http://hdl.handle.net/11089/9454 Fri, 03 Apr 2026 18:07:50 GMT 2026-04-03T18:07:50Z http://hdl.handle.net/11089/9473 Theatre Reviews Bogdańska Olga; D’Auria, Verónica; Heijes, Coen; Georgopoulou, Xenia Tue, 31 Dec 2013 00:00:00 GMT http://hdl.handle.net/11089/9473 2013-12-31T00:00:00Z http://hdl.handle.net/11089/9472 Book Reviews Sarkar Dhrubajyoti; Mandal, Sagar Taranga Tue, 31 Dec 2013 00:00:00 GMT http://hdl.handle.net/11089/9472 2013-12-31T00:00:00Z http://hdl.handle.net/11089/9471 Shakespeare Comes to Indonesia Skupin Michael This paper discusses the circumstances of Shakespeare’s arrival in Indonesia via the translations of Trisno Sumardjo, published in the early 1950’s. Biographical material about the translator will be presented, and there will be a discussion of the characteristics the Indonesian language and of Indonesian verse which would determine the expectations of his readers, such as rhyme, meter and style, that would influence his renderings of the poetic passages in the Bard’s plays. These are illustrated in a sampling of passages from As You Like It, A Midsummer Night’s Dream, Macbeth and The Merchant of Venice. The Dutch translation of L. A. J. Burgersdijk was an indirect influence on the translations, and not always for the good. The paper concludes with a lengthy discussion of the extremely difficult problems that Sumardjo encountered in his translation of King Lear. This Lear was not published during the translator’s lifetime, Sumardjo’s prestige notwithstanding because he was not satisfied with the solutions he proposed. Tue, 31 Dec 2013 00:00:00 GMT http://hdl.handle.net/11089/9471 2013-12-31T00:00:00Z http://hdl.handle.net/11089/9470 Tacky “Shakespeares” in Japan Yoshihara Yukari There is no doubt that Shakespeare is “the flagship commodity” in the globalized cultural market. The fact that his works are being studied, performed, and admired, or, adapted and parodied almost all over the world, would surely testify that his works are great sources to be capitalized on (both culturally and materially) in the consumerist society in which we live. However, it could be also argued that the brand logo, “Shakespeare,” no longer holds such a privileged status, that it is merely one of numerous cultural artifacts that can be used and recycled, and that one of the few convenient things about “Shakespeare” is that it can be reproduced, copied, and parodied without the need for any royalty payments being made? Some popular, global, tacky “shakespeares” seek to destabilize the presupposed notion that “Shakespeare” is the dominant, central, hegemonic icon by juxtaposing “Shakespeare” with other artifacts, which are presumed to be of minimal capitalist and cultural value. This article attempts to illustrate how (in)significant or (un)influential Shakespeare, as a residual socio-cultural icon, can be. Tackyfying “Shakespeares” can, however, also be a means to proliferate the Bard. Japanese pop “Shakespeares,” proudly and assertively tacky, offer tributes to the great Bard. Tue, 31 Dec 2013 00:00:00 GMT http://hdl.handle.net/11089/9470 2013-12-31T00:00:00Z