Shakespeare: His Infinite Variety

Krystyna Kujawińska-Courtney, Grzegorz Zinkiewicz

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ISBN/ISSN:

978-83-8088-798-5

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Łódzkiego

Rok wydania:

2018

Liczba stron:

204

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

Kujawińska-Courtney, Krystyna; Zinkiewicz, Grzegorz. Shakespeare: His Infinite Variety. Red. . Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2018, 204 s. ISBN 978-83-8088-798-5

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A1 Kujawińska-Courtney, K.

A1 Zinkiewicz, G.

T1 Shakespeare: His Infinite Variety

PB Wydawnictwo Uniwersytetu Łódzkiego

PP Łódź

YR 2018

SN 978-83-8088-798-5

Bibliografia BibTex:

@Book{ 190240, author = "Kujawińska-Courtney, Krystyna and Zinkiewicz, Grzegorz", editor = "", title = "Shakespeare: His Infinite Variety", publisher = "Wydawnictwo Uniwersytetu Łódzkiego", year = "2018", address = "Łódź", isbn = "978-83-8088-798-5" }

Bibliografia endNote:

TY - BOOK

AU - Kujawińska-Courtney, Krystyna

AU - Zinkiewicz, Grzegorz

ED -

TI - Shakespeare: His Infinite Variety

PB - Wydawnictwo Uniwersytetu Łódzkiego

CY - Łódź

PY - 2018

SN - 978-83-8088-798-5

ER -

Netografia (standard APA):

Kujawińska-Courtney, Krystyna; Zinkiewicz, Grzegorz. Shakespeare: His Infinite Variety [baza danych online] Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2018 [dostęp: 25 08 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/shakespeare-his-infinite-variety-krystyna-kujawinska-courtney-190240.

Shakespeare Worldwide, Shakespeare’s Ideological Conflicts, Shakespeare in Polish Culture, Shakespeare and Social Media

The great asset of Shakespeare: His Infinite Variety is its wide historical and geographical range - that is, from the time of the Bard himself to the latest metamorphoses of meanings new electronic media made available. Every reader, depending on...

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ISBN/ISSN:

978-83-8088-798-5

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Łódzkiego

Rok wydania:

2018

Liczba stron:

204

XML:ISBN/ISSN:

ONIX MARC21

Krystyna Kujawińska Courtney – Living Daily with Shakespeare Worldwide9
REVISITING TEXTS AND CONTEXTS13
Mario Domenichelli – Shakespeare’s Ideological Conflicts and Rhetorical Battles15
Xenia Georgopoulou – The Price of Difference: Shakespeare’s Varieties of Bullying45
PRACTICES AND APPROPRIATIONS69
Krystyna Kujawinska Courtney – Wojciech Bogusławski’s Hamlet (1798): Positioning Shakespeare in Polish Culture71
Mark Sokolyansky – Another Look upon Alexander Pushkin’s Role in Appropriation of Shakespeare by Russian Culture79
Aleksandra Budrewicz – The One Gentleman from Poland. Polonius and 19th Century Polish Translation87
Sarbani Chaudhury – Bombarding the Headquarters: Academic Tradaptations of Shakespeare in Twenty-First Century Bengal101
Anna Pietrzykowska-Motyka – Meeting the Binaries: Angela Carter’s Wise Children as a Shakespearean Appropriation119
NATIONAL AND CULTURAL DIVERSITY IN THEATRE131
Emi Hamana – Hamlet (2015), Directed by Yukio Ninagawa: Possessed by the Power of Theatre133
Jana Wild – “The Art of Performance” Staging Hamlet in the Rusyn Language145
Monika Sosnowska – Azorro Presents: Poland at the Crossroads or Whose Words Are Hamlet’s “words, words, words”151
THE BARD ON THE NET169
Grace Ioppolo – Shakespeare and Digital and Social Media171
WORKS CITED183
LIST OF ILLUSTRATIONS195
INDEX OF NAMES AND CHARACTERS197

~MarioDomenichelli~

Machiavellianelementistransparent,eventhoughitdoesneithercorrespond

toGentillet’scaricature,nortotheMachiavelliweﬁndintheanonymouspre-

facestotheWolfeeditions.Machiavelli,ifIamnotmistaken,nevermentions

JuliusCaesar,Cassius,Brutus,MarcAntonyinDePrincipatibus,althoughhe

frequentlydoesinDiscorsisopralaprimaDeca,ofcourse,andinTeArtofWar.

IntherepublicanperspectiveofIDiscorsi,Caesarisseenbothasthetyrantwho

broughttoanendpoliticalfreedominRomeforever,and,atthesametime,as

thegreatsoldierandstatesmanwhopreparedRome’sgreatnesstocome(Chapt.

10,17,37etc.).Tomyknowledge,nomentionismadeofBrutus’sandCassius’s

plot,andofCaesar’sassassination,whichisoddenoughconsideringthatfrom

Machiavelli’sperspectiveitmighthavebeenacrucialeventofagreatpower

conqueredandlost,andanexemplumwellworthanalyzing.

WhatoneﬁndsinShakespeare’sJuliusCaesarisrather,asIwilltrytoshow,

aMachiavelliturnedtoKilbuonﬁne”.Asaconsequenceofthis,inaverydialec-

ticalway,Shakespeare’stwotragediesontheRomancivilwarsandthecreation

oftheEmpire,JuliusCaesar,andAntonyandCleopatra,articulateaphilosophy

ofhistorystructuredonthenecessityofEvil,whereRomanhistoryisreadas

theantecedentofEnglishhistorybetweentheendoftheSixteenthandtheﬁrst

decadeoftheSeventeenthcentury.InShakespeare’sKimperialdiptych”jJulius

Caesar(1599),andAntonyandCleopatra(1606)jarhetoricalbattleisfought,

whosechangingfrontsIintendtoanalyze,alsotakingintoconsiderationsome

othervariationsofthesamethemeinTroilusandCressida(1601-2),andOthello

(1603-4)10.

Asthebattlefront-lineisimmenselyfragmented,oneshouldratherspeak

ofaseriesoffront-linesconnectedbywayofanalogyorbywayofsymmetrical

oppositions.IntheImperialDiptychthebattle-lineisnotonlytheoneweﬁnd

inJuliusCaesar,opposingBrutus’satticspeech-deliveringtechniquetoAntony’s

Asianrhetoric,buttheconfrontationisalsobetweenaristocraticspeech,onthe

oneside,andMachiavelliandemagogyontheother.InAntonyandCleopatra,

withareversaloftheperspective,Antony’soriental,Asianrhetoricisonthelo-

singside,beatenbyOctavian’slaconicAtticism.Asamatteroffactthequestion

weareposingisconcernedwiththepoweroflanguage,whichcanalsobeexem-

pliﬁedbytheoppositionbetweenOthello’sKfreeandopennature”,andKhonest

Iago’s”honestyastheexemplumoftheElizabethanMachiavelli-likecharacter.

anti-Machiavelliantradition,bothasaProtestantandCatholicfeatureintheReformationl

CounterReformationage,see:Domenichelli,Cavaliereegentiluomo,86-92.

10TeShakespeareeditionIshallbeusingisTeNortonShakespeare(1997).

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