Shakespeare in JapanSince 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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Page viii
... audiences in question can or cannot appreciate . Moreover , these earlier translators had to confront very complex linguistic and cultural problems . Some reappraisal of their achievements seems to us timely , or even overdue . For the ...
... audiences in question can or cannot appreciate . Moreover , these earlier translators had to confront very complex linguistic and cultural problems . Some reappraisal of their achievements seems to us timely , or even overdue . For the ...
Page x
... audiences , pro- ductions and critics blocked out against whatever Polish , Russian and Elizabethan audiences filled in is a good starting point for thinking about Fortinbras , and Hamlet . Considering and compar- Χ Preface.
... audiences , pro- ductions and critics blocked out against whatever Polish , Russian and Elizabethan audiences filled in is a good starting point for thinking about Fortinbras , and Hamlet . Considering and compar- Χ Preface.
Page 6
... audience : so , when we watch or read Julius Caesar we are never quite certain whether or not Caesar is to be regarded as a tyrant and whether or not the conspirators act for freedom . In sharp contrast , a Bunraku script does in a ...
... audience : so , when we watch or read Julius Caesar we are never quite certain whether or not Caesar is to be regarded as a tyrant and whether or not the conspirators act for freedom . In sharp contrast , a Bunraku script does in a ...
Page 7
... audiences , were ill at ease with this unfamiliar and artificial convention . However astonishing this may be to Western actors , several of the thirteen adaptations of Hamlet that preceded Shoyo's own 1907 Bungei Kyokai production ...
... audiences , were ill at ease with this unfamiliar and artificial convention . However astonishing this may be to Western actors , several of the thirteen adaptations of Hamlet that preceded Shoyo's own 1907 Bungei Kyokai production ...
Page 8
... audience , whether large or small . The third is the voice of the poet when he attempts to create a dramatic character speaking in verse ; when he is saying , not what he would say in his own person , but only what he can say within the ...
... audience , whether large or small . The third is the voice of the poet when he attempts to create a dramatic character speaking in verse ; when he is saying , not what he would say in his own person , but only what he can say within the ...
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accentual-syllabic verse acting Akechi Mitsuhide Atsumori Bunraku Caesar Cambridge characters Claudius Claudius's Diary contemporary course critics culture Dazai Deguchi director Elizabethan English essay feel film Fortinbras Fukuda Tsuneari Gertrude ghost happened Hashiba Hideyoshi Horatio I-novel Ibid Ibsen Japan Japanese audience Japanese translator joruri Kabuki Kabuki actors King Lear Kishi Kobayashi Kurosawa Kyogen language later lexical stress literary Macbeth meaning modern Mousetrap murdered narrator never 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 seems sense Shake Shakespeare in Japan Shakespeare's play Shiga Shiga Naoya Shingeki actors Shoyo's version soliloquy sound speech stage story Suematsu Suzuki Suzuki Tadashi syllabic verse syllables Tetsuo Throne of Blood Tokyo Toyama traditional Japanese theatre translating Shakespeare translations of Shakespeare Tsubouchi Shoyo understand University Press visual Wada wanted Western witches words