Preface As a familiar and canonical playwright, Shakespeare has often offered orientation and even emotional refuge both to people in crisis and to those contemplating it. King Lear became a political allegory of division in the post-Brexit era, and Anglophone pop culture gravitated towards Shakespeare through memes and quotes during the global pandemic of COVID-19. Shakespeare’s plays have also been used to depict largescale social dislocation. Kozintsev’s 1971 flm of King Lear opens with an anxious multitude gathering to learn the fate of the kingdom, and in Richard Eyre’s 2018 flm, Anthony Hopkins’ exiled Lear fnds himself an unaccommodated man in a refugee camp under pouring rain, wandering among makeshift tents. Shakespeare has also been performed by and for refugees, as the Special Section of this issue of the Yearbook shows. In 2015, the London Globe toured its Hamlet to Zaatari Camp in Jordan, and German director Thomas Ostermeier led workshops in the Jenin refugee camp in Ramallah, Palestine. Europe’s recent refugee crisis, peaking in 2015, saw over one million asylum seekers, driven by wars and environmental disasters, arrive in Europe from Syria, Afghanistan, Iraq, and elsewhere. The humanitarian crisis was the central concern of a nine-university Erasmus project, Facing Europe in Crisis: Shakespeare’s World and Present Challenges (2016–2019). It seems fair to predict that this will not be the last such movement. These cases show that the Western canon has been given various forms of moral authority, including the authority to address crisis. Shakespeare in particular has been deployed for socially and politically reparative purposes. The effcacy of the purported reparation differs among these performances. As empowering and positive as these productions and academic initiatives can be, this curated selection of essays considers the moment dialectically, including the less comfortable question of whether some of these projects might unconsciously exploit the refugee crisis as a trendy topic to serve mere palliation or even academic advancement rather than communities in need. Special section co-editors Ton Hoenselaars and Stephen O’Neill ask: how do we “draw a line between x Preface using Shakespeare to show that refugees matter and using refugees to show that Shakespeare matters?” Contributors to this special section urge us to serve marginalized communities through sensitive refections on the uses of Shakespeare during crisis. They caution us against fetishizing the refugees, on the one hand, and against resurrecting the “phantasmagoric” image of Shakespeare as the “great humanist,” on the other. Parallel, political uses of Shakespeare for socially progressive causes have also emerged in Latin America, which is why the present volume features a second thematic section, edited by Tom Bishop and Alexa Alice Joubin. It has been 16 years since the publication of the only book, in English, on the subject, Latin American Shakespeares, co-edited by Bernice Kliman and Rick Santos. The six articles devoted to this topic in our Part Two take the pulse of the vibrant artistic and scholarly creativity in the feld since that time by examining the presence of Shakespeare variously on page and stage in Brazil, Chile, Cuba, Colombia, and the Caribbean. As with the essays in the section on refuge, this section takes stock of both positive and negative associations of Shakespeare with the theme of social justice. Kevin A. Quarmby, for example, argues that in Colombia, Shakespeare’s anti-heroes are seen by some as “an unwelcome advocate of continuing revenge” in a Colombia seeking to emerge from its violent recent history. The two sections on refuge and on Latin America speak to each other in their nuanced reframing of concepts such as the local and the global as well as antipathy and political uses of Shakespeare. An ethical concern around “outsourcing” social work to Shakespeare also informs both sections, raising questions about the use of canonical texts as much to reassure the privileged as to advance the interest of the oppressed. Together, these two sections expand our understanding of social justice and of Shakespeare in global contexts. In addition to its annual curated sections, the Yearbook also publishes, in each volume, individual essays on topics that fall outside the strict purview of special sections, in keeping with the general commitment to current scholarship in international Shakespeare studies. In this volume we feature Christian Smith’s study of the international migration of Shakespeare’s own work through the fascinating case of German co-translation of Shakespeare by Ludwig Tieck and Caroline, Friedrich, and August Schlegel, which has come to be known as the “Schlegel-Tieck Shakespeare.” Along with its intrinsic interest, Smith’s article also speaks to work in the special sections of this volume, such as Belén Bistué’s analysis of Nicanor Parra’s Spanish translation of King Lear in Chile. Each article stands on its own, but the articles can be read within and across the special sections. We invite readers to take advantage of this structure by fnding their own paths through the many nodes of connection. Tom Bishop Alexa Alice Joubin General Editors The Shakespearean International Yearbook Publishing its nineteenth volume, The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare’s work and his time, across the whole spectrum of his literary output. Contributions are solicited from scholars across the feld, from both hemispheres of the globe. New trends are evaluated from the point of view of established scholarship, and emerging work in the feld is encouraged. Each issue includes a special section under the guidance of a specialist Guest Editor, along with coverage of the current state of the feld in other aspects. An essential reference tool for scholars of early modern literature and culture, this annual publication captures, from year to year, current and developing thought in Shakespeare scholarship and theater practice worldwide. There is a particular emphasis on Shakespeare studies in global contexts. General Editors Tom Bishop, Professor of English, University of Auckland, New Zealand. Alexa Alice Joubin, Professor of English, George Washington University and Research Affliate, MIT, USA. THE SHAKESPEAREAN INTERNATIONAL YEARBOOK 19: Special Section, Shakespeare and Refugees Edited by TOM BISHOP AND ALEXA ALICE JOUBIN Special Guest Editors TON HOENSELAARS AND STEPHEN O’NEILL First published 2022 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2022 Taylor & Francis The right of the editors to be identifed as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifcation and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this title has been requested ISBN: 978-1-032-13038-5 (hbk) ISBN: 978-1-032-15744-3 (pbk) ISBN: 978-1-003-22735-9 (ebk) DOI: 10.4324/9781003227359 Typeset in Sabon by SPi Technologies India Pvt Ltd (Straive) Contents List of Figures Preface viii ix TOM BISHOP AND ALEXA ALICE JOUBIN General Editors List of Contributors xi xii PART I Shakespeare and Refugees Introduction Special Guest Editors: Ton Hoenselaars, University of Utrecht, and Stephen O’Neill, Maynooth University 1 3 I. Dangerous Conversations/Communities 11 1 Refugee Theatre: Hospitality and Dangerous Conversations in The Jungle and Hamlet 13 DAVID RUITER, UNIVERSITY OF CALIFORNIA, SAN DIEGO 2 In the Eye of the Storm: Refugee-Responsive Shakespeare on the Italian Stage 29 SARA SONCINI, UNIVERSITY OF PISA 3 Hamlet in the “Jungle”: Representing Shakespeare in the Calais Refugee Camp 45 AMY L. SMITH, KALAMAZOO COLLEGE II. Stories 61 4 63 An Interview with Ayham Majid Agha MARGARET LITVIN, BOSTON UNIVERSITY vi Contents 5 Foreigners and Strangers: Theatre, History, and a City of Refuge 73 TONY HOWARD, UNIVERSITY OF WARWICK 6 Dramatic Escapes: Elisabeth Bergner, the Vanishing Refugee, and As You Like It 89 ROBERT SAWYER, EAST TENNESSEE STATE UNIVERSITY III. Ethics 7 “This Is the Strangers’ Case”: Shakespeare, Sir Thomas More, and Refugees 101 103 SABINE SCHÜLTING, FREIE UNIVERSITÄT, BERLIN 8 Humanist Shakespeare? Xenophobia and Compassion in Sir Thomas More 117 ANNE SOPHIE REFSKOU, AARHUS UNIVERSITY Latin American Shakespeares 131 133 9 135 PART II “This Island’s Mine”: Ecocritical Caribbean Tempests JENNIFER FLAHERTY, GEORGIA COLLEGE 10 Recovering Linguistic Multiplicity in Nicanor Parra’s “Antipoetic” Translation of King Lear 154 BELÉN BISTUÉ, CONICET, UNIVERSIDAD NACIONAL DE CUYO 11 “Enter Time, the Chorus”: The Winter’s Tale by Companhia Atores de Laura, Brazil 172 ALINE DE MELLO SANFELICI, UNIVERSIDADE TECNOLÓGICA FEDERAL DO PARANÁ, AND JOSÉ ROBERTO O’SHEA, UNIVERSIDADE FEDERAL DE SANTA CATARINA 12 Possessed by Shakespeare: Hamlet and Tomás González’s El bello arte de ser 185 DONNA WOODFORD-GORMLEY, NEW MEXICO HIGHLANDS UNIVERSITY 13 Anti-Shakespeare Rhetoric and Colombia’s “Theatre for Peace” 200 KEVIN A. QUARMBY, THE COLLEGE OF ST. SCHOLASTICA 14 “Sir, You’re Robb’d”: Iago and the Ethics and Aesthetics of Adapting Shakespeare in Brazil CRISTIANE BUSATO SMITH, OSHER LIFELONG LEARNING INSTITUTE AT ARIZONA STATE UNIVERSITY, AND LIANA DE CAMARGO LEÃO, UNIVERSIDADE FEDERAL DO PARANÁ 220 Contents vii PART III Shakespeare in German Translation 229 15 Translating Orchids: Rhizomes in German Shakespeare Translation Case Study: Caroline Schlegel and the SchlegelTieck Translation 231 CHRISTIAN SMITH, INDEPENDENT SCHOLAR Index 244 General Editors Tom Bishop, University of Auckland, Auckland, New Zealand Alexa Alice Joubin, George Washington University, Washington, DC, USA Advisory Board Supriya Chaudhuri, Jadavpur University, Kolkata, India Natasha Distiller, University of Cape Town, Cape Town, Republic of South Africa Jacek Fabiszak, Adam Mickiewicz University, Poznan, Poland Atsuhiko Hirota, University of Kyoto, Kyoto, Japan Ton Hoenselaars, University of Utrecht, Utrecht, The Netherlands Peter Holbrook, Australian Catholic University, Melbourne, Australia Jean Howard, Columbia University, New York City, USA Ania Loomba, University of Pennsylvania, Philadelphia, USA Kate McLuskie, University of Birmingham, Birmingham, UK Alfredo Michel Modenessi, Universidad Nacional Autónoma de México, Mexico City, México Ruth Morse, Université Paris VII, Paris, France (emerita) Bill Worthen, Barnard College, New York City, USA Contributors Tom Bishop is Professor of English at the University of Auckland, New Zealand, where he teaches Shakespeare, Renaissance Literature, and Drama. He is the author of Shakespeare and the Theatre of Wonder (Cambridge, 1996), the translator of Ovid’s Amores (Carcanet, 2003), editor of Pericles, Prince of Tyre (Internet Shakespeare Editions), and continuing general editor of The Shakespearean International Yearbook (Routledge). He has published work on Elizabethan music, Shakespeare, Jonson, court masques, early modern religion, and other topics. He is currently editing As You Like It for the Arden Shakespeare (fourth series). Belén Bistué is Professor of English Literature and Tenured Researcher for the Argentine Research Council (CONICET) at the Comparative Literature Center of Universidad Nacional de Cuyo, in Argentina. Her work on the history of Spanish translations of Shakespeare includes contributions to The Oxford Handbook of Shakespeare’s Poetry (2011) and The Cambridge Guide to the Worlds of Shakespeare (2016). Jennifer Flaherty is an Associate Professor of Shakespeare studies at Georgia College, where she also serves as coordinator of the English Literature program. Her research focuses on adaptation studies, and she is especially interested in the question of how Shakespeare has been used to address contemporary girlhood. With Heather C. Easterling, she edited the Arden State of Play volume for The Taming of the Shrew. Her work has been published in journals such as Borrowers and Lenders, Comparative Drama, Topic, Theatre Symposium, and Interdisciplinary Literary Studies. She has contributed chapters to Shakespeare and Millennial Fiction (Cambridge, 2017), the Routledge Handbook to Shakespeare and Global Appropriation (Routledge, 2019), The Horse as Cultural Icon (Brill, 2011), and Shakespeare and Geek Culture (Bloomsbury, 2020). Ton Hoenselaars is Professor of Early Modern English Literature at the University of Utrecht, the Netherlands. His main research interests Contributors xiii are the international relations of early modern English literature (national identity, xenophobia, writing the nation, forms of translation) and Shakespeare’s afterlives (incl. translation, opera, cinema, popular culture, and European history). Books include: Images of Englishmen and Foreigners in the Drama of Shakespeare and His Contemporaries (Fairleigh Dickinson UP, 1992), Shakespeare’s Italy (Manchester UP 1993, 1997), 400 Years of Shakespeare in Europe (Delaware UP, 2003), Shakespeare and the Language of Translation (Arden, 2004, 2012), Shakespeare’s History Plays (Cambridge UP, 2004, 2006), The Cambridge Companion to Shakespeare and Contemporary Dramatists (2011), and Shakespeare Forever! (Amsterdam, 2017). With Clara Calvo he has edited European Shakespeares (part of The Shakespearean International Yearbook, 2008), as well as Shakespeare and the Cultures of Commemoration (Berghahn, 2018). He was one of the six editors on the Cambridge Guide to the Worlds of Shakespeare (2 vols., 2016). Tony Howard is Emeritus Professor at the University of Warwick and lead investigator on its Multicultural Shakespeare project. Publications include The Actress as Hamlet (2007) and (with Barbara Bogoczek, 2019) the frst English edition of Stanisław Wyspiański's seminal The Hamlet Study. His plays and his translations with Barbara Bogoczek have been performed at the Royal Court Theatre; Theatre Royal, Stratford East; Shakespeare’s Globe; the Barbican; Battersea Arts Centre; Riverside Studios; and New End Theatre. He is currently working with Russell Brand. Alexa Alice Joubin is Professor of English at George Washington University in Washington, DC, where she co-founded the Digital Humanities Institute. Her latest books include Shakespeare and East Asia (Oxford University Press, 2021); Race, co-authored with Martin Orkin (Routledge, 2019); Local and Global Myths in Shakespearean Performance (co-edited with Aneta Mancewicz, Palgrave, 2018); and Shakespeare and the Ethics of Appropriation (co-edited with Elizabeth Rivlin, Palgrave, 2014). With the support of the Renaissance Society of America Paul Oskar Kristeller Fellowship, she is currently working on a book on performing transgender Shakespeare. Liana de Camargo Leão is Full Professor of Literatures at the Federal University of Parana (UFPR), Brazil. She holds a Ph.D. in Literary Studies from the University of São Paulo (USP). She edited The Complete Dramatic Works of William Shakespeare, translated by Barbara Heliodora (São Paulo: Nova Aguilar, 2017). She recently organized Shakespeare, his Time and Works (Curitiba, Beatrice, 2008), and What You Need to Know about Shakespeare Before the xiv Contributors World Ends (Rio de Janeiro, Nova Fronteira, 2021). She is regional editor for Brazil at MIT Global Shakespeares. She founded a university website dedicated to Shakespeare (www.shakespeare.ufpr.br). Margaret Litvin is Associate Professor of Arabic and Comparative Literature at Boston University (USA) and the author of Hamlet's Arab Journey: Shakespeare's Prince and Nasser's Ghost (Princeton, 2011). Her current work explores two areas of transregional cultural fows: the literary legacies of Arab-Russian and Arab-Soviet cultural ties, and the paradoxes of contemporary Arab/ic theatre for global audiences. She has written on Arab/ic playwrights in Europe for Theatre Research International, Theatre Journal, and the collection Doomed by Hope (Pluto Press, 2012). Her drama translations have appeared in Four Arab Hamlet Plays (2016) and Asymptote and been staged at Cornell University. Stephen O’Neill is Associate Professor at Maynooth University with research interests in adaptations of Shakespeare, especially in digital cultures. The author of Shakespeare and YouTube (Bloomsbury 2014), Staging Ireland: Representations in Shakespeare and Renaissance Drama (Four Courts, 2007) and editor of Broadcast Your Shakespeare (Bloomsbury 2018), his work has also appeared in Shakespeare Studies, Literature Compass and Studies in Ethnicity. He co-edited Shakespeare and the Irish Writer (UC Dublin, 2010). Current projects include co-editorship of the Arden Research Handbook to Shakespeare and Adaptation. His article on maternal memories in Maggie O’Farrell’s award-winning novel Hamnet was recently published in Shakespeare. José Roberto O’Shea is Professor of English (retired) at Universidade Federal de Santa Catarina (UFSC-Brazil). He holds a Ph.D. in English from The University of North Carolina-Chapel Hill and an M.A. in Literature from The American University, Washington, DC. His current work entails annotated, verse translations of Shakespeare's plays into Brazilian Portuguese. Kevin A. Quarmby is Associate Professor of English at The College of St. Scholastica, Duluth, Minnesota. His PhD was awarded by King’s College London. Quarmby’s journal publications include Shakespeare Survey, Shakespeare, and Shakespeare Bulletin. He is Editor of Scene: Reviews of Early Modern Drama. Quarmby’s monograph, The Disguised Ruler in Shakespeare and His Contemporaries (Routledge, 2012), was shortlisted for the Globe Theatre Book Award, 2014. Other essays appear in Shakespeare Beyond English (Cambridge, 2013), Women Making Shakespeare (Bloomsbury, 2013), Global and Contributors xv Local Myths in Shakespearean Performance (Palgrave, 2018), and The Arden Research Handbook of Shakespeare and Social Justice (Bloomsbury, 2020). Anne Sophie Refskou is a research assistant at Aarhus University, Denmark, where she teaches comparative literature. Her publications include Eating Shakespeare: Cultural Anthropophagy as Global Methodology, co-edited with Vinicius Mariano de Carvalho and Marcel Alvaro de Amorim (Arden Shakespeare, Bloomsbury, 2019). She is currently completing a monograph on Shakespeare and compassion in early modern culture. David Ruiter serves as the Faculty Director of the Teaching + Learning Commons at the University of California San Diego, where he is also Associate Professor of Theatre and Dance. He is the editor of The Arden Research Handbook of Shakespeare and Social Justice, the author of Shakespeare’s Festive History, and co-editor, with Ruben Espinosa, of Shakespeare and Immigration. Aline de Mello Sanfelici is a tenured Professor of English at Universidade Tecnológica Federal do Paraná (UTFPR–Brazil). She holds a Ph.D. and an M.A. in English from Universidade Federal de Santa Catarina (UFSC–Brazil). Her current work addresses broad issues of Literary Studies, particularly in the felds of Intermediality, Shakespeare in performance, and the Teaching of Literature. Robert Sawyer is Professor of English at East Tennessee State University, where he teaches Shakespeare, Victorian Literature, and Literary Criticism. Author of Victorian Appropriations of Shakespeare (2003), Marlowe and Shakespeare: The Critical Rivalry (2017), and Shakespeare Between the World Wars (2019), his most recent essay, published in Variable Objects: Speculative Shakespeares (2021) is entitled “Bitcoin, Blockchains, and the Bard.” He is currently coediting a special issue of the journal Multicultural Shakespeare: Translation, Appropriation and Performance, which focuses on Jan Kott and Posthumanism. Sabine Schülting is Professor of English at Freie Universität Berlin (Germany). Her research focuses on early modern and nineteenthcentury literatures and cultures, Shakespeare, Gender Studies, and transcultural encounters. She is the editor of Shakespeare Jahrbuch, and her book publications include a co-edited collection Early Modern Encounters with the Islamic East: Performing Cultures (Ashgate, 2012), and two monographs: Dirt in Victorian Literature and Culture: Writing Materiality (Routledge, 2016), and a book xvi Contributors co-authored with Zeno Ackermann, Precarious Figurations: Shylock on the German Stage, 1920–2010 (De Gruyter, 2019). Amy L. Smith is a professor of English and Women, Gender, and Sexuality at Kalamazoo College, a small liberal arts college in Kalamazoo, MI. She has published articles on courtship and marriage in Shakespeare and Dekker in journals such as Early Modern Literary Studies and Studies in English Literature. She has also taught several community engagement courses involving working with middle and high school students in and out of detention and published an essay on those experiences. Christian Smith (Ph.D., University of Warwick) is an independent researcher living in Berlin. He works on Shakespeare’s reception in Germany, translations studies, Marxism, psychoanalysis, and critical theory. His articles have been published in Shakespeare, Borrowers and Lenders, Critique; Journal of Socialist Theory, Alicante Journal of English Studies and Asymptote. He is currently writing his monograph, Shakespeare’s Infuence on Karl Marx: The Shakespearean Roots of Marxism (forthcoming from Routledge). Cristiane Busato Smith is Lecturer at Osher Lifelong Learning Institute at Arizona State University, where she teaches courses on Shakespeare. She is Lead Editor for Brazil at the MIT Global Shakespeares digital archive. Her current research focuses on Brazilian adaptations of Shakespeare and representations of Ophelia. Her essays have appeared in edited collections in South America, Europe, North America and Asia. She is the author of “What Ceremony Else”: Representations of Ophelia in Victorian England (forthcoming). Sara Soncini is Associate Professor of English Literature at the University of Pisa. Her main research interests lie in contemporary British and Irish drama, modern-day appropriation of Shakespeare (stagings, translations, adaptations), as well as Restoration and eighteenth-century theatre culture. She is the author of Playing with(in) the Restoration (ESI, 1999), on twentieth-century rewritings of Restoration drama, Forms of Confict: Contemporary Wars on the British Stage (U of Exeter Press 2015) and, more recently, Le metamorfosi di Sarah Kane (Pisa UP, 2020), on the Italian afterlife of Kane’s work. Her edited volumes include Myths of Europe (Rodopi, 2007), Crossing Time and Space: Shakespeare Translations in Present-Day Europe (Plus, 2008) and Shakespeare and Confict: A European Perspective (Palgrave Macmillan, 2013). Contributors xvii Donna Woodford-Gormley is a Professor of English Literature at New Mexico Highlands University where she teaches classes on Shakespeare, Global Shakespeares, British Literature, and mythology. She earned her Ph.D. in English literature from Washington University in St. Louis. She has published essays on Shakespeare in Cuba and other topics in British Literature in several journals and edited collections. She received an NEH summer stipend that supported her research for this essay and for her forthcoming book. Her monograph Shakespeare in Cuba: Caliban’s Books will be published as part of Palgrave McMillan’s Global Shakespeare series in 2021.