Foreign Accents: Brazilian Readings of ShakespeareAimara da Cunha Resende, Thomas LaBorie Burns University of Delaware Press, 2002 - 230 Seiten 'Foregin Accents' is formed of two parts: the first one offers analyses of translations/interpretations/appropriations of plays and sonnets in different processes of transmutation. The second comprises texts that deal with more general critical readings. Shakespeare is viewed in the light of gender studies, of postmodernism, and of comparative studies. |
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... stage are considered in varied aspects and under close scrutiny . These critical studies go over the problems of canonical hegemony in the third world , with the stigma attached , along with this hegemony , to countries striving to ...
... stage are considered in varied aspects and under close scrutiny . These critical studies go over the problems of canonical hegemony in the third world , with the stigma attached , along with this hegemony , to countries striving to ...
Seite 14
... stage , a play was published , in 1861 , that was a legitimized copy of this text of Shakespeare's : Leonor de Mendonça , by the romantic author Gonçalves Dias . Taking place in Portugal , with a Duke and his wife as the main ...
... stage , a play was published , in 1861 , that was a legitimized copy of this text of Shakespeare's : Leonor de Mendonça , by the romantic author Gonçalves Dias . Taking place in Portugal , with a Duke and his wife as the main ...
Seite 17
... may take place on a stage of the Italian kind or within an arena ; in a theater house or in a circus ; in a garage or in the street . What matters to me is that it be done with INTRODUCTION : BRAZILIAN APPROPRIATIONS OF SHAKESPEARE 17.
... may take place on a stage of the Italian kind or within an arena ; in a theater house or in a circus ; in a garage or in the street . What matters to me is that it be done with INTRODUCTION : BRAZILIAN APPROPRIATIONS OF SHAKESPEARE 17.
Seite 23
... stage a truly Brazilian contemporary Shakespeare : the Gal- pão ( warehouse ) troupe , performing Romeu e Julieta . This produc- tion , which started in 1993 , blends the original text ( in a brilliant translation by Onestaldo Penaforte ) ...
... stage a truly Brazilian contemporary Shakespeare : the Gal- pão ( warehouse ) troupe , performing Romeu e Julieta . This produc- tion , which started in 1993 , blends the original text ( in a brilliant translation by Onestaldo Penaforte ) ...
Seite 28
... stage by Yorick . Metatheater is quite explicit in Estou Te Escrevendo De Um Lugar Distante , and the audience is constantly reminded of the play's debt to Hamlet . Most of the best - known moments in Shake- speare's text are ...
... stage by Yorick . Metatheater is quite explicit in Estou Te Escrevendo De Um Lugar Distante , and the audience is constantly reminded of the play's debt to Hamlet . Most of the best - known moments in Shake- speare's text are ...
Inhalt
11 | |
III | 42 |
IV | 55 |
V | 62 |
VI | 76 |
VII | 100 |
VIII | 114 |
IX | 126 |
XI | 154 |
XII | 174 |
XIII | 183 |
XIV | 198 |
XV | 207 |
XVI | 224 |
XVII | |
X | 138 |
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Häufige Begriffe und Wortgruppen
actors Almeida Ariel artist audience becomes Boal Boal's Brazil Brazilian Caliban Césaire Césaire's characters colonial comedy contemporary context critical cultural death drama English essay European Federal University film Folio Gazeta de Notícias gender Godard Hamletrash haue Henry Horatio Ibid idea João José José Aguilar Kate Kate's King Lear Lady language literary literature Macbeth Machado de Assis metatheater Minas Gerais modern murder nature Notícias Rio numbers Ophelia Oswald de Andrade Othello parody Paulo performance Player playwright political postcolonial production Prospero Quarto reading Renaissance Retamar Rio de Janeiro Rosencrantz and Guildenstern Rushdie Rushdie's São Paulo says scene Semana Shake Shakespeare's Hamlet Shakespeare's play Shakespeare's text Shrew Silviano Santiago slave Sonnet speare's speech Stoppard's story Teatro Tempest Tempestade Tempête theatrical thou tion Titus Andronicus tradition tragedy Trans translation University of Minas University Press W. W. Jackson William Shakespeare words writer Yorick
Beliebte Passagen
Seite 184 - it to you—trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town—crier had spoke my lines. Nor do not saw the air too much with your hand thus, but use all gently; for in the very torrent, tempest, and as I may say the
Seite 119 - What beast was't then That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you Would be so much more the man. Nor time nor place Did
Seite 175 - All things in common nature should produce Without sweat or endeavour. Treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth Of its own kind all foison, all abundance, To feed my innocent people.
Seite 184 - Hamlet: But come, Here as before, never, so help you mercy, How strange or odd soe'er I bear myself— As I perchance hereafter shall think meet To put an antic disposition on— That you at such time seeing me never shall, With arms encumber'd thus, or this head-shake
Seite 118 - Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it. Come to my woman's breasts, Wherever in your sightless substances You wait on nature's mischief.
Seite 174 - No poet, no artist of any sort, has his complete meaning alone. His Significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone. You must set him, for contrast and comparison, among the dead. —TS Eliot
Seite 130 - Then God be blessed, it is the blessed sun, But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it nam'd, even that it is, And so it shall be still for Katherine.
Seite 115 - all great Neptune's ocean wash this blood Clean from my hand? No. This my hand will rather The multitudinous seas incarnadine, Making the green one red.