http://hdl.handle.net/11089/1365 2026-04-09T20:06:12Z 2026-04-09T20:06:12Z Mitsui, Takehito http://hdl.handle.net/11089/54609 2025-02-14T02:35:17Z 2024-12-30T00:00:00Z

Theatre Reviews Mitsui, Takehito

2024-12-30T00:00:00Z Cormack, Bradin Geng, Penelope http://hdl.handle.net/11089/54608 2025-02-14T02:35:21Z 2024-12-30T00:00:00Z

Book Reviews Cormack, Bradin; Geng, Penelope

2024-12-30T00:00:00Z Yarong, Wu Tianhu, Hao http://hdl.handle.net/11089/54607 2025-02-14T02:35:12Z 2024-12-30T00:00:00Z

Greece Reinvented: Shakespeare’s “Greek Plays” as a Subgenre Yarong, Wu; Tianhu, Hao This article justifies the addition of “Greek Plays” as a subgenre to classify Shakespeare’s works. The six plays (A Midsummer Night’s Dream, Timon of Athens, Two Noble Kinsmen, The Comedy of Errors, Pericles, Prince of Tyre, and Troilus and Cressida) in this subgenre are defined as adaptations of ancient Greek literature, staged in Greek or closely related settings, and featuring characters from Greek mythology and history. Through a review of the research history of Shakespeare’s Greek plays and an exploration of interactions between Englishmen and Greeks, the authors provide a brief but comprehensive reading of his Greek plays and argue that Shakespeare juxtaposes ancient Greece with its early modern counterpart—a territory of difference and the Other—on the very edge of Europe, penetrated by the alien East and Islamic cultures. Greece is a land of ambiguity, reinvented by Shakespeare as a liminal space, and characterized by a mixture of humanist admiration for the grandeur of ancient Greek civilization, cautious respect for and alertness to its pagan origins, a profound desire for economic benefits in the Eastern Mediterranean, and Christian apprehensions and anxieties in Englishmen’s encounters with the Turks. By introducing “Greek Plays” as a subgenre, this paper not only helps to enrich our understanding of Shakespeare’s portrayal of “a world elsewhere” from multifaceted cultural perspectives but also attempts to expand the existing territory of Shakespearean studies.

2024-12-30T00:00:00Z Sasaki, Kazuki http://hdl.handle.net/11089/54606 2025-02-14T02:35:30Z 2024-12-30T00:00:00Z

Shakespeare Engraved: Frontispiece and Bardolatry Sasaki, Kazuki The term Bardolatry has been used for over a century to describe the adoration of an Elizabethan playwright, Shakespeare, but the causes of this phenomenon have not been fully elucidated. The study explores the nature of this worship produced and disseminated by various theatrical cultures during the long eighteenth century. To understand the formation of the phenomenon, this paper examines the shifts in the engraved frontispieces, taking The Tempest as an example.

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