12 Maurice Evans’s G.I. Hamlet: Analogy, Authority, and Adaptation

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Acknowledgments xi
5. Introduction: Theatre, War, Memory, and Culture 1
6. 1 German Shakespeare, the Third Reich, and the War 22
7. 2 Shakespearean Negotiations in the Perpetrator Society: German Productions of The Merchant of Venice during the Second World War 35
8. 3 Shylock, Palestine, and the Second World War 63
9. 4 ‘Caesar’s word against the world’: Caesarism and the Discourses of Empire 83
10. 5 Shakespeare and Censorship during the Second World War: Othello in Occupied Greece 106
11. 6 ‘In This Hour of History: Amidst These Tragic Events’ – Polish Shakespeare during the Second World War 122
12. 7 Pasternak’s Shakespeare in Wartime Russia 143
13. 8 Shakespeare as an Icon of the Enemy Culture in Wartime Japan, 1937–1945 163
14. 9 ‘Warlike Noises’: Jingoistic Hamlet during the Sino-Japanese Wars 180
15. 10 Shakespeare, Stratford, and the Second World War 199
16. 11 Rosalinds, Violas, and Other Sentimental Friendships: The Osiris Players and Shakespeare, 1939–1945 218
17. 12 Maurice Evans’s G.I. Hamlet: Analogy, Authority, and Adaptation 233
18. 13 The War at ‘Home’: Representations of Canada and of the Second World War in Star Crossed 252
19. 14 Shakespeare’s Merchant of Venice in Auschwitz 274
20. 15 Appropriating Shakespeare in Defeat: Hamlet and the Contemporary Polish Vision of War 286
21. Appendix: List of Productions 309
22. Contributors 315
23. Index 319