Oxford University Press
Four themes distinguish post-1950s East Asian cinemas and theaters from works in other parts of the world: Japanese innovations in sound and spectacle; Sinophone uses of Shakespeare for social reparation; the reception of South Korean presentations of gender identities in film and touring productions; and multilingual, disability, and racial discourses in cinema and diasporic theatre in Asian America, Singapore, and the UK.
A study of ideas related to race throughout history. Distinguished by its breadth of coverage, both geographically and temporally, this book provides readers with an expansive, global understanding of the term from the classical period onwards:
• Intersections of Race and Gender
• Race and Social Theory Identity
• Ethnicity, and Immigration
• Whiteness and Legislative and Judicial Markings of Difference
• Race in South Africa, Israel, East Asia, Asian America
• Blackness in a Global Context
• Race in the History of Science
• Critical Race Theory
At a time when Shakespeare is becoming increasingly globalized and diversified it is urgent more than ever to ask how this appropriated Shakespeare constructs ethical value across cultural and other fault lines. Shakespeare and the Ethics of Appropriation is the first book to address the intersection of ethics, aesthetics, authority, and authenticity in a global context.
This collection of essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, this book examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The study of local identities and global icons uncovers dynamic relationships between regional, national, and transnational myths of Shakespeare.
Due to Karl Marx’s frequent references in his political treatises, Shakespeare held a significant place in a number of communist and other left-authoritarian countries, including China and the USSR. And although there were themes in Shakespeare that turned out to be inconvenient for communist ideology, other Shakespearean plays were put into service. This volume explores the vicissitudes of artistic and political uses of Shakespeare in Soviet culture and ideology after the October Revolution in 1917, including in some of the continuing resonances of those uses since the collapse of the Soviet Union.
For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun’s search for a Chinese “Shakespeare,” and from Feng Xiaogang’s martial arts films to labor camp memoirs, Soviet-Chinese theater, Chinese opera in Europe, and silent film, Shakespeare has been put to work in unexpected places, yielding a rich trove of transnational imagery and paradoxical citations in popular and political culture.