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 vii
... important aspects possibly the most important aspect of Shakespeare's artistry has to do with the way he used the English language , we felt any discussion of Shakespeare in Japan ( or Shakespeare in any non - English culture ) needs to ...
... important aspects possibly the most important aspect of Shakespeare's artistry has to do with the way he used the English language , we felt any discussion of Shakespeare in Japan ( or Shakespeare in any non - English culture ) needs to ...
Page x
... important part of the play's political dimension . But Fortinbras disappeared again in many later English productions , and in the modern films by Laurence Olivier and Tony Richardson . Olivier described his film as an ' essay ' , and ...
... important part of the play's political dimension . But Fortinbras disappeared again in many later English productions , and in the modern films by Laurence Olivier and Tony Richardson . Olivier described his film as an ' essay ' , and ...
Page 1
... important person in the history of the reception and appreciation of Shakespeare in Japan is and will no doubt remain Tsubouchi Yuzo (1859–1935). Like many Japanese men of letters of his time he assumed an elegant pseudo-Chinese nom de ...
... important person in the history of the reception and appreciation of Shakespeare in Japan is and will no doubt remain Tsubouchi Yuzo (1859–1935). Like many Japanese men of letters of his time he assumed an elegant pseudo-Chinese nom de ...
Page 8
... important sense , Shoyo's Bunraku - style adaptation allowed him to consider , as any good translator must consider , the target culture as well as the target language . So , in Shoyo's pioneering version of Julius Caesar , Antony's ...
... important sense , Shoyo's Bunraku - style adaptation allowed him to consider , as any good translator must consider , the target culture as well as the target language . So , in Shoyo's pioneering version of Julius Caesar , Antony's ...
Page 18
... important technical point has to do with the use of chobo, the narrator or narration in a production of Kabuki. Again Toyama is less radical than Suematsu. According to him, narration is necessary in puppet theatre but in human theatre ...
... important technical point has to do with the use of chobo, the narrator or narration in a production of Kabuki. Again Toyama is less radical than Suematsu. According to him, narration is necessary in puppet theatre but in human theatre ...
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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