Alexander C. Y. Huang is assistant professor in the Department of Comparative Literature at the Pennsylvania State University, University Park. He is the coeditor, with Charles Ross, of Shakespeare in Hollywood, Asia, and Cyberspace, and his publications on Shakespeare performance and modern Chinese-language drama and literature have appeared in MLQ, Shakespeare Bulletin, Asian Theatre Journal, The Shakespearean International Yearbook, and Shakespeare Studies, among other publications.
发表于2024-11-21
Chinese Shakespeares 2024 pdf epub mobi 电子书
图书标签: 海外中国研究 戲劇史 中西交流 莎士比亞 戏剧史 英文原版 明清 文化史
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. Chinese Shakespeares is the first book to concentrate on both Shakespearean performance and Shakespeare's appearance in Sinophone culture and their ambiguous relationship to the postcolonial question. Substantiated by case studies of major cultural events and texts from the first Opium War in 1839 to our times, Chinese Shakespeares theorizes competing visions of "China" and "Shakespeare" in the global cultural marketplace and challenges the logic of fidelity-based criticism and the myth of cultural exclusivity. In his critique of the locality and ideological investments of authenticity in nationalism, modernity, Marxism, and personal identities, Huang reveals the truly transformative power of Chinese Shakespeares.
很重要的第一章。
评分很重要的第一章。
评分中国/莎士比亚是一个动态的双向交通关系,宜采用在地化批评加以审视:原汁原味/莎剧旅行所到之处的改编与重写。莎翁最初以非在场的方式亮相中土,形诸域外日记和流言轶闻,是改良派的理想化身,投射了德里达式的、寻求超越意指的欲望;林纾的翻译迎合国内读者对神怪传奇的嗜好,并用儒家价值观加以包装,而老舍的谐拟揶揄了优柔寡断的国民性;搬演《麦克白》的失败、李健吾改写版的成功、默片的换译拍摄凸显原装/本土化的吊诡,暗合彼时对新女性的呼唤;焦菊隐于孔庙搬演《哈姆雷特》提升了战时中国的文化尊严和爱国热忱,巫宁坤的私人阅读呼唤个体从极权下的解放,《无事生非》的三次排演象征了对非政治化艺术的诉求和怀旧;马永安的奥赛罗,赖声川和吴兴国的李尔王打破戏曲/话剧的对立,模糊原剧的议题,赋予佛教意涵、个人经历,迈向小时代剧场。
评分很重要的第一章。
评分中国/莎士比亚是一个动态的双向交通关系,宜采用在地化批评加以审视:原汁原味/莎剧旅行所到之处的改编与重写。莎翁最初以非在场的方式亮相中土,形诸域外日记和流言轶闻,是改良派的理想化身,投射了德里达式的、寻求超越意指的欲望;林纾的翻译迎合国内读者对神怪传奇的嗜好,并用儒家价值观加以包装,而老舍的谐拟揶揄了优柔寡断的国民性;搬演《麦克白》的失败、李健吾改写版的成功、默片的换译拍摄凸显原装/本土化的吊诡,暗合彼时对新女性的呼唤;焦菊隐于孔庙搬演《哈姆雷特》提升了战时中国的文化尊严和爱国热忱,巫宁坤的私人阅读呼唤个体从极权下的解放,《无事生非》的三次排演象征了对非政治化艺术的诉求和怀旧;马永安的奥赛罗,赖声川和吴兴国的李尔王打破戏曲/话剧的对立,模糊原剧的议题,赋予佛教意涵、个人经历,迈向小时代剧场。
Chinese Shakespeares 2024 pdf epub mobi 电子书