tic-douloureux
发表于 2025-3-26 21:03:24
978-3-319-87521-7The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
独特性
发表于 2025-3-27 04:59:52
Shakespeare / Not Shakespeare978-3-319-63300-8Series ISSN 2730-9304 Series E-ISSN 2730-9312
incite
发表于 2025-3-27 06:14:25
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Aggrandize
发表于 2025-3-27 10:07:56
“This is not Shakespeare!”y a cultural materialist study of the presence of Shakespeare in a series of national festivals—the great Exhibition of 1851, the Festival of Britain in 1951, and the London Olympics of 2012—this story uses imaginative methods to pursue a critical inquiry, combining documentary evidence and critical argument with imaginative speculation.
Modicum
发表于 2025-3-27 16:56:23
HypeRomeo & Juliet: Postmodern Adaptation and Shakespearety in order to present a much more accurate relational map, Casey examines Fumitoshi Oizaki’s anime . as a perfect example of both the iterative process of translation and the multiple voices of a “Shakespeare” that has become increasingly hyperreal.
百灵鸟
发表于 2025-3-27 20:12:54
Guest Starring ,: The Proliferation of the Shakespeare Meme on American Televisionseveral contemporary television series: ., ., ., ., and .. Through a process of unacknowledged doubling, repetition, and revision, these series give new forms to Shakespeare’s texts, thereby extending the life span of the meme and ensuring its cultural “stickiness.”
extrovert
发表于 2025-3-27 22:15:59
Paratextual Shakespearings: Comics’ Shakespearean Frameatextual apparatuses aid in the construction of “author fictions,” Christopher identifies a persistent pattern of literary and cultural credibility being established through a paratextual relationship with Shakespeare, so that some comics are eventually refigured as Shakespearean texts in their own right.
Bumble
发表于 2025-3-28 03:58:57
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方便
发表于 2025-3-28 09:46:15
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sperse
发表于 2025-3-28 14:11:49
YouShakespeare: Shakespearean Celebrity 2.0rse platforms available for self-promotion in online media have fundamentally redefined celebrity as a whole and, thus, dispersed Shakespeare’s enduring celebrity from the singular Shakespearean star to a fluidly evolving multitude of participants.