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This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre.


This article examines two huaju performances of Shakespeare—The Tragedy of Coriolanus (2007) and King Lear (2006), which are good examples of cultural exchanges between East and West, integrating Shakespeare into contemporary Chinese culture and politics. The two works provide distinctive approaches to the issues of identity in intercultural discourse. At the core of both productions lies the fundamental question: “Who am I?” At stake are the artists’ personal and cultural identities as processes of globalisation intensify. These performances not only exemplify the intercultural productivity of Shakespearean texts, but more critically, illustrate how Shakespeare and intercultural discourses are internalized and reconfigured by the nation and culture that consume and re-produce them. Chinese adaptations of Coriolanus and King Lear demonstrate how (intercultural) identity is constructed through the subjectivity and iconicity of Shakespeare’s characters and the performativity of Shakespeare’s texts.

. Diacritics 16.1 (1986): 22-27. Originally published as “Des Espace Autres (Conférence au Cercle d’études architecturales, 14 March 1967).” Architecture, Mouvement, Continuité 5 (1984): 46-49. Gallen, Claire. “Charlie Hebdo, radicalisation marginale ou raté de l’intégration?” Le . 13 January 2015. 10 September 2015. < >. Gervot, Christophe. “‘Roméo et Juliette’ à la Comédie-Française: précipice amoureux”. Fragil. 26 August 2016. 19 July 2017

the European Historical Avant-Gardes . Oxford: Peter Lang, 2014. Cinpoeş, Nicoleta and Janice Valls-Russell, eds. Europe’s Shakespeare(s): A Special Issue. Cahiers Élisabéthains 96 (2018). “City Freedoms.” City of London. 7 July 2016. 15 October 2018. < >. Coenders, Marcel and Peer Scheepers. “Changes in Resistance to the Social Integration of Foreigners in Germany 1980-2000: Individual and Contextual Determinants.” Journal of Ethnic and Migration

. Cambridge: Cambridge University Press, 1994. Georgopoulou, Xenia. Gender Issues in Shakespeare’s Theatre and the Renaissance. Athens: Papazisis, 2010. Habgood, Matthew Peter Jacob. “The Effective Integration of Digital Games and Learning Content” Diss. University of Nottingham, 2007. Heliö, Satu. “Role-Playing: A Narrative Experience and a Mindset” Beyond Role and Play: Tools, Toys and Theory for Harnessing the Imagination. Eds. Markus Montola and Jaakko Stenros. Helsinki Ropecon Ry 2004. 65-74. Holderness, Graham. Visual Shakespeare: Essays in Film and Television


Although scholars in the Netherlands have already attempted to integrate literary theories on migration with the specific Dutch context, none such attempts have so far been made for Flemish literature. The current paper therefore scrutinises the novel Los by Tom Naegels, an (autobiographical) account of the riots in Borgerhout (Antwerp) after the murder on Islam teacher Mohamed Achrak in 2002. As the author also covered these events as a journalist, the analysis investigates the manner in which this topical matter is intertwined with the more personal story about the struggle conducted by Naegels’s grandfather for euthanasia. The paper leans on Jérôme Meizoz’s posture theory, which differentiates the author figure from the biographical person and the narrator. In addition, the novel is situated within the contemporary literary return towards realism and Flemish literature’s negotiation of Flemish identity. By focussing on these three elements – the theme of migration, realism and Flemish identity – the paper attempts to contribute to the development of a literary theory on migration in Flanders.

References Duński, P. 2015. “Badanie opinii publicznej na temat integracji obywateli państw afrykańskich w Polsce. The Public Opinion Research Results on the Integration of Citizens of African Countries in Poland.” 11 July 2017. <>. Średziński, P. 2011. “Afryka i jej mieszkańcy w polskich mediach. Africa and its Inhabitants in Polish Media.” 11 July 2017. <>. Agaciak, A. 2015. “Egzotyczna piękność z Ukrainy promuje Niepołomice na świecie” [Exotic Beauty from Ukraine

offer that differentiates them from their competitors, and it enhances their research in the fields of the humanities and the social sciences. • It contributes to the Catalan university system an important piece of its internationalisation, as it helps Catalan universities establish valuable relationships with their counterparts abroad, it facilitates the integration of international students, it enhances the mobility of academic staff, and constitutes a significant means for the international dissemination of Catalan research production in the humanities and