Shakespeare in JapanA&C Black, 2005 M03 10 - 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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Página viii
... clearly realized what their problems were . Nowadays , their translations are usually and , in our view , rather glibly dismissed as ' unactable ' . Yet Tsubouchi and Fukuda were both drawn to produce or direct , as well as translate ...
... clearly realized what their problems were . Nowadays , their translations are usually and , in our view , rather glibly dismissed as ' unactable ' . Yet Tsubouchi and Fukuda were both drawn to produce or direct , as well as translate ...
Página 2
... Clearly his command of the English language and his under- standing of Shakespeare were exceptional , and even by today's standard he can be regarded as a very formidable Shakespearean scholar . Thus Tsubouchi Shoyo was one of the most ...
... Clearly his command of the English language and his under- standing of Shakespeare were exceptional , and even by today's standard he can be regarded as a very formidable Shakespearean scholar . Thus Tsubouchi Shoyo was one of the most ...
Página 6
... clear enough . Shoyo's version contains far more detailed stage direc- tions . This is true of his translation as a whole since he observes the basic principle of a Bunraku script , which is either recited or chanted by a narrator ...
... clear enough . Shoyo's version contains far more detailed stage direc- tions . This is true of his translation as a whole since he observes the basic principle of a Bunraku script , which is either recited or chanted by a narrator ...
Página 7
... clearly stated in the translation . Yet no narrator in a Bunraku script goes this far . The conclusion is that Shoyo was both following and working against the Bunraku narrative tradition . Although Shoyo's amplified stage directions in ...
... clearly stated in the translation . Yet no narrator in a Bunraku script goes this far . The conclusion is that Shoyo was both following and working against the Bunraku narrative tradition . Although Shoyo's amplified stage directions in ...
Página 10
... distinction between the past and the present is much less clear because of the nature of Japanese syntax . But the more interesting and signifi- cant linguistic fact is that the chorus uses not only 10 Shakespeare in Japan.
... distinction between the past and the present is much less clear because of the nature of Japanese syntax . But the more interesting and signifi- cant linguistic fact is that the chorus uses not only 10 Shakespeare in Japan.
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Términos y frases comunes
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