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. |
Dentro del libro
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Página vii
... nature of this ' popularity ' is not so generally understood . In Japanese terms , Part 1 of this short study may seem provoca- tive , since it reappraises the achievement of the first major Japanese translator of Shakespeare ...
... nature of this ' popularity ' is not so generally understood . In Japanese terms , Part 1 of this short study may seem provoca- tive , since it reappraises the achievement of the first major Japanese translator of Shakespeare ...
Página xi
... natural to English- speaking readers . ( The only exception is the name of the Japanese co - author . The ' Japanese ' order has been reversed to avoid possible confusion . ) This book originated with an idea of Brian Southam, Chair- xi ...
... natural to English- speaking readers . ( The only exception is the name of the Japanese co - author . The ' Japanese ' order has been reversed to avoid possible confusion . ) This book originated with an idea of Brian Southam, Chair- xi ...
Página 8
... nature of its language , which is unique and even peculiar by Western standards . In his essay ' The Three Voices of Poetry ' , T.S. Eliot defined three kinds of voices a poet uses in writing poetry : The first is the voice of the poet ...
... nature of its language , which is unique and even peculiar by Western standards . In his essay ' The Three Voices of Poetry ' , T.S. Eliot defined three kinds of voices a poet uses in writing poetry : The first is the voice of the poet ...
Página 10
... the 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.
... the 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.
Página 11
... nature of the language of Noh is hopelessly intricate. This is the kind of linguistic convention Shoyo and his con- temporaries were accustomed to when they were in a theatre. The situation is not at all different in Bunraku and Kabuki ...
... nature of the language of Noh is hopelessly intricate. This is the kind of linguistic convention Shoyo and his con- temporaries were accustomed to when they were in a theatre. The situation is not at all different in Bunraku and Kabuki ...
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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