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1

PE URMELE PIESEI MACBETH ÎN LIMBA ROMÂNĂ. TRADUCEREA LUI VASILE DEMETRIUS

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MARTOLE D. M.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2015

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vol. 7

107-121

EN

The play Macbeth has been rendered in Romanian by ten translators and some of the printed versions are still read and used today. The translation that makes the object of our analysis is not one of these, but, rather, one that has been doomed to forgetfulness. The present paper aims at bringing back to memory both Vasile Demetrius, the translator, a hard working but failed intellectual that proved utterly unable to make his work visible, and the translation that shared the fate of its translator and stirred little interest at the time. This article is focused on the reestablishing of the historical truth regarding the publication of Demetrius’s version. At the same time, the text of the translation is analysed at all the levels of language, in an attempt to document the state of the Romanian language in the first half of the 20th century.

2

Ethnocentric Tendencies in the Romanian Translations of Macbeth

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Marțole D. M.

Messages, Sages and Ages

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2016

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vol. 3

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issue 1

72-80

EN

Starting from Venuti’s binary classification of translations into ethnocentric and foreignizing this paper focuses on the factors that trigger ethnocentric attitudes in the translation of the play Macbeth in Romanian. Counterbalancing the extremely neologist tendencies at the end of the 19th century and the beginning of the 20th century, exemplified in Ștefan Băjescu’s translation, most of the 20th century translators prove an inclination towards the use of local, ethnic elements, that should revive the national culture and language, the integrity of which was threatened by foreign elements. Ion Vinea’s translation, that was the canonical Romanian version for more than half a century, is analysed in the paper as the representative of the ethnocentric camp. Apart from the spontaneous reactions that are generally ruled by the laws of language change, other factors that lead to the fostering of ethnocentric views are the communist regime’s constrictive ideology and, at the micro level, the translator’s own linguistic and cultural perception.

3

An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience

100%

Pożar P.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2021

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vol. 24

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issue 39

87-104

EN

The paper proposes to appreciate the play’s butcheries as an incision into the unstable character of the category of the human. The vividness of the “strange images of death” is thus analysed with reference to the cultural poetics of Elizabethan theatre including its multifarious proximity to the bear-baiting arenas and execution scaffolds. The cluster of period’s cross-currents is subsequently expanded to incorporate the London shambles and its presumed resonance for the reception of Macbeth. Themes explored in the article magnify the relatedness between human and animals, underscore the porosity of the soon to turn modern paradigms and reflect upon the way Shakespeare might have played on their malleability in order to enhance the theatrical experience of the early 17th century. Finally, the questionable authority of Galenic anatomy in the pre- Cartesian era serves as a supplementary and highly speculative thread meant to suggest further research venues.

4

Ethnic Bias in the Reception of Adolphe Stern’S Translations of Hamlet and Macbeth

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Marțole D. M.

Messages, Sages and Ages

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2015

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vol. 2

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issue 1

38-46

EN

This paper focuses on the way in which cultural misrepresentations interfere with the reading of the Romanian versions of Shakespeare’s Hamlet and Macbeth by Adolphe Stern, a Romanian translator of Jewish descent. The two main critical articles are authored by two renowned intellectuals from the historic principality of Moldova, A.D. Xenopol and I. Botez. Despite the fact that the critical opinions issued in the two articles are not enrooted in ethnic discrimination, the potential negativity of the criticism is fully exploited by promoters of extreme nationalism. Two are the reasons that catalyse the negative valorisation of Stern’s translations: the growing xenophobic nationalism that influenced the political decisions at the end of the 19th century, on the one hand, and, on the other hand, the need to create a homogenous space for all Romanians, not only geographically, but also linguistically and culturally, translated in the emergence of a linguistic nationalism. Adolphe Stern, the embodiment of the foreigner, in spite of being born within the limits of the Romanian space, produces texts the value of which is denied, to compensate for the partial loss of identity inherent to all unification processes

5

Vulnerability analysis in critical infrastructures: A methodology

88%

Ferreira A.

Security and Defence Quarterly

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2019

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vol. 24

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issue 2

65-86

EN

Vulnerability assessment is a crucial aspect for the development of methodologies to define the levels of protection in critical infrastructures. Throughout this research, we discussed the concept of vulnerability and methodologies and processes for its assessment in critical infrastructures due to a terrorist threat. The research focused on the development of an analysis model, exploring a multi-criteria decision method, in order to limit the risks to the maximum extent possible. Through a qualitative research methodology, in which we applied an analysis model based on the Threat and Infrastructure dimensions and their respective factors, we verified that the vulnerability of a critical infrastructure consists in the probability of the success of an attack, conducted by a threat - properly identifi ed, characterised, analysed and categorised - against an infrastructure with certain characteristics, which value is defi ned by the user and aggressor’s point of view. The construction of an algorithmic model for vulnerability assessment, complemented by tools to support the calculations and records, allows, through a rational, scientific and algebraic process, a qualitative analysis of factors to be transformed into measurable and quantifi able values, whose algebraic operation integrates them into a final result that expresses, as a percentage, the degree of vulnerability of a critical infrastructure facing a terrorist threat.

6

Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History

88%

Fabiszak J.

Anglica. An International Journal of English Studies

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2016

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issue 25/3

97-106

EN

Andrzej Wajda is a renown Polish theatre and ﬁlm director, whose achievements have been recognised by theatre and ﬁlm artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were ﬁrst staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed signiﬁcant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very signiﬁcant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most signiﬁcant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a diﬀerence in their life, touches upon both getting old and a long-term marriage.

7

Moving Borders, Changing Perspective. P. P. Carp’s Translations of Macbeth into Romanian

88%

Martole D.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2019

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vol. 11

255-267

EN

Shakespeare‘s Macbeth was translated into Romanian by at least ninetranslators, beginning with 1850, when the first Romanian translationwas published, and ending with the year 2014. P.P. Carp, an importantpolitical and cultural figure of the second half of the 19th centuryRomania, was the second translator of the play, and the first to haveused an English original version and not a French or Germanintermediary text. Our paper deals mainly with the first publication ofhis translation of the play in 1864 and touches upon the second editionpublished in 1886. We focus on the way in which some major andaccelerated changes in the Romanian language of the period arereflected in the text of the translation and, in spite of its subsequentsevere criticism, on Carp‘s linguistic competence and literary skill.

8

Macbeth, petty bourgeois

75%

Wild J.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue Special_Issue

209-221

EN

Thirty years after the fall of the Iron Curtain in 1989, Macbeth appears to be paradigmatic for the post-Communist Slovak Shakespeare. Several productions have made the play a playground to explore the world in new terms (gender issues, grotesque, social identity). The focus of this paper is on a 1999 production in Nitra which fashioned Macbeth as an Ubuesque petty bourgeois.

9

Time and Age as Protagonists in Sophocles’ Oedipus Coloneus

75%

Schade G.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2014

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vol. 24

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issue 2

5-14

PL

Sophocles’ second Oedipus-play clearly relates to the first; it holds, however, a particular place in literary history, for it was the last play to be included into the canon of classical Attic tragedy. Moreover, the play shows another peculiarity: though the idea that death can be preferable to life is familiar to all Sophoclean protagonists, Oedipus was the only one allowed to get old, a process depicted quite realistically by old Sophocles. Oedipus’ self-explanation, however, that he suffered himself more than he really acted, resembles much a Catch-22 situation: if that were the case in those days, as Oedipus says that it was, he then was crazy and didn’t have to do what he did; but if he didn’t want to do what he did then, he was sane and had to do it, because the gods wanted him to do it. The proposed new reading of the play shows how time and age work on Oedipus’ frame of mind: a desire for whitewashing is acted out in a blame-game, awareness of what is to come is coupled with rather a hesitant manner as though he is slightly unsure of himself (what he is not), and eventually, being out of touch with time and fearing to be left alone make Oedipus curse, for he had been treated unjustly: Oedipus comes close to Shakespeare’s King Lear, though he does not go mad, he only becomes bad and dangerous to know.

10

Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s "Macbeth" in the Ewe language of West Africa

75%

Agbozo G. E.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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vol. 18

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issue 33

43-56

EN

The cultural turn in translation theory brought attention to the idea that translation is not a purely linguistic phenomenon but one that is also constrained by culture. The cultural turn considers translation as a rewriting of an original text. In this paper, I attempt to find reflections of the cultural turn in a translation into an African language. As such, the paper reads William Shakespeare’s Macbeth in the Ewe language of West Africa, Shakespeare ʄe Makbet, as rewriting. Walter Blege is the translator and the Bureau of Ghana Languages is the publisher of the target text meant for Ewe language audience in Ghana. The target text is for learning and acquiring the Ewe language especially in the area of developing reading comprehension skills. Following Andre Lefevere and Jeremy Munday, this paper suggests that Shakespeare ʄe Makbet is a rewritten text as it follows some cultural constraints in its translation. The study provides insight into the motivations for some of the translator/rewriter’s choices. Given the less attention paid to the Ewe language and many other African languages, the paper proposes translation as a socio-psychological tool for revitalizing interest in the learning and acquisition of African and other lesser-known languages.

11

Re-Working Shakespeare: Heiner Müller’s Macbeth

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Nicolaescu M.

American, British and Canadian Studies Journal

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2015

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vol. 25

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issue 1

119-131

EN

This article focuses on particular meanings of the term “work,” as related first to the process of adapting Shakespeare and secondly to the ideological and philosophical resonances of this term as employed in the socialist propaganda in East Germany and which Heiner Müller introduces into Shakespeare’s text and gives an ironical twist to. In the first part it points to a few aspects of East German doctrinaire readings of Shakespeare, which were further contested and deconstructed in Müller’s translation cum adaptation. The final part zooms in on the reconfiguring of the established meanings attached to the concept of work in Müller’s rewriting of Macbeth and on the relation between these meanings and the philosophy of history he proposes in his adaptation.

12

Textuality, heritage, and identity in Hungary: contexts for the interpretation of Szikszai's insertion in Macbeth (2018)

63%

Almási Z.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue Special_Issue

222-238

EN

The present essay explores the textual politics and politicised textuality in Rémusz Szikszai's Macbeth, which premiered in a public theatre, the Jászai Mari Theatre, Tatabánya, Hungary in 2018, then in 2019 moved to the Szkéné Theatre, Budapest. In the focus of this exploration is a textual insertion by the director which took the form of Duncan's speech regarding changing the method of succession in Scotland. This insertion is analysed in light of interpretive traditions in the context of changes in Hungarian theatre culture since 1989, the relationship between the theatre and the state, and especially in the context of political tropes appearing in Shakespeare productions. Two conclusions will follow from the analysis with respect to the added text. The first of these is connected to the moderately liberal textual strategy of this insertion, which is responsible for the political orientation of the production. The second is the reconsideration of the gravity of the insertion appreciated in a larger historical context as well as in the particular context of the production.

13

Some Japanese Shakespeare Productions in 2014-15

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Kawai S.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2016

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vol. 14

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issue 29

13-28

EN

This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced by the writer himself in a theatre-in-the-round in his new translation. Another is a production of Macbeth arranged and directed by Mansai Nomura the Kyogen performer. All the characters besides Macbeth and Lady Macbeth were performed by the three witches, suggesting that the whole illusion was produced by the witches. It was highly acclaimed worldwide. Another is a production of Hamlet directed by Yukio Ninagawa, with Tatsuya Fujiwara in the title role. It was brought to the Barbican theatre. There were also many other Shakespeare productions to commemorate the 450th anniversary of Shakespeare’s birth.

14

Noh Creation of Shakespeare

63%

Munakata K.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2016

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vol. 14

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issue 29

87-106

EN

This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.

15

A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth

63%

Palomo Berjaga V.

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2017

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vol. 16

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issue 31

29-40

EN

Josep Maria de Sagarra translated twenty-eight of Shakespeare’s plays into Catalan in the early forties, at a time when Catalan language and culture were suffering severe repression due to Franco’s regime. The manuscript of Macbeth by Sagarra is from 1942; and the first edition (an impressive hard-bound clandestine edition) is from 1946 or 1947. Before his translation, there were three other Catalan translations of Macbeth, produced by Cebrià Montoliu (1907), Diego Ruiz (1908) and Cèsar August Jordana (1928). The main purpose of this article is to show that Sagarra’s translations marked a turning point regarding the translation of Shakespeare’s works in Catalan culture. This is done by reflecting on both cultural and personal circumstances that led Sagarra to translate Shakespeare and by comparing Sagarra’s translation of Macbeth with the other three from the first half of the twentieth century.

16

Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”

63%

Tink J.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2021

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vol. 24

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issue 39

71-85

EN

Throughout Jan Kott’s Shakespeare Our Contemporary, a keyword for the combination of philosophical, aesthetic and modern qualities in Shakespearean drama is “grotesque.” This term is also relevant to other influential studies of early-modern drama, notably Mikhail Bakhtin’s idea of the carnivalesque, as well as Wolfgang Kayser’s psychoanalytic criticism. Yet if this tradition of the Shakespearean grotesque has problematized an idea of the human and of humanist values in literature, can this also be understood in posthuman terms? This paper proposes a reading of Kott’s criticism of the grotesque to suggest where it indicates a potential interrogation of the human and posthuman in Shakespeare, especially at points where the ideas of the grotesque or absurdity indicate other ideas of causation, agency or affect, such as the “grand mechanism” It will then argue for the continuing relevance of Kott’s work by examining a recent work of Shakespearean adaptation as appropriation, the 2016 novel Macbeth, Macbeth by Ewan Fernie and Simon Palfrey which attempts a provocative and transgressive retelling of Macbeth that imagines a ‘sequel’ to the play that emphasises ideas of violence and ethics. The paper argues that this creative intervention should be best understood as a continuation of Kott’s idea of the grotesque in Shakespeare, but from the vantage point of the twenty-first century in which the grotesque can be understood as the modification or even disappearance of the human. Overall, it is intended to show how the reconsideration of the grotesque may elaborate questions of being and subjectivity in our contemporary moment just as Kott’s study reflected his position in the Cold War.

17

Shakespeare in the post-1989 Hungarian Puppet Scene

51%

Reuss G.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2021

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vol. 24

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issue Special_Issue

151-170

EN

Although according to popular belief puppet theatre is a children's amusement while Shakespeare traditionally belongs to live theatre, in Hungary the two acting traditions seem to come together in the 2000s, bringing positive changes in both spheres. Theatre practitioners elsewhere in the Central European region have already experimented with ‘the third genre' (JURKOWSKI 2014: 33), namely, a new way of theatrical expression featuring actors and puppet elements on stage. Indeed, talented theatre directors could often find no work in any other domain. In Hungary, where puppet theatres were obliged to cater to no one else but a very young audience and were thus for the general adult spectatorship often overlooked, the time has come only in the post-1989 decades to explore this new and highly metaphorical theatrical language. The era has produced changes in puppetry training and puppetry as educational medium. Within this environment, relatively few stagings of Shakespeare were produced, although these included remarkable productions by Krofta and Balogh in 2006, and by Somogyi and Szikszai in 2018.

18

Bezdomni zmarli: rzecz o Szekspirowskich widmach

51%

Grzegorzewska M.

Prace Filologiczne. Literaturoznawstwo

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2012

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issue 2(5)

257-270

EN

The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.

19

„Jeśli umiecie – mówcie: kim jesteście?”. O Wiedźmach w wybranych polskich inscenizacjach Makbeta

51%

Kowalski T.

Polonistyka. Innowacje

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2021

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issue 14

163-172

EN

The paper focuses on The Witches as they are depicted in Macbeth by William Shakespeare and in three Polish productions of the play from the first decade of the 21st century (directed by Andrzej Wajda, Grzegorz Jarzyna, and Maja Kleczewska). While pointing out an equivocal status of these characters in the tragedy, the author analyses selected scenes which present various ways of interpreting their encounters with the protagonist in contemporary perspective and suggests how literary education in school might benefit from referring to recent productions of Macbeth.

PL

Rozważania prowadzone w artykule skupiają się na postaciach Wiedźm w Makbecie Williama Szekspira oraz trzech jego inscenizacjach z pierwszej dekady XXI wieku (wyreżyserowanych przez Andrzeja Wajdę, Grzegorza Jarzynę i Maję Kleczewską). Wychodząc od niejasnego statusu postaci w samej tragedii, autor analizuje wybrane sceny ukazujące różne sposoby interpretowania ich spotkań z tytułowym bohaterem ze współczesnej perspektywy oraz sygnalizuje korzyści, jakie dydaktyka szkolna może czerpać z odwoływania się do współczesnych inscenizacji Makbeta.

20

Gdy przekład zaciera ślady – Szekspir jako kryptokatolik i jego tłumacze

51%

Gomola A.

Roczniki Humanistyczne

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2016

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vol. 64

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issue 8: Lingwistyka korpusowa i translatoryka

159-178

EN

The article explores Polish translations of excerpts of selected Shakespeare’s plays and sonnets revealing, according to proponents of “Lancastrian Shakespeare” theory, his pro-Catholic sympathies to see to what extent historical-religious tropes to be found in them are retained in target texts. Allusions to Edmund Campion (The Twelfth Night), Henry Garnet (Macbeth), and Anne Line (The Tempest) are discussed as they appear both in most popular and less known Polish translations of Shakespeare. The analysis shows that certain allusions suggesting Shakespeare’s crypto-Catholicism are visible in Polish translations yet quite a few, especially double entendres, disappear.

PL

Artykuł analizuje polskie tłumaczenia wybranych fragmentów twórczości Szekspira wskazujących, według zwolenników teorii lancasterskiej, na jego kryptokatolicyzm. W części pierwszej przedstawia najważniejsze tezy teorii lancasterskiej i jej skutki dla interpretacji twórczości Szekspira. Później analizuje, jak w polskich tłumaczeniach oddano aluzje do dwóch jezuitów – Edmunda Campiona (Wieczór Trzech Króli) i Henry’ego Garneta (Makbet) oraz do Anny Line (Burza). W analizie uwzględniono tłumaczenia najpopularniejsze (Słomczyński, Barańczak, Sito), jak i mniej znane, w tym najnowsze (Dygat, Siwicka, Kamiński). Krótkiej analizie poddano także tłumaczenia Sonetu 73. Artykuł dowodzi, że przekłady polskie zachowują zazwyczaj konotacje oryginału, gdy te odnoszą się do elementów pozatekstualnych, zatarciu ulegają natomiast konotacje będące wynikiem gry słów lub związane ze strukturą języka oryginału.

FR

L’article explore les traductions polonaises des extraits des pièces et sonnets de Shakespeare révélant, d’après les proposants de la théorie du « Lancastrian Shakespeare », ses sympathies pro-catholiques. La première partie présente les points les plus importants de la théorie lancastrienne et son impact sur l’interpretation de l’œuvre de Shakespeare. La partie suivante analyse les allusions à deux jésuites, Edmund Campion (La Nuit des rois) et Henry Garnet (Macbeth), ainsi qu’à Anne Line (La Tempête). Ces allusions sont analysées puisqu’elles apparaissent tant dans les traductions polonaises les plus connues (tels Słomczyński, Barańczak, Sito) que dans les traductions moins répandues (à savoir Dygat, Siwicka, Kamiński). De surcroît, le Sonnet no 73 est brièvement analysé. L’étude montre que certaines connotations du texte source sont gardées, lorsqu’elles se réfèrent à des éléments extratextuels; néanmoins, beaucoup de connotations, en particulier celles basées sur les jeux de mots, disparaissent.

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PE URMELE PIESEI MACBETH ÎN LIMBA ROMÂNĂ. TRADUCEREA LUI VASILE DEMETRIUS

Ethnocentric Tendencies in the Romanian Translations of Macbeth

An Unexpected Journey “from the naves to the chops”: “Macbeth”, Animal Trade, and Theatrical Experience

Ethnic Bias in the Reception of Adolphe Stern’S Translations of Hamlet and Macbeth

Vulnerability analysis in critical infrastructures: A methodology

Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History

Moving Borders, Changing Perspective. P. P. Carp’s Translations of Macbeth into Romanian

Macbeth, petty bourgeois

Time and Age as Protagonists in Sophocles’ Oedipus Coloneus

Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s "Macbeth" in the Ewe language of West Africa

Re-Working Shakespeare: Heiner Müller’s Macbeth

Textuality, heritage, and identity in Hungary: contexts for the interpretation of Szikszai's insertion in Macbeth (2018)

Some Japanese Shakespeare Productions in 2014-15

Noh Creation of Shakespeare

A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth

Horrible Imaginings: Jan Kott, the Grotesque, and “Macbeth, Macbeth”

Shakespeare in the post-1989 Hungarian Puppet Scene

Bezdomni zmarli: rzecz o Szekspirowskich widmach

„Jeśli umiecie – mówcie: kim jesteście?”. O Wiedźmach w wybranych polskich inscenizacjach Makbeta

Gdy przekład zaciera ślady – Szekspir jako kryptokatolik i jego tłumacze