Shakespeare in JapanA&C Black, 2006 M10 19 - 166 páginas Since the late Meiji period, Shakespeare has held a central place in Japanese literary culture. This account explores the conditions of Shakespeare's reception and assimilation. It considers the problems of translation both cultural and linguistic, and includes an extensive illustrated survey of the most significant Shakespearean productions and adaptations, and the contrasting responses of Japanese and Western critics. |
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... word brings out the relevant contrast) promiscuously interested in how differently different characters think or feel about their respective situations In general terms, we dare to hope that our study of 'Shakea speare in Japan' might ...
... word brings out the relevant contrast) promiscuously interested in how differently different characters think or feel about their respective situations In general terms, we dare to hope that our study of 'Shakea speare in Japan' might ...
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... lifetime, in the years that separate Hamlet and Othello. Noh drama was much older: Zeami wrote or composed some of his classic Noh dramas and treatises before Chaucer had written a word. Shakespeare and Traditional JGPanese Theatre.
... lifetime, in the years that separate Hamlet and Othello. Noh drama was much older: Zeami wrote or composed some of his classic Noh dramas and treatises before Chaucer had written a word. Shakespeare and Traditional JGPanese Theatre.
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Tetsuo Kishi. Noh dramas and treatises before Chaucer had written a word. In a way, accepting Shakespeare would have been much simpler for the late nineteenth-century Japanese if the situation had been otherwise, but from the very ...
Tetsuo Kishi. Noh dramas and treatises before Chaucer had written a word. In a way, accepting Shakespeare would have been much simpler for the late nineteenth-century Japanese if the situation had been otherwise, but from the very ...
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... words he covered his face with a mantle, and with more than twenty wounds over his body fell under the statue of Pompey, conspicuous among many statues, and drew his last breath. It is impossible to reproduce the music and elaborate ...
... words he covered his face with a mantle, and with more than twenty wounds over his body fell under the statue of Pompey, conspicuous among many statues, and drew his last breath. It is impossible to reproduce the music and elaborate ...
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... words he is to regret later, but being no god he does not know this." Similarly, in Shoyo's version of Shakespeare's second scene, the soothsayer's warning to Caesar is followed by this sentence: 'Its meaning he will later understand ...
... words he is to regret later, but being no god he does not know this." Similarly, in Shoyo's version of Shakespeare's second scene, the soothsayer's warning to Caesar is followed by this sentence: 'Its meaning he will later understand ...
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Akechi Mitsuhide artists Atsumori Bunraku Caesar Cambridge characters Claudius Claudius’s Diary contemporary course critics culture Dazai Deguchi difficult director English essay feel film final finally find first Fortinbras Fukuda Tsuneari Gertrude ghost Hashiba Hideyoshi Horatio Ibsen Japan Japanese audience Japanese drama Japanese translator joruri Kabuki Kabuki actors King Lear Kinoshita Kobayashi Kurosawa Kyogen language later lexical stress literary Macbeth modern Mousetrap murdered narrator Ninagawa Nishi Noh drama Noh play novelist Ooka Ophelia original version Othello performance poetic drama political Polonius prince Prince Hamlet productions of Shakespeare puppet samurai says scene script seems sense Shake Shakespeare in Japan Shakespeare’s play Shiga Shiga Naoya Shingeki actors Shoyo’s version significant soliloquy sound speare’s speech stage story Suematsu Suzuki Suzuki Tadashi syllabic verse syllables Throne of Blood tions Tokyo Toyama traditional Japanese theatre translating Shakespeare translations of Shakespeare Tsubouchi Shoyo understand University Press verse visual wanted Western witches words