Shakespeare in Europe. History and Memory

Marta Gibińska, Agnieszka Romanowska

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ISBN/ISSN:

978-83-233-2466-9

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2008

Liczba stron:

344

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

. Shakespeare in Europe. History and Memory. Red. Gibińska, Marta; Romanowska, Agnieszka . : Wydawnictwo Uniwersytetu Jagiellońskiego, 2008, 344 s. ISBN 978-83-233-2466-9

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A2 Gibińska, M.

A2 Romanowska, A.

T1 Shakespeare in Europe. History and Memory

PB Wydawnictwo Uniwersytetu Jagiellońskiego

YR 2008

SN 978-83-233-2466-9

Bibliografia BibTex:

@Book{ 13222, author = "", editor = "Gibińska, Marta and Romanowska, Agnieszka", title = "Shakespeare in Europe. History and Memory", publisher = "Wydawnictwo Uniwersytetu Jagiellońskiego", year = "2008", address = "", isbn = "978-83-233-2466-9" }

Bibliografia endNote:

TY - BOOK

AU -

ED - Gibińska, Marta

ED - Romanowska, Agnieszka

TI - Shakespeare in Europe. History and Memory

PB - Wydawnictwo Uniwersytetu Jagiellońskiego

CY -

PY - 2008

SN - 978-83-233-2466-9

ER -

Netografia (standard APA):

. Red. Gibińska, Marta; Romanowska, Agnieszka. Shakespeare in Europe. History and Memory [baza danych online] : Wydawnictwo Uniwersytetu Jagiellońskiego, 2008 [dostęp: 22 07 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/shakespeare-in-europe-history-and-memory-marta-gibinska-agnieszka-13222.

krytyka literacka, filologia, Shakespeare, english philology, Shakespeare in Europe, Shakespeare?s Globe Theatre

The essays collected in the present volume are the result of a long term project. An international group of scholars addressed questions connected with the relation of the changing concepts of history and the status of history in Shakespearean pla...

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ISBN/ISSN:

978-83-233-2466-9

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2008

Liczba stron:

344

XML:ISBN/ISSN:

ONIX MARC21

Preface8
Ton Hoenselaars: Towards a European History of Henry V10
History and Histories36
Teresa Bałuk-Ulewiczowa: The Bad Quarto Hamlet and the Polish Connection36
Rui Carvalho Homem: Cross-Histories, Straying Narratives: Anglo-Portuguese Imbrications and Shakespeare's History Plays46
Paola Pugliatti: The Art of War in Shakespeare and in European Renaissance Treatises58
Janet Clare: The "Histories" of Henry VI80
Manfred Draudt: Shakespeare's Imperfect Memory of History90
Andreas Höfele: "Retail'd to all posterity:" The Case of Richard III100
James R. Siemon: Halting Modernity: Richard III's Preposterous Body and History114
History and Memory: Criticism and Reception130
Paul Franssen: "Strictly ideal:" Shakespeare's Personality as a Historical Construct in Nathan Drake's Noontide Leisure130
Clara Calvo: Shylock and the Shrew: Victorian Shakespeare and Nineteenth-Century Spain140
Anna Kowalcze-Pawlik: "Memory of the Text." Wyspiański's Hamlet150
Bettina Boecker: "Happily they had no choice:" Shakespeare's Elizabethan Audience and the Ideal of a Unified Cultural Sphere, c. 1920-1950164
History, Memory, and Ideological Appropriation178
Márta Minier: Claiming Shakespeare as "Our Own"178
Ivan Lupić: "Must I remember?:" Hamlet, Memory and Shakespearean Trauma188
Dana Chetrinescu Percec: Interdisciplinary Shakespeare in the Socialist Republic of Romania. A Comment on Official Censorship and Subversive Practices206
Madalina Nicolaescu: Mingling and Separating in Coriolanus216
Maria del Sapio Garbero: "A goodly house:" Memory and Hosting in Coriolanus226
Anna Cetera: "Suit the word to the action:" Shakespeare's Richard II (2004). A Case of (Meta)translation?240
Ruth Freifrau von Ledebur: "Speak, Memory:" Anniversary Celebrations in the History of the German Shakespeare Society254
Theatre: the Act of Memory and History in the Making266
Michael Hattaway: Shakespeare Remembered by His Stuart Successors: Reflections on the 2005 "Gunpowder Season" at the Swan Theatre in Stratford266
Boika Sokolova: "Who's there?" - Macbeth on the London Stage 2004-2005278
Nicoleta Cinpoes: Stillness in Hamlet292
Małgorzata Grzegorzewska: "Blood sprinkled or blood spilt:" The History of Richard II Revisited in the Contemporary Theatre304
Jerzy Limon: The Memory of Architecture: New Thoughts on Reconstructing Old Theatres (the Case of the Gdańsk Fencing School)314
Index of Authors334

TOWARDSAEUROPEANHISTORYOF

HENRYV

InRenaissanceMan,BillRago,whoinhisyouthtookpartinthefamousmarch

fromArlingtontotheWhiteHouse,andwhoinitiallydescribesthearmyasan

“institutionofimbeciles,”eventuallycomestosignupforanotherteachingtermas

instructorwhenhediscoversthatShakespearecanmakethelifeofthedoubleD’sin

thearmymeaningful.

17Themovieseemstobesayingthatsomeindividualsmaybe

criticalofthearmyasabrainlessinstitution,butthatwithShakespeareonboard,all’s

well.Thefilm’sidealiscaptured,asastudentofRago’stellsusduringhisfinalexam,

bythelastsceneofHamlet.Here,nearlyallcharactersaredead.Theonlysurvivorsare

thesoldier(Fortinbras)andthestudent(Horatio).

ForalltheemphasisonHamletinclass,HenryVplaysavitalroleindevelopingthe

film’spro-warstance.Thisisliterallythecasefromthefilm’sopeningimages,with

theiraerialviewofDetroit,copyingthefamousbeginningofOlivier’s1944filmepic,

butreplacingShakespeare’sGlobebythelocalbaseballstadium.InRenaissanceMan,

though,thetruerelevanceofHenryVisrevealedlaterinthefilm,whereitisthefa-

mous“HappyFew”speechfromHenryV,recitedbyoneofthedoubleD’s,thatmakes

thedauntingthoughnarrow-mindedDrillSergeantCassunderstandthatwhathappens

inRago’sclassroomisinfactmilitarilymeaningful.ItisthroughHamletthatthestu-

dentscometoacceptthearmy,butitisthroughthe“HappyFew”sequencefrom

HenryVthatthearmystaffcomestoaccepttheBard.

ThisglorificationofwarinanexplicitlyVietnamcontextseemsawkward,until

werecognizethatthemovieisnotpredicatedontheshamefuldefeatineastAsia.

Thisbecomesclearfromashortexchangeinthefilm,notnotedbytheotherwiseso

perspicaciousRichardBurt.TheexchangeoccursearlyinthefilmwhenDannyde

VitoasBillRagofirstmeetsCaptainTomMurdochinhisoffice.TheCaptainhas

keptBillRagowaiting,thuscondemningthelattertobidehistime,leafingthrough

TimeMagazine.WhenCaptainMurdochfinallyshowsup,thefollowingdialogue

develops:

Capt.TomMurdoch:Sorrytokeepyouwaitinglikethis.

BillRago:Actually,Ineededtocatchuponworldevents.ThatGulfWarthingworkedout

forus,eh?

Capt.TomMurdoch:Suredid.

RenaissanceMan,then,mayaddressthetraditionalUSVietnamtrauma,butitalso

optimisticallybuildsonthemorerecentmilitaryandmediavictoryofGeorgeBushSr.

intheGulf,theveryvictory,ofcourse,thathissonGeorgeW.Bushhasbeentryingto

emulate.

Clearly,theappropriationofShakespeare’sHenryVinthecontextofbothopera-

tionDesertStormandIraqiFreedom,indicatesaratherdifferentUSattitudetothe

playfromtheonesuggestedbytheEarlofHalifax,theBritishambassadortotheUS,

who,on14January1945,wrotetoPresidentRooseveltaboutLaurenceOlivier’s

screenadaptationofHenryV,whichwasabouttobereleasedinAmerica:

17Fortherecord,itseemsnecessarytonotethatRagoalsodevelopsromantictieswiththemostattrac-

tivefemalestaffmemberatthecamp.

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