Shakespeare and globalization

Bosman, Anston

doi:10.1017/ccol9780521886321.019

Cited by 32 publications

(2 citation statements)

References 4 publications

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“…199-204). Certainly, the two episodes are not identical, and one may even describe the relationship between them as "shadowy," to use Julie Sanders's words on the interplay between appropriations and their sources (p. 32), but Mahjoub's depiction of the three men and the purpose of their visit "carr[y] a physical palimpsest," inviting the reader to make a link between the two texts (Bosman;2010, p. 295). In both works, three great men of the town speak on behalf of a person (or a group of people) on an issue that involves an outsider whose existence and actions are deemed controversial.…”

Section: Discussionmentioning

confidence: 99%

Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello

Awad

Al‐Shetawi

2017

Int. J. Appl. Linguist. Engl. Lit.

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This paper examines how Arab British novelist Jamal Mahjoub appropriates and interpolates Shakespeare's Othello. Specifically, this paper argues that Mahjoub's historical novel The Carrier (1998) re-writes Shakespeare's Othello in a way that enables the novelist to comment on some of the themes that remain unexplored in Shakespeare's masterpiece. Mahjoub appropriates tropes, motifs and episodes from Shakespeare's play which include places like Cyprus and Aleppo, Othello's identity, abusive/foul language, animalistic imagery, and motifs like the eye, sorcery/witchcraft, the storm and adventurous travels. Unlike Othello's fabled and mythical travels and adventures, Mahjoub renders Rashid al-Kenzy's as realistic and true to life in a way that highlights his vulnerability. In addition, the ill-fated marriage between Othello and Desdemona is adapted in Mahjoub's novel in the form of a Platonic love that is founded on a scientific dialogue between Rashid al-Kenzy and Sigrid Heinesen, a poet and philosopher woman from Jutland. In this way, Desdemona's claim that she sees Othello's visage in his mind, a claim that is strongly undermined by Othello's irrationality, jealousy and belief in superstitions during the course of the play, is emphasized and foregrounded in Mahjoub's novel.

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Section: Discussionmentioning

confidence: 99%

Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello

Awad

Al‐Shetawi

2017

Int. J. Appl. Linguist. Engl. Lit.

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“…Significantly, the dissemination of Shakespeare was "not coextensive with the advance of English" as a colonial or global language. 55 In some instances, Shakespeare's text was relegated to the backstage. East Asian cultures first encountered Shakespeare through local translations of Charles and Mary Lamb's Tales from Shakespeare (1807), a Victorian prose rendition of select comedies and tragedies.…”

Section: World Shakespeare Festival and Globe-to-globementioning

confidence: 99%

“What Country, Friends, Is This?”: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography

Huang¹

2013

Theat Surv

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The curtain rose at the King's Theatre, Edinburgh, on 14 August 2011 to reveal a richly textured production ofThe Tempeston a bare stage with minimal props. As the lights came up, a group of white-robed sailors were caught in a meticulously choreographed storm, dancing to the mesmerizing beats of the master drummer upstage. The performers’ costumes echoed traditional Koreanhanbokattire and their acting style incorporatedt'alch'ummask-dance drama techniques. Their long white sleeves flapped and swayed in sync with their movements. Engulfed in stagewide sapphire and then crimson lighting, their sleeves were transformed from symbols of violent wind and waves to raging fire on board a ship approaching a world where, as Gonzalo aptly summarized, “no man was his own” (5.1.211). With Prospero (King Zilzi) as the drummer upstage and Ariel dancing in the midst of the unfortunate sailors, the storm scene—one of the longest renditions of the “direful spectacle” (1.2.26) in the performance history ofThe Tempest—served as an anchor to the tragicomic narrative about the self and the other. For a fleeting moment, Prospero gave the impression of being a drillmaster at the helm.

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Ophelia Eats the Air: Consuming Voices in Piel de violetas

Woodford-Gormley

2021

Global Shakespeares

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Shakespeare and globalization

Cited by 32 publications

References 4 publications

Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello

Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello

“What Country, Friends, Is This?”: Touring Shakespeares, Agency, and Efficacy in Theatre Historiography

Ophelia Eats the Air: Consuming Voices in Piel de violetas

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