{"title":"Flights of Fancy and the Dissolution of Shakespearean Space-Time in Angela Carter’s Nights at the Circus","authors":"K. Myers","doi":"10.3167/CS.2021.330209","DOIUrl":"https://doi.org/10.3167/CS.2021.330209","url":null,"abstract":"","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41474607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Manga – one of Japan’s cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare’s canonical works have long been appreciated for their educational value and ‘friendly’ introduction to Shakespeare’s dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare’s Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia’s afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times.
{"title":"‘Ophelia divided from herself ’ (Hamlet, 4.5.2944–45)","authors":"A. Serban","doi":"10.3167/CS.2021.330108","DOIUrl":"https://doi.org/10.3167/CS.2021.330108","url":null,"abstract":"Manga – one of Japan’s cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare’s canonical works have long been appreciated for their educational value and ‘friendly’ introduction to Shakespeare’s dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare’s Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia’s afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45368294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.
{"title":"‘Hamlet through your legs’","authors":"Kaori Ashizu","doi":"10.3167/CS.2021.330107","DOIUrl":"https://doi.org/10.3167/CS.2021.330107","url":null,"abstract":"This article discusses four Hamlet adaptations produced in twentieth-century Japan: Naoya Shiga’s ‘Claudius’s Diary’ (1912), Hideo Kobayashi’s ‘Ophelia’s Testament’ (1931), Osamu Dazai’s New Hamlet (1941) and Shohei Ooka’s Hamlet’s Diary (1955). Though differently motivated, and written in different styles, they collectively make something of a tradition, each revealing a unique, unexpected interpretation of the famous tragedy. Read as a group, they thoroughly disprove the stereotypical view that Japan has generally taken a highly respectful, imitative attitude to Western culture and Shakespeare. Hamlet has certainly been revered in Japan as the epitome of Western literary culture, but these adaptations reveal complicated, ambivalent attitudes towards Shakespeare’s play: not only love and respect, but anxiety, competitiveness, resistance and criticism, all expressed alongside an opportunistic urge to appropriate the rich ‘cultural capital’ of the canonical work.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48910692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi Satoshi’s adaptation and staging of Miyagi-Noh Othello, presented at Shizuoka Arts Theatre in 2018, was a remarkable attempt to address this issue, by transforming the whole play into a memory recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona’s testimonies regarding her affectionate and passionate relationship with Othello but also multiple women’s ‘her-stories’ hidden and disregarded by male-centred histories authorised by the Venetian ruling class. The detailed analysis of Miyagi’s unique and innovative production will unravel the complicated relationship between actors’ words and their bodies in theatrical productions, as well as offer a fresh insight into the hitherto underrated aspect of Othello as an alternative story of inducing everyone’s suffering into spiritual atonement by reviving the love which has always already been present even in a society torn by racism, genderism and militarism.
{"title":"Deconstructing the Saussurean System of Signification","authors":"Tomoka Tsukamoto, Ted Motohashi","doi":"10.3167/CS.2021.330103","DOIUrl":"https://doi.org/10.3167/CS.2021.330103","url":null,"abstract":"Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi Satoshi’s adaptation and staging of Miyagi-Noh Othello, presented at Shizuoka Arts Theatre in 2018, was a remarkable attempt to address this issue, by transforming the whole play into a memory recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona’s testimonies regarding her affectionate and passionate relationship with Othello but also multiple women’s ‘her-stories’ hidden and disregarded by male-centred histories authorised by the Venetian ruling class. The detailed analysis of Miyagi’s unique and innovative production will unravel the complicated relationship between actors’ words and their bodies in theatrical productions, as well as offer a fresh insight into the hitherto underrated aspect of Othello as an alternative story of inducing everyone’s suffering into spiritual atonement by reviving the love which has always already been present even in a society torn by racism, genderism and militarism.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47466129","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using William Shakespeare’s name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.
使用威廉·莎士比亚的名字被认为有助于在英语地区营销电影，因为这个名字具有权威性。这篇文章揭示了日本不同的营销格局，那里的电影发行公司对与莎士比亚的联系漠不关心。例如，拉尔夫·费因斯（Ralph Fiennes）的《科里奥拉纳斯》（Coriolanus，2011）在日本影院上映时，它被重新命名为《英雄的证明》（The Proof of The Hero）；莎士比亚的联想被故意从日文标题中抹去。这样的营销政策应该放在日本推广非日本电影的更大趋势中。可以指出三个主要原因：美国喜剧电影不受欢迎，戏剧相对不受欢迎；日本发行商的营销政策过于本地化，粉丝们经常在社交媒体上批评这些政策。
{"title":"A Rose by Any Other Name May Smell Different","authors":"Kitamura Sae","doi":"10.3167/CS.2021.330105","DOIUrl":"https://doi.org/10.3167/CS.2021.330105","url":null,"abstract":"Using William Shakespeare’s name is considered helpful for marketing films in English-speaking regions because of the authority that this name wields. This article reveals a different marketing landscape in Japan, where film distribution companies are indifferent to associations with Shakespeare. For example, when Ralph Fiennes’ Coriolanus (2011) was released in Japanese cinemas, it was retitled The Proof of the Hero; the Shakespearean association was deliberately erased from the Japanese title. Such a marketing policy should be situated within a wider trend of promoting non-Japanese films in Japan. It is possible to point out three major reasons: the unpopularity of American comedy films, the relative unpopularity of theatre, and Japanese distributors’ heavily localised marketing policies, which are often criticised by fans on social media.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42990031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The importation of Shakespeare into Japan in the late 19th century and early 20th centuries, following the opening of Japan to the outside world effected by the Meiji empire, generated a culture clash between the antiquity of the plays themselves, and the identification of Shakespeare with modern English drama. Harue Tsutsumi’s play Kanadehon Hamlet explores this conflict, dramatizing the difficulties encountered by a troupe of Japanese actors attempting to perform Hamlet, when their deeper loyalty is to the traditional Japanese revenge play Kanadehon Chushingura. Homing in on a crucial moment in the development of Japanese theatre and Japanese culture, Tsutsumi uses these cultural clashes to map out the possibilities of common ground, the emergence within Japan first of an informed and educated understanding of western drama, and subsequently the development of specifically Japanese appropriations of Shakespeare in which the two cultures can achieve a complex but dynamic engagement.
{"title":"Hamlet and the 47 Ronin","authors":"G. Holderness","doi":"10.3167/CS.2021.330104","DOIUrl":"https://doi.org/10.3167/CS.2021.330104","url":null,"abstract":"The importation of Shakespeare into Japan in the late 19th century and early 20th centuries, following the opening of Japan to the outside world effected by the Meiji empire, generated a culture clash between the antiquity of the plays themselves, and the identification of Shakespeare with modern English drama. Harue Tsutsumi’s play Kanadehon Hamlet explores this conflict, dramatizing the difficulties encountered by a troupe of Japanese actors attempting to perform Hamlet, when their deeper loyalty is to the traditional Japanese revenge play Kanadehon Chushingura. Homing in on a crucial moment in the development of Japanese theatre and Japanese culture, Tsutsumi uses these cultural clashes to map out the possibilities of common ground, the emergence within Japan first of an informed and educated understanding of western drama, and subsequently the development of specifically Japanese appropriations of Shakespeare in which the two cultures can achieve a complex but dynamic engagement.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69573208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1927, just before completing the first Japanese translation of Shakespeare’s Complete Works, Tsubouchi Shōyō (1859–1935) selected eight of his translations for inclusion in his own Selected Works, which were published in fifteen volumes in conclusion to his career as one of the leading exponents of cultural reform of his generation. His choice is idiosyncratic as it omits the plays that had become most popular during the period of Shakespeare’s initial reception in late nineteenth-century Japan, but includes a number that were relatively unknown, such as Measure for Measure. This article suggests likely reasons for his selection before discussing the comments he makes on each play in his translation prefaces, and thus provides an overview of what Tsubouchi had come to value about Shakespeare.
{"title":"Canonising Shakespeare in 1920s Japan","authors":"Daniel Gallimore","doi":"10.3167/CS.2021.330102","DOIUrl":"https://doi.org/10.3167/CS.2021.330102","url":null,"abstract":"In 1927, just before completing the first Japanese translation of Shakespeare’s Complete Works, Tsubouchi Shōyō (1859–1935) selected eight of his translations for inclusion in his own Selected Works, which were published in fifteen volumes in conclusion to his career as one of the leading exponents of cultural reform of his generation. His choice is idiosyncratic as it omits the plays that had become most popular during the period of Shakespeare’s initial reception in late nineteenth-century Japan, but includes a number that were relatively unknown, such as Measure for Measure. This article suggests likely reasons for his selection before discussing the comments he makes on each play in his translation prefaces, and thus provides an overview of what Tsubouchi had come to value about Shakespeare.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43382756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his 1980 film Kagemusha or Shadow Warrior, Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to impersonate their recently deceased leader, Takeda Shingen. I examine Kagemusha as a critical engagement with Shakespeare’s English history plays and ‘shadow’ counterpart to Kurosawa’s trilogy of Shakespeare adaptations, Throne of Blood (1957), The Bad Sleep Well (1960) and Ran (1985). In keeping with Shakespeare’s dramatisation of English history, Kurosawa creatively reworks historical sources, incorporating stories of intergenerational rivalry and fulfilled prophecies, to depict the transition from medieval civil conflict to the early-modern nation-state. Kurosawa also deploys the motif of the double to explore the distinctively Shakespearean theme of power as performance, engaging in a dramatic examination of Machiavelli’s ideas about politics. I argue that Kurosawa’s use of the double posits a theory of influence, drawing on Japanese cultural traditions, in which doubling can achieve a form of transcendence through self-annihilation.
{"title":"Shadowing Shakespeare","authors":"A. Watson","doi":"10.3167/CS.2021.330106","DOIUrl":"https://doi.org/10.3167/CS.2021.330106","url":null,"abstract":"In his 1980 film Kagemusha or Shadow Warrior, Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to impersonate their recently deceased leader, Takeda Shingen. I examine Kagemusha as a critical engagement with Shakespeare’s English history plays and ‘shadow’ counterpart to Kurosawa’s trilogy of Shakespeare adaptations, Throne of Blood (1957), The Bad Sleep Well (1960) and Ran (1985). In keeping with Shakespeare’s dramatisation of English history, Kurosawa creatively reworks historical sources, incorporating stories of intergenerational rivalry and fulfilled prophecies, to depict the transition from medieval civil conflict to the early-modern nation-state. Kurosawa also deploys the motif of the double to explore the distinctively Shakespearean theme of power as performance, engaging in a dramatic examination of Machiavelli’s ideas about politics. I argue that Kurosawa’s use of the double posits a theory of influence, drawing on Japanese cultural traditions, in which doubling can achieve a form of transcendence through self-annihilation.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42206806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the Japanese animation PSYCHO-PASS, the setting is a future Japan where every citizen’s mental health is monitored and analysed, and where they can sometimes be terminated according to the state of their mental health. In such a dark and dystopian setting, the motifs from the many bloody quotations of Shakespeare’s bloodiest play Titus Andronicus are used in the three-episode multiple murder case of young schoolgirls. The animation shows how Shakespeare is used to stylise and elaborate the serial murder case. This article discusses how Titus Andronicus is used to give relevance and sophistication to serial murder, and how the bloodiness of a serial murder can give a different impression to audiences by the use of literature.
{"title":"Predator or Prey Who Do You Think You Are?","authors":"Kyoko Matsuyama","doi":"10.3167/CS.2021.330109","DOIUrl":"https://doi.org/10.3167/CS.2021.330109","url":null,"abstract":"In the Japanese animation PSYCHO-PASS, the setting is a future Japan where every citizen’s mental health is monitored and analysed, and where they can sometimes be terminated according to the state of their mental health. In such a dark and dystopian setting, the motifs from the many bloody quotations of Shakespeare’s bloodiest play Titus Andronicus are used in the three-episode multiple murder case of young schoolgirls. The animation shows how Shakespeare is used to stylise and elaborate the serial murder case. This article discusses how Titus Andronicus is used to give relevance and sophistication to serial murder, and how the bloodiness of a serial murder can give a different impression to audiences by the use of literature.","PeriodicalId":56154,"journal":{"name":"Critical Survey","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47542688","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：