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The ten essays collected in this book manifest the current global
interest for trans-border dialogues and trace the origins and
development of Italian and Bengali internationalisms in the period
from the mid-19th to the early 20th century. Despite having
differing political statuses and lacking a shared geographical or
historical space, Bengal and Italy remained uniquely connected and,
at times, actively sought to transcend different kinds of
constraints in their search for a significant dialogue and mutual
enrichment in the fields of literature, music, architecture, art,
cinema, diplomacy, entrepreneurship, travels, education and
intellectual engagement. In this context, the volume confronts
strategies of evaluation adopted by prominent representatives of
the Bengali and Italian cultural environments with particular
emphasis on readings embedded in the moment of contact. Both
regions benefited from this ‘elective affinity’ as they
advanced along their respective paths towards a fuller awareness of
their specific identity, and thus set a positive example of
transcultural understanding which may provide inspiration in
today’s world.
This volume critically analyses and theorises Asian interventions
in the expanding phenomenon of Global Shakespeare. It interrogates
Shakespeare's 'universality' from Asian perspectives: how this has
been modified or even replaced by the 'global bard' as a
recognisable brand, and how Asian Shakespeares have contributed to
or subverted this process by both facilitating the worldwide
dissemination of the bard's plays and challenging and resisting the
very templates through which they become globally legible.
Critically acclaimed Asian productions have prominently figured at
premier Western festivals, and popular Asian appropriations like
Bollywood, manga and anime have created new kinds of globally
accessible Shakespeare. Essays in this collection engage with the
emergent critical issues: the efficacy of definitions of the
'local', 'global', 'transnational' and 'cosmopolitan' and of the
liminalities and mobilities in between. They further examine the
politics of 'West' and 'East', the evolving markers of the 'Asian'
and the equation of the 'glocal' with the 'Asian'; they attend to
performance and archiving protocols and bring the current debates
on translation, appropriation, and world literature to speak to the
concerns of global and transnational Shakespeare. These
investigations analyse recent innovative Asian theatre productions,
popular cinematic and manga appropriations and the increasing
presence of Shakespeare in the Asian digital sphere. They provide
an Asian standpoint and lens in rereading the processes of cultural
globalisation and the mobilisation of Shakespeare.
This volume critically analyses and theorises Asian interventions
in the expanding phenomenon of Global Shakespeare. It interrogates
Shakespeare's 'universality' from Asian perspectives: how this has
been modified or even replaced by the 'global bard' as a
recognisable brand, and how Asian Shakespeares have contributed to
or subverted this process by both facilitating the worldwide
dissemination of the bard's plays and challenging and resisting the
very templates through which they become globally legible.
Critically acclaimed Asian productions have prominently figured at
premier Western festivals, and popular Asian appropriations like
Bollywood, manga and anime have created new kinds of globally
accessible Shakespeare. Essays in this collection engage with the
emergent critical issues: the efficacy of definitions of the
'local', 'global', 'transnational' and 'cosmopolitan' and of the
liminalities and mobilities in between. They further examine the
politics of 'West' and 'East', the evolving markers of the 'Asian'
and the equation of the 'glocal' with the 'Asian'; they attend to
performance and archiving protocols and bring the current debates
on translation, appropriation, and world literature to speak to the
concerns of global and transnational Shakespeare. These
investigations analyse recent innovative Asian theatre productions,
popular cinematic and manga appropriations and the increasing
presence of Shakespeare in the Asian digital sphere. They provide
an Asian standpoint and lens in rereading the processes of cultural
globalisation and the mobilisation of Shakespeare.
This book is the first to explore the rich archive of Shakespeare
in Indian cinemas, including less familiar, Indian language cinemas
to contribute to the assessment of the expanding repertoire of
Shakespeare films worldwide. Essays cover mainstream and regional
Indian cinemas such as the better known Tamil and Kannada, as well
as the less familiar regions of the North Eastern states. The
volume visits diverse filmic genres, starting from the earliest
silent cinema, to diasporic films made for global audiences,
television films, independent films, and documentaries, thus
expanding the very notion of 'Indian cinema' while also looking at
the different modalities of deploying Shakespeare specific to these
genres. Shakespeareans and film scholars provide an alternative
history of the development of Indian cinemas through its
negotiations with Shakespeare focusing on the inter-textualities
between Shakespearean theatre, regional cinema, performative
traditions, and literary histories in India. The purpose is not to
catalog examples of Shakespearean influence but to analyze the
interplay of the aesthetic, historical, socio-political, and
theoretical contexts in which Indian language films have turned to
Shakespeare and to what purpose. The discussion extends from the
content of the plays to the modes of their cinematic and
intermedial translations. It thus tracks the intra-Indian flows and
cross-currents between the various film industries, and intervenes
in the politics of multiculturalism and inter/intraculturalism
built up around Shakespearean appropriations. Contributing to
current studies in global Shakespeare, this book marks a discursive
shift in the way Shakespeare on screen is predominantly theorized,
as well as how Indian cinema, particularly 'Shakespeare in Indian
cinema' is understood.
This book is the first to explore the rich archive of Shakespeare
in Indian cinemas, including less familiar, Indian language cinemas
to contribute to the assessment of the expanding repertoire of
Shakespeare films worldwide. Essays cover mainstream and regional
Indian cinemas such as the better known Tamil and Kannada, as well
as the less familiar regions of the North Eastern states. The
volume visits diverse filmic genres, starting from the earliest
silent cinema, to diasporic films made for global audiences,
television films, independent films, and documentaries, thus
expanding the very notion of 'Indian cinema' while also looking at
the different modalities of deploying Shakespeare specific to these
genres. Shakespeareans and film scholars provide an alternative
history of the development of Indian cinemas through its
negotiations with Shakespeare focusing on the inter-textualities
between Shakespearean theatre, regional cinema, performative
traditions, and literary histories in India. The purpose is not to
catalog examples of Shakespearean influence but to analyze the
interplay of the aesthetic, historical, socio-political, and
theoretical contexts in which Indian language films have turned to
Shakespeare and to what purpose. The discussion extends from the
content of the plays to the modes of their cinematic and
intermedial translations. It thus tracks the intra-Indian flows and
cross-currents between the various film industries, and intervenes
in the politics of multiculturalism and inter/intraculturalism
built up around Shakespearean appropriations. Contributing to
current studies in global Shakespeare, this book marks a discursive
shift in the way Shakespeare on screen is predominantly theorized,
as well as how Indian cinema, particularly 'Shakespeare in Indian
cinema' is understood.
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