Titlebook: Shakespeare and the Ethics of Appropriation; Alexa Huang,Elizabeth Rivlin Book 2014 Palgrave Macmillan, a division of Nature America Inc.

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,“Raw-Savage” Othello: The First-Staged Japanese Adaptation of , (1903) and Japanese Colonialism,de with the contemporary Japanese discourse of race, class, and empire, it testifies to the contradictions and fissures in the forms of Japanese racial ideology. Although the adaptation’s intention was to demarcate class and race lines in the emergent empire of Japan, it ended up displaying moments of ideological incoherence and incompleteness.

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Double Jeopardy: Shakespeare and Prison Theater,usiness” sign. I remember thinking about the irony of the funeral home’s bankruptcy in a place that reeked of death. Marred by extreme poverty, obesity, truancy and, most of all, violent crime, this side of Louisville—the proverbial “wrong side”—was the childhood home of many of the prisoners I would interview later that day.

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Introduction,, brought theater companies from many parts of the world to the United Kingdom to perform Shakespeare in their own languages (“37 plays in 37 languages”). Globe-to-Globe suggested the ethical aspirations of such ambitious Shakespearean events as well as their conflicts and contradictions. Self-consc

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Recognizing Shakespeare, Rethinking Fidelity: A Rhetoric and Ethics of Appropriation, topic from a different direction by reconsidering the concept of “fidelity,” which too often is left untouched as a monolithic term in critical attempts to move theory beyond moralizing questions of how “true” an adaptation is true to its source.. Seeking to complicate the notion of fidelity as bot

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,Adaptation Revoked: Knowledge, Ethics, and Trauma in Jane Smiley’s ,,rote Smiley in a short piece, “Taking It All Back,” in the .. Where in writing the novel she had “interpreted . as a brief for the patriarchy, with the author [Shakespeare] identifying with Lear himself,” her interpretation of the play had since changed drastically to the point that she could no lon

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