Shakespeare in the World

<p>Shakespeare in the World traces the reception histories and adaptations of Shakespeare in the nineteenth century, when his works became well-known to non-Anglophone communities in both Europe and colonial India. Sen provides thorough and searching examinations of nineteenth-century theatrical, operatic, novelistic, and prose adaptations that are still read and performed, in order to argue that, crucial to the transmission and appeal of Shakespeare’s plays were the adaptations they generated in a wide range of media. These adaptations, in turn, made the absorption of the plays into different "national" cultural traditions possible, contributing to the development of "nationalist cosmopolitanisms" in the receiving cultures. Sen challenges the customary reading of Shakespeare reception in terms of "hegemony" and "mimicry," showing instead important parallels in the practices of Shakespeare adaptation in Europe and colonial India. <i>Shakespeare in the World</i> strikes a fine balance between the Bard’s iconicity and his colonial and post-colonial afterlives, and is an important contribution to Shakespeare studies.</p> <p><i>List of Musical Examples</i></p><p>Acknowledgements </p><p>Preliminary Notes</p><p>Introduction</p><p>Shakespeare’s Reception in Non-Anglophone Cultures: Analytical Paradigms </p><p> Theorising Shakespeare Reception Relationally </p><p>Shakespeare and “Nationalist Cosmopolitanism” </p><p>Adaptation Theory and Cross-Cultural Receptions of Shakespeare</p><p>The Case Studies: Patterns and Interconnections </p><p><strong>PART 1</strong></p><p><strong>1 Shakespeare Reception in France: Ambroise Thomas’s </strong><i><strong>Hamlet </strong></i><strong>and Its Intertexts</strong></p><p>Introduction</p><p>Shakespeare’s Hamlet<i>: Texts and Performances up to the Nineteenth Century</i></p><p>Hamlet <i>in France: From Ducis to Dumas and Meurice </i></p><p>Thomas’s Hamlet <i>as </i>Opera Lyrique </p><p>The Operatic Ophélie </p><p>The Afterlife of Thomas’s Hamlet </p><p>2 Nationalism and Aesthetic Self-Fashioning: Giuseppe</p><p>Verdi’s <i>Otello </i></p><p>Introduction </p><p>Jealousy and Vengeance in Othello <i>and </i>Otello <i>(i): Racial Discourses </i></p><p>Jealousy and Vengeance in Othello <i>and </i>Otello <i>(ii): Religious Discourses </i></p><p>Jealousy and Vengeance in Othello <i>and </i>Otello <i>(iii): The Pressures of Patriarchy</i></p><p>Verdi’s Musical Choices and the Subversion of Racial Stereotypes regarding Jealousy </p><p>Conclusion </p><p><strong>PART 2 </strong></p><p><strong>3 Challenging the Civilising Mission: Responses </strong><strong>to </strong><i><strong>The Tempest </strong></i><strong>by Bankimchandra Chatterjee </strong><strong>and Rabindranath Tagore </strong></p><p>Introduction </p><p>Bankim and Bengali Literature After 1857 </p><p>Bankim’s Life and Literary Career </p><p>Kapālakunḍalā: <i>Plot and Intertexts </i></p><p>The Tempest, Kapālakunḍalā<i>, and Women in Nineteenth-Century Bengal (i): A Historical Perspective</i></p><p>The Tempest, Kapālakunḍalā<i>, and Women in Nineteenth-Century Bengal (ii): A Symbolic Perspective </i></p><p>Bankim, Tagore, and the Reception History of The Tempest </p><p>4 Two Contrasting Cases of Transculturation of Shakespeare From Nineteenth-Century Bengal: Ishwarchandra Vidyasagar’s <i>Bhrāntivilās </i>and Girishchandra Ghosh’s <i>Macbeth </i></p><p>Introduction </p><p>Part I: Vidyasagar’s Bhrāntivilās </p><p>Life and Times of Ishwarchandra Vidyasagar </p><p>Rereading The Comedy of Errors<i>: </i>Bhrāntivilās <i>and Its Intertexts </i></p><p>Bhrāntivilās <i>and Feminist Readings of </i>Errors </p><p>Part II: Girishchandra Ghosh’s Macbeth </p><p>The Life and Career of Girishchandra Ghosh </p><p>Girishchandra Ghosh’s Macbeth<i>: A Case of Colonial Mimicry? </i></p><p>Conclusion </p><p>Contents </p><p>Conclusion </p><p>Adaptation Studies: Synchronic and Diachronic Approaches </p><p>Nationalist Cosmopolitanism and Post-Colonial Mimicry </p><p>Cross-Cultural Shakespeare and New Analytical Frameworks </p><p>Appendix 1 “Imitation” </p><p>Appendix 2 “Śakuntalā, Miranda, and Desdemona”</p><p>References</p><p>Index</p>