A puzzle: why should all translators the world over and down the centuries translate verse into verse, while we Arabs, who boast a rich tradition of verse, use prose to render Shakespeare’s sonnets? After many decades in which Shakespeare’s Arab
Biography and Shakespeare’s Money
Portraits of an Economic Persona
Paola Pugliatti
, then, the residuum that, as the first Greek biographer reminds us, should not be dissolved, is its capacity to describe ‘the general historical meaning of an individual’s life’. 11 The challenge of Shakespeare’s lives Let me now move on to Shakespeare
James Everest and Clare Whitehead
In 1981, at the World Shakespeare Congress in Stratford-upon-Avon, a group of young academics met in the lobby of the Hilton hotel and fell into conversation about what was, for them, the tedious nature of many of the papers at the conference. They
Adam Hansen
To arrest the meanings of words once and for all, that is what Terror wants. —Jean-François Lyotard, Rudiments païens This article joins the contributions of others in exploring some of the challenges of talking and thinking about Shakespeare in an
Miles Groth
Shakespeare was keenly affected by the lives of the boys who played the parts of women in his plays. Evidence for his understanding and compassion is found in the speeches of those characters who cross-dress female to male. By a double negation of his gender, the boy actor is given an opportunity to speak for himself as well for the female character he is portraying. The examples are Julia as Sebastian in The Two Gentlemen of Verona, Portia as Balthazar and Nerissa as both the young lawyer’s clerk and Jessica in The Merchant of Venice, Viola as Cesario in Twelfth Night, Imogen as Fidele in Cymbeline, and especially Rosalind as Ganymede in As You Like It. I argue that what they were given to say by Shakespeare reveals the experience of being a boy, not only in early modern England or ancient Greece (where all parts were also played by males), but also in our time. I suggest the treatment of boys in the theatre is mirrored by the treatment of boys today. In those instances where doubled impersonation was written into Shakespeare’s plays, we have a unique opportunity to hear boys tell us about themselves. As with so much else that is timeless insight, the bard understood and articulated the experience of being a boy. Taken together, the utterances of his “boys” tell us how it is to be a boy.
Teatrum Mundi
Teaching Shakespeare Performance to Israeli Medical Students
Rebecca Gillis
. Not many miles away from the Zaatari Syrian refugee camp, but light years apart from the Syrian children’s experience of Shakespeare, my audience of medical students at the Hadassah Medical School in Jerusalem offer particular challenges to the teacher
The Madness of King Charles III
Shakespeare and the Modern Monarchy
Richard Wilson
When Prince Charles upstaged the combined talents of Benedict Cumberbatch, Harriet Walter, David Tennant, Sir Ian McKellen and Dame Judi Dench at the climax of the 400th Shakespeare anniversary celebrations in the Stratford Memorial Theatre on 23
Bringing Lebanon’s Civil War Home to Anglophone Literature
Alameddine’s Appropriation of Shakespeare’s Tragedies
Yousef Awad
article explores the ways in which, in these two novels, Alameddine draws attention to Shakespeare’s representation of traumatic events in Macbeth and King Lear and links it to his own depiction of his nation’s tragic domestic strife. I argue that
‘Go out and learn’
Shakespeare, Bildung and the Jewish Youth Movement in Germany between Integration and Jewish Self-Identification
Rosa Reicher
became a remarkably Jewish value. The Bildung ideal of a Jewish humanism included not only Goethe, Hölderlin, and Stefan George, but also Shakespeare. 4 This article seeks to make clear that not only did German or German Jewish culture and Bildung
‘Shakespeare Had the Passion of an Arab’
The Appropriation of Shakespeare in Fadia Faqir’s Willow Trees Don’t Weep
Hussein A. Alhawamdeh
This article traces William Shakespeare’s echo in Willow Trees Don’t Weep (2014) by Fadia Faqir, a Jordanian/British novelist, to examine the function of Faqir’s appropriation of Shakespeare’s Othello (1604) and Cymbeline (1611) in creating