Remembering Shakespeare Imperially: The 1916 Tercentenary

Kahn, Coppélia

doi:10.1353/shq.2001.0060

Cited by 31 publications

(2 citation statements)

References 32 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…That thorough examination is well underway in Shakespeare studies. Remembering Shakespeare imperially – and submitting the plays to postcolonial critique – is now standard practice (Collier ; Kahn ; Maley , ; O'Connor ). It is also increasingly clear that empire and the quest for colonies was the basis of the early modern British expansion into Ireland that laid the foundations for a series of risings of which Easter 1916 forms a part (Armitage ; Williamson ).…”

Section: Resultsmentioning

confidence: 99%

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Maley

2016

Studies Ethnicity & National

View full text Add to dashboard Cite

It is a commonplace to speak of the dramatic qualities of the Easter Rising; the staging of rebellions inevitably attracts theatrical comparisons. In the case of 1916, the dramatic aspect has arguably been overplayed. Either the focus is on amateur dramatics and improvization, with the Rising itself as a piece of theatre, which plays down the history and politics as well as the rich theatrical traditions behind the Rising, or the emphasis is on a drama of martyrdom and grand gesture, a political passion‐play with Padraig Pearse at its centre, which erases many of the conflict's complexities. That 1916 also coincided with the three‐hundredth anniversary of Shakespeare's death – events in Dublin interrupted planned celebrations there by the English playwright's Irish admirers – prompts us to reflect on an approach to history as drama – and drama as history – that does not see theatre merely in terms of spectacle or violence, a theatricality that goes beyond caricature, character assassination, pantomime, or the politics of a Punch and Judy show. This article suggests that a reading of 1916 in the context of the ongoing critical debate around Shakespeare's dramatic depictions of the Irish has more to teach us than invocations of theatricality of a more limited kind.

show abstract

Section: Resultsmentioning

confidence: 99%

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Maley

2016

Studies Ethnicity & National

View full text Add to dashboard Cite

show abstract

“…(Service, 1953: 99) W hen the British-Canadian poet Robert William Service wrote his obituary for Shakespeare and Cervantes, the "strangeness" of their coincidental death dates may not have been felt as deeply as the poet claims. The event, which can be seen as challenging the monotheistic basis of bardolatry, had been fittingly commemorated in the Shakespeare Tercentenary, and the ascension to literary eternity of England's member of what Service terms the "transcendant team" had been the cause of celebration not just in Britain but throughout most of the Empire (Kahn, 2001). Because of its determination to remain neutral in the Great War the Spanish government had been less keen to stress the coincidence (Calvo, 2004), although the pairing of Cervantes and Shakespeare had featured sporadically in critical and pseudocritical tracts from as early as 1832 (Pujante, 2001).…”

Section: Introductionmentioning

confidence: 99%

Collaborative encounters? Two recent Spanish takes on the Shakespeare–Cervantes relationship

Gregor

2016

Palgrave Commun

View full text Add to dashboard Cite

In the context of the commemoration of the deaths of William Shakespeare and Miguel de Cervantes, this article reconsiders the relationship between these two national icons and its implications for the question of authorship. Since Anthony Burgess published his short story A Meeting in Valladolid in 1989, the possibility of an encounter, whether real or imaginary, between the two men, each learning from the other's fortes and mistakes, has proven an attractive and pervasive one. In Cervantes's own country Spain the idea of an encounter has given rise to (amongst other artifacts) a stage play called Miguel Will, by José Carlos Somoza in 1997, in which Cervantes helps Shakespeare compose a play about Don Quixote and Sancho, and a movie called Miguel y William, directed by Inés París in 2007, in which the romantic rivalry between the two authors is the inspiration for a collaborative theatrical endeavour. After briefly discussing these two texts and the scholarly and popular myths on which they are predicated, I go on to link them to the larger issues of biography, influence and intertextuality. While, with the possible exception of the lost Cardenio, there was no demonstrable collusion between Shakespeare and Cervantes, Miguel Will and Miguel y William seem to suggest alternative modes of "collaboration" that nonetheless fail to challenge or transcend still prevalent notions of writerly authority. This article is published as part of a collection to commemorate the 400th anniversary of William Shakespeare's death.

show abstract

Introduction: Memorialising Shakespeare, Memorialising Ourselves

Śmiałkowska

King

2021

Palgrave Shakespeare Studies

View full text Add to dashboard Cite

This introductory chapter starts by situating Shakespeare commemoration in the context of recent theory on cultural and collective memory. It then examines the relationship between literary memorialisation and the nation state before problematising commemoration events outside Europe in the context of postcolonial and decolonial theory. Commemoration events have become fraught, it suggests, because of a growing tendency to focus on the politics of the present. This presentist position, which typically represents the values and interests of the past and present as radically opposed to one another, presents challenges for traditional modes of memorialisation, which in the past have sought to demonstrate positive links and continuities between the literatures and cultures of past and present. The introduction concludes with a set of detailed summaries of the chapters in the volume.

show abstract

Remembering Shakespeare Imperially: The 1916 Tercentenary

Cited by 31 publications

References 32 publications

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Shakespeare, Easter 1916, and the Theatre of the Empire of Great Britain

Collaborative encounters? Two recent Spanish takes on the Shakespeare–Cervantes relationship

Introduction: Memorialising Shakespeare, Memorialising Ourselves

Contact Info

Product

Resources

About