Nathaniel Merriman’s lecture: “Shakspeare, as Bearing on English History”
- Authors: Wright, Laurence
- Date: 2009
- Language: English
- Type: text , article
- Identifier: vital:7060 , http://hdl.handle.net/10962/d1007424 , http://hdl.handle.net/10520/EJC48132
- Description: preprint , “Shakspeare, as Bearing on English History” is the second of two lectures on Shakespeare given by Archdeacon Nathaniel Merriman in Grahamstown in 1857. The first was delivered in the Court House on the 2nd September 1857, and the second two months later, on Friday 6th November that same year, again in the Court House. The lecture was published in 1858. An article placing the lectures in their local context appeared in Shakespeare in Southern Africa 20 (2008): 25-37, accompanying an annotated edition of the first lecture, “On the Study of Shakspeare”. Readers desiring details of the editorial principles adopted in producing annotated editions of the two lectures are referred to the introductory material prefacing the first lecture.
- Full Text:
- Date Issued: 2009
- Authors: Wright, Laurence
- Date: 2009
- Language: English
- Type: text , article
- Identifier: vital:7060 , http://hdl.handle.net/10962/d1007424 , http://hdl.handle.net/10520/EJC48132
- Description: preprint , “Shakspeare, as Bearing on English History” is the second of two lectures on Shakespeare given by Archdeacon Nathaniel Merriman in Grahamstown in 1857. The first was delivered in the Court House on the 2nd September 1857, and the second two months later, on Friday 6th November that same year, again in the Court House. The lecture was published in 1858. An article placing the lectures in their local context appeared in Shakespeare in Southern Africa 20 (2008): 25-37, accompanying an annotated edition of the first lecture, “On the Study of Shakspeare”. Readers desiring details of the editorial principles adopted in producing annotated editions of the two lectures are referred to the introductory material prefacing the first lecture.
- Full Text:
- Date Issued: 2009
Umabatha: Zulu play or Shakespeare translation?
- Authors: Wright, Laurence
- Date: 2009
- Language: English
- Type: text , article
- Identifier: vital:7062 , http://hdl.handle.net/10962/d1007426 , https://www.taylorfrancis.com/books/e/9781351963381/chapters/10.4324%2F9781315264219-12
- Description: preprint , There can be few recent theatrical productions in greater need of interpretative effort than Welcome Msomi’s Umabatha. From its inception debate has raged over the cultural status of the production: was it an authentic expression of Zulu culture, or a tacky piece of ‘blacksploitation’? – to use Russell Vandenbroucke’s term. Was the production pleasing evidence of Shakespeare’s universality, a gift to the colonies returning joyfully to the motherland with interest accruing? Could it perhaps be a case of Zulu culture triumphing over Shakespeare, native invention swamping and overwhelming a colonially-imposed ‘high culture’? Was the show performing ‘Africa’ for the world and, if so, was this the way Africa ought to be represented in the twentieth century? Or were we perhaps looking at a fetishized theatrical commodity, wrenched from any authentic cultural roots, and circulating aimlessly but profitably through a globalised theatrical cosmopolis? Such speculative questions – and there are many others – have regularly jostled each other in the bulky heritage of Umabatha’s reception history. The central problem underlying this chapter is whether it might not be possible to define a basis for a more objective response to some of them, so that the issues involved no longer rest quite so slackly in the realm of mere critical opinion.
- Full Text:
- Date Issued: 2009
- Authors: Wright, Laurence
- Date: 2009
- Language: English
- Type: text , article
- Identifier: vital:7062 , http://hdl.handle.net/10962/d1007426 , https://www.taylorfrancis.com/books/e/9781351963381/chapters/10.4324%2F9781315264219-12
- Description: preprint , There can be few recent theatrical productions in greater need of interpretative effort than Welcome Msomi’s Umabatha. From its inception debate has raged over the cultural status of the production: was it an authentic expression of Zulu culture, or a tacky piece of ‘blacksploitation’? – to use Russell Vandenbroucke’s term. Was the production pleasing evidence of Shakespeare’s universality, a gift to the colonies returning joyfully to the motherland with interest accruing? Could it perhaps be a case of Zulu culture triumphing over Shakespeare, native invention swamping and overwhelming a colonially-imposed ‘high culture’? Was the show performing ‘Africa’ for the world and, if so, was this the way Africa ought to be represented in the twentieth century? Or were we perhaps looking at a fetishized theatrical commodity, wrenched from any authentic cultural roots, and circulating aimlessly but profitably through a globalised theatrical cosmopolis? Such speculative questions – and there are many others – have regularly jostled each other in the bulky heritage of Umabatha’s reception history. The central problem underlying this chapter is whether it might not be possible to define a basis for a more objective response to some of them, so that the issues involved no longer rest quite so slackly in the realm of mere critical opinion.
- Full Text:
- Date Issued: 2009
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