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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,A “Whirl of Aesthetic Terminology”: Swinburne, Shakespeare, and Ethical Criticism,ectual hermaphrodite” who could not distinguish between fact and fantasy because they were “lost in a whirl of aesthetic terminology.”. Although Buchanan specifically referred to poetry, the derogatory reference to “aesthetic terminology” also reflects the moral outrage that initially greeted Swi

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,“Raw-Savage” Othello: The First-Staged Japanese Adaptation of , (1903) and Japanese Colonialism,e characters were turned into subjects of Japanese Empire with Japanese names, Othello becoming Muro, the first colonial general of Taiwan. The adaptation appropriated the global authority of . in order to meet the local, political, and cultural demands of Imperial Japan and to affirm Japanese natio

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The Bard in Bollywood: The Fraternal Nation and Shakespearean Adaptation in Hindi Cinema,one of the world’s largest film-producing centers. Indian cinema has a fairly long history of adapting Shakespeare. The cinema itself, in the earliest phases of its history, was strongly influenced by the Parsi theater, which frequently turned to Shakespearean plots; and eventually Shakespeare’s pla

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In Other Words: Global Shakespearean Transformations,e Rowland. Rowland attended the 37 Shakespeare plays being presented in 37 different languages at Shakespeare’s Globe Theatre as part of the Cultural Olympiad.. In conjunction with this undertaking, he interviewed many of the participating artists and directors for a radio series about the Festival,

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Afterword,book itself. These modes range from the possessively . or . to the repossessively ., with a few privileged spaces left in between for other appropriative modes like the ., which is signaled when “each partner to the [appropriative] transaction may be said to enter into each other’s frame of referenc

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The Bard in Bollywood: The Fraternal Nation and Shakespearean Adaptation in Hindi Cinema,ys, including . and ., appeared onscreen with Indian characters and settings. This tradition of adaptation continued with postindependence Hindi films and persists even as this cinema is now conceptualized as a “global cinema” often described as “Bollywood.”