This book is the first collection of research in English devoted to interpretations of Shakespeare’s works in all three Baltic countries, using historical, structural and comparative analysis. The purpose of this edited collection, written by leading Shakespeare researchers in the Baltics, is to introduce international readers to the unique experience of Baltic theatre, to analyse the importance of Shakespeare’s appropriation during the process of development of Baltic national culture, and to highlight the key tendencies and personalities involved in this process. This book will provide rich informative and analytical material for students, teachers, lecturers and researchers of Shakespeare, as well as theatre theoreticians and practitioners.

This book is the first collection of research in English devoted to interpretations of Shakespeare's works in all three Baltic countries, using historical, structural and comparative analysis. The purpose of this edited collection, written by leading Shakespeare researchers in the Baltics, is to introduce international readers to the unique experience of Baltic theatre, to analyse the importance of Shakespeare's appropriation during the process of development of Baltic national culture, and to highlight the key tendencies and personalities involved in this process. This book will provide rich informative and analytical material for students, teachers, lecturers and researchers of Shakespeare, as well as theatre theoreticians and practitioners.

This eighth volume of The Shakespearean International Yearbook presents a special section on European Shakespeares, which highlights how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. Contributors to this issue come from Europe, North America, South Africa, and India. In addition to the section on European Shakespeares, essays in this volume consider issues of character and the genre of romance, and other topics.

In this book, Albright, one of today's most intrepid explorers of the border territory between literature and music, offers insights into how composers of genius can help us to understand Shakespeare.

The Shakespearean World takes a global view of Shakespeare and his works, especially their afterlives. Constantly changing, the Shakespeare central to this volume has acquired an array of meanings over the past four centuries. "Shakespeare" signifies the historical person, as well as the plays and verse attributed to him. It also signifies the attitudes towards both author and works determined by their receptions. Throughout the book, specialists aim to situate Shakespeare’s world and what the world is because of him. In adopting a global perspective, the volume arranges thirty-six chapters in five parts: Shakespeare on stage internationally since the late seventeenth century; Shakespeare on film throughout the world; Shakespeare in the arts beyond drama and performance; Shakespeare in everyday life; Shakespeare and critical practice. Through its coverage, The Shakespearean World offers a comprehensive transhistorical and international view of the ways this Shakespeare has not only influenced but has also been influenced by diverse cultures during 400 years of performance, adaptation, criticism, and citation. While each chapter is a freshly conceived introduction to a significant topic, all of the chapters move beyond the level of survey, suggesting new directions in Shakespeare studies – such as ecology, tourism, and new media – and making substantial contributions to the field. This volume is an essential resource for all those studying Shakespeare, from beginners to advanced specialists.

The volume offers a variety of new interpretations of a selection of well-known and culturally established works of verbal and visual culture. It demonstrates how the two spheres of literature and broadly understood art, as well as the two qualities of old and new, interfuse, affect, re-shape, and complement each other. The focus here is particularly directed towards the perception of the canonical texts of culture by the modern, often young, addressee. Who are the Old Masters? Are contemporary works of art influenced by them? Is it possible to create ‘new classics’ without reference to the established conventions? These basic questions serve as a starting point for a stimulating academic discussion and a vibrant intellectual exchange.

Although Estonia, Latvia and Lithuania are culturally distinct, they share a common theatre history characterized by resistance, first as a response to Nazi occupation, then as an ideological weapon countering their annexation under strict Soviet ideology. This comprehensive overview of contemporary theatre in the Baltic states includes interviews with major directors, writers, academics and critics, critiques of significant performances, and historical information to familiarize readers with the region. It not only discusses the political ramifications of the three countries' transition from occupied Soviet states to independent members of the European Union, but also addresses the aesthetic, cultural and national issues associated with the move to independence and the adaptation of a Western economic model. More than an introduction, this book is a forum for ideas as well as a detailed, first-hand account of the current scene in Baltic theatre. While useful for anyone interested in contemporary theatre, it is also essential reading for those interested in Baltic studies, post-Soviet cultural history, and recent trends in East European literature.

This study analyses the Finnish National Theatre’s activities throughout the decades during which the post-war generation with its new societal and theatrical views was rising to power, and during which Europe, divided by the Iron Curtain, was maturing to break the boundaries dividing it. Pirkko Koski summarizes the activities of the Finnish National Theatre as a cultural factor and as a part of the Finnish theatre field during 1970s and 1980s. Alongside this he examines the general requirements, resources and structures for activity, including artists, places, geographical position, performances and the analysis on the societal conditions. This book will be of great interest to scholars and students of European theatre and history.

Is research on antisemitism even necessary in countries with a relatively small Jewish population? Absolutely, as this volume shows. Compared to other countries, research on antisemitism in the Nordic countries (Denmark, the Faroe Islands, Finland, Greenland, Iceland, Norway, and Sweden) is marginalized at an institutional and staffing level, especially as far as antisemitism beyond German fascism, the Second World War, and the Holocaust is concerned. Furthermore, compared to scholarship on other prejudices and minority groups, issues concerning Jews and anti-Jewish stereotypes remain relatively underresearched in Scandinavia – even though antisemitic stereotypes have been present and flourishing in the North ever since the arrival of Christianity, and long before the arrival of the first Jewish communities. This volume aims to help bring the study of antisemitism to the fore, from the medieval period to the present day. Contributors from all the Nordic countries describe the status of as well as the challenges and desiderata for the study of antisemitism in their respective countries.