Offering a variety of perspectives on the history and role of Arab Shakespeare translation, production, adaptation and criticism, this volume explores both international and locally focused Arab/ic appropriations of Shakespeare's plays and sonnets. In addition to Egyptian and Palestinian theatre, the contributors to this collection examine everything from an Omani performance in Qatar and an Upper Egyptian television series to the origin of the sonnets to an English-language novel about the Lebanese civil war. Addressing materials produced in several languages from literary Arabic (fusha) and Egyptian colloquial Arabic ('ammiyya) to Swedish and French, these scholars and translators vary in discipline and origin, and together exhibit the diversity and vibrancy of this field.

Offering a variety of perspectives on the history and role of Arab Shakespeare translation, production, adaptation and criticism, this volume explores both international and locally focused Arab/ic appropriations of Shakespeare's plays and sonnets. In addition to Egyptian and Palestinian theatre, the contributors to this collection examine everything from an Omani performance in Qatar and an Upper Egyptian television series to the origin of the sonnets to an English-language novel about the Lebanese civil war. Addressing materials produced in several languages from literary Arabic (fusha) and Egyptian colloquial Arabic ('ammiyya) to Swedish and French, these scholars and translators vary in discipline and origin, and together exhibit the diversity and vibrancy of this field.

The roots of the Arab world's current Russian entanglements reach deep into the tsarist and Soviet periods. To explore those entanglements, this book presents and contextualizes a set of primary sources translated from Russian, Arabic, Armenian, Persian, French, and Tatar: a 1772 Russian naval officer's diary, an Arabic slave sale deed from the Caucasus, an interview with a Russian-educated contemporary Syrian novelist, and many more. These archival, autobiographical, and literary sources, all appearing in English for the first time, are introduced by specialists and in some cases by pairs of scholars with complementary language expertise. They highlight connections long obscured by disciplinary cleavages between Slavic and Middle East studies. Taken together, the thirty-four chapters of this book show how various Russian/Soviet and Arab governments sought to nurture political and cultural ties and expand their influence, often with unplanned results. They reveal the transnational networks of trade, pilgrimage, study, ethnic identity, and political affinity that state policies sometimes fostered and sometimes disrupted. Above all they give voice to some of the resourceful characters who have embodied and exploited Arab-Russian contacts: missionaries and diplomats, soldiers and refugees, students and party activists, scholars, and spies. A set of specially commissioned maps helps orient readers amid the expansion and collapse of empires, border changes, population transfers, and creation of new nation-states that occurred during the two centuries these sources cover.

For the past five decades, Arab intellectuals have seen themselves in Shakespeare's Hamlet: their times "out of joint," their political hopes frustrated by a corrupt older generation. "Hamlet's Arab Journey" traces the uses of "Hamlet" in Arabic theatre and political rhetoric, and asks how Shakespeare's play developed into a musical with a happy ending in 1901 and grew to become the most obsessively quoted literary work in Arab politics today. Explaining the Arab "Hamlet" tradition, Margaret Litvin also illuminates the "to be or not to be" politics that have turned Shakespeare's tragedy into the essential Arab political text, cited by Arab liberals, nationalists, and Islamists alike.

On the Arab stage, Hamlet has been an operetta hero, a firebrand revolutionary, and a muzzled dissident. Analyzing productions from Egypt, Syria, Iraq, Jordan, and Kuwait, Litvin follows the distinct phases of Hamlet's naturalization as an Arab. Her fine-grained theatre history uses personal interviews as well as scripts and videos, reviews, and detailed comparisons with French and Russian "Hamlets." The result shows Arab theatre in a new light. Litvin identifies the French source of the earliest Arabic "Hamlet," shows the outsize influence of Soviet and East European Shakespeare, and explores the deep cultural link between Egypt's Gamal Abdel Nasser and the ghost of Hamlet's father.

Documenting how global sources and models helped nurture a distinct Arab "Hamlet" tradition, "Hamlet's Arab Journey" represents a new approach to the study of international Shakespeare appropriation.