 BBC production of Shakespeare's Titus Andronicus and Julie Taymor's film 1999 adaptation Titus re-fashion the image of Young Lucius. In Ghita's interpretation this happens by structuring the boy as the nexus of a cycle of violence that disturbs not only Andronicus's household, but also the moral and socio-political structures of ancient Rome. Ghita shows how the two directors politicize and ritualize their films by using cinematic techniques to distinguish, on the one hand, the real …
Hamlet's "Globe" And The Self As Performer In England And Japan, Yu Shibuya
Hamlet's "Globe" And The Self As Performer In England And Japan, Yu Shibuya
CLCWeb: Comparative Literature and Culture
In his paper, "Hamlet's 'Globe' and the Self as Performer in England and Japan," Yu Shibuya argues that Hamlet sees his life as a performance. Shibuya presents examples from Tsuneari Fukuda's Japanese translation to suggest that Fukuda makes choices that emphasize the theatrical side of Hamlet's character. If Hamlet perceives himself as an actor, then his definition of theater or an actor is ultimately a definition of himself. Shibuya uses the theme of self-definition to examine Kenneth Branagh's film version, especially the Mousetrap and the "O what a rogue and peasant slave" scenes. By analyzing Branagh's staging and directorial decisions …
Underwater Women In Shakespeare Films, Charles Ross
Underwater Women In Shakespeare Films, Charles Ross
CLCWeb: Comparative Literature and Culture
In his paper, "Underwater Women in Shakespeare Films," Charles Ross looks at the film tradition of representing the social oppression of women by scenes submersion, a trope that has its literary roots in the classics, the French Middle Ages, the Renaissance, and the novel. Ross argues that unlike classic directors such as Kurosawa, Kozintsev, and Polanski, modern filmmakers not only like to enhance the female body, but also to draw on this trope as a cinematic shorthand to symbolize the oppression of women by various forces. Hollywood films made in the 1990s often go overboard in their attempts to make …