Shakespeare, William
(Stratford-upon-Avon 1564-1616 Stratford-upon-Avon) : Dramatiker, Dichter
Subjects
Index of Names : Occident
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Literature : Occident : Great Britain
Chronology Entries (268)
| # | Year | Text | Linked Data |
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| 1 | 1839 |
Lin, Zexu. Si zhou zhi [ID D2013]. Erste Erwähnung von William Shakespeare und John Milton in China. Er schreibt : 在感彌利赤建書館一所。有沙士比阿、彌爾頓、士達薩特彌頓四人工詩文 = Zai Ganmilichi jian shu guan yi suo. You Shashibiya, Mierdun, Shidasate, Midun si ren gong shi wen. = [In Greenwich (?) hat man eine Buchhandlung gebaut, in der es die vier Erschaffer der Literatur gibt : William Shakespeare, John Milton, Edmund Spenser, John Dryden. Pope wird in der Übersetzung nicht erwähnt]. |
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| 2 | 1856 |
Muirhead, William. Da Yingguo zhi [ID D2152]. Erwähnung von William Shakespeare unter dem Namen 'Shekesibi' = 舌克斯畢 in China. Muirhead erwähnt auch Sir Philip Sidney, Edmund Spenser, Francis Bacon und Richard Hooker. Er schreibt : "Shakespeare was a well-know public figure in the Elizabethan age. His brilliant works represent both beauty and virtue. No one has outshone him so far". |
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| 3 | 1867 | Aufführung von Shylock, or The merchant of Venice preserved : an entirely new reading of Shakespeare (1853) von Francis Talfourd durch den Hong Kong Amateur Dramatic Club. | |
| 4 | 1877 |
Guo Songtao wird zu einer Ausstellung von englischen Druckmaschinen eingeladen. Er schreibt im Tagebuch : "Among all the books on display, Shakespeare's was the most well known. He was an outstanding English playwright about two hundred years ago, enjoying equal popularity with the Greek writer Homer." |
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| 5 | 1878-1879 |
Guo Songtao besucht am 30. Dez. 1878 als erster Chinese ein Theaterstück von William Shakespeare : Hamlet : a tragedy in five acts as arragned for the stage by Henry Irving im Lyceum Theatre in London. Er schreibt im Tagebuch (Jan. 1879) : "In the evening, I was invited to go to London Lyceum Theatre to see a Shakespeare production. Emphasis was placed on the lively and attractive plot design of the play, and not on florid language and ornate style". |
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| 6 | 1880 |
Zeng, Jize. Shi xi ri ji [ID D7904]. Er schreibt über die Aufführung von Hamlet von William Shakespeare in London : "On the seventh day (of the third month, the fifth year of Guangxu). The play was a story about the King of Denmark who murdered his brother and married his sister-in-law. Therefore his brother's son took his revenge. The play was over at the beginning of zi shi [eleven o'clock in the evening] and then we came home." |
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| 7 | 1882 |
Sheffield, Devello Z. Wan guo tong jian [ID D2406]. Li Ruru : Sheffield introduced William Shakespeare as 'Shasipier', as a great playwright as well as a poet : "pathos or mirth in Shakespeare's plays was brought to perfection, which nobody had ever matched since Homer". |
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| 8 | 1891 |
Guo, Songtao. Lundun yu Bali ri ji [ID D7868]. Er schreibt : "Shakespeare was a contemporary dramatist of Bacon two hundred years ago and was equally famous as Homer from Greece." |
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| 9 | 1896 |
Aufführung von The merchant of Venice von William Shakespeare. Erste englische Aufführung von Studenten des Foreign Language Department des St. John College Shanghai. This was not in its original form and the purpose of performance was for practicing English language. |
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| 10 | 1896 |
[Huxley, Thomas Henry]. Tian yan lun. Yan Fu yi. [ID D10307]. Yan Fu schreibt über William Shakespeare : "Shakespeare was an English poet and dramatist of the 16th-17th centuries. His works are so valuable that most of them have already been translated all over the worlds. As for the characters depicted by Shakespeare, people living today not only resemble them in their speech and laughter, but also in their conflicts, emotions and their inability to get on amicably with one another. Shakespeare wrote a play recounting the murder of Caesar. When Antony delivers a speech to the citizens while showing the body of Caesar to the public, he uses logic to stir up the citizens cleverly because Brutus warned him that he would not be allowed to redress a grievance for Caesar and blame the murderers. The citizens are greatly agitated by the speech and their resentment against Brutus and his comrades is running high. We should attribute Antony's success to the function of logic !" |
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| 11 | 1902 |
Liang, Qichao. Yin bing shi shi hua. In : Xin min cong bao ; no 5 (1902). [On poetry]. 饮冰室诗话 Liang Qichao entscheidet sich für Shashibiya als chinesischer Name für William Shakespeare. Er schreibt : "Homer, the Greek poet, was the greatest poet in ancient times ; as for later poets, such as Shakespeare, Milton and Tennyson, their poems usually contain several thousand lines. How wonderful ! Just the sublime style is brilliant enough to overwhelm you, so you no longer need to comment on the language of their poems." |
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| 12 | 1902-2000 |
William Shakespeare und chinesisches Theater = Shakespeare and Chinese theatre. Zhang Xiao Yang : The differences and affinities between Shakespeare and traditional Chinese drama are especially obvious in their tragedies and comedies. Shakespearean political tragedies are linked by the theme of a struggle for power in a royal family or among the leading figures in the political arena, while most traditional Chinese political tragedies recount the conflict between virtuous ministers and treacherous minister. The themes of traditional Chinese love-political tragedies are more complex than those in Shakespeare's tragedies. These plays deal with not only the incompatibility of the desire for love and the desire for power, but also with the way the pleasures of love are destroyed by the great turbulence of Chinese history. Thus in the plays the lovers encounter desperate situations caused by domestic troubles and foreign invasions. A striking contrast between Shakespearean and traditional Chinese tragedy lies in the treatment of the protagonists. In Shakespearean tragedies the chief characters are mainly great heroes of high degree such as kings, princes, or the leaders of states. They need not obey anyone nor follow any conventional moral doctrine. Since they are their own masters and can exercise great freedom of choice, they are unlikely to become victims of other people's wills. By contrast, Traditional Chinese tragedy is concerned with people in relatively lower social position. These are people who cannot decide their own actions, who are not the rulers but the ruled. They have to submit to the authority of a monarch or comply with the moral doctrine of Confucianism. Another phenomenon in the tratment of the protagonists is that Shakespeare's tragedies revolve around men and traditional Chinese tragedies encompass women. The tragic effects of Shakespeare's tragedies come from the death of the male protagonists, but the tgragic mood in the Chinese plays is created by the suffering and destruction of the women, which appeals strongly to the audience's sympathy and pity. Shakespearean tragedy represents a general trend of the Renaissance in which people began to criticize conventional ideas and establish new ideological and value systems. To some extent, Shakespearean and Chinese tragedies demonstrate one of the main differences between modern Western and traditional Chinese cultures. Since the European Renaissance Western culture has become a dynamic 'culture of regeneration' with the ability to constantly produce new ideas. On the other hand, Chinese tragedy clearly shows that although unique and rich, Chinese culture had become a static and closed system, since Buddhism was mingled with Confucianism and Taoism during the Song and Ming dynasties. Most Shakespeare critics classify Shakespearean comedies into three categories : romantic, problem and tragicomedy. Traditional Chinese comedies are usually classified according to two general types : they either attack vice, folly, or foolish behavior, or they describe the achievement of happiness or praise virtuous action. Most critics agree, that the major themes of Shekespearean comedy are love and friendship. Similarly almost all the Chinese laudatory comedies are concerned with love and marriage and some of them with friendship. There is a striking similarity between Shakespearean and traditional Chinese drama in dramatic techniques. That is, both have a very free deployment of time and space. There is no fixed time limit in Shakespeare’s plays because his plays cover a time period much longer than twenty-four hours. Sometimes the events in his plays last for many years, particularly in his romances. Like Shakespeare, Chinese playwrights always felt free to determine the time length of their plots. In traditional Chinese drama, very few plays take place within twenty-four hours. Most plots proceed for several days, weeks, or months, and sometimes even for many years. The deployment of place in traditional Chinese drama is absolutly free. Unlike Shakespeare, Chinese dramatists did not concentrate on human nature as a whole. Rather, they paid special attention to the moral and social sides of their characters. In traditional Chinese drama, the two sides of humans are presented separately. The positive characters are always perfect and the negative characters are totally vicious. Neigher resemble people in real life. While Shakespeare's characters are not immoral, representing moral principles was not his main purpose. In traditional Chinese drama, the moral virtues of the characters are emphasized and heightened. Most of the characters tend to be moral types such as loyal subjects, patriotic generals, dutiful sons, chaste wives, and faithful friends. In Shakespeare's plays we often find admiration for the nobility of humanity. Classical Chinese playwrights followed the general rule of dramatic creation, trying to mix beauty with goodness. The colorfulness and complexity of his characters provide one of the major artistic distinctions of Shakespeare's plays. By contrast, the characters of traditional Chinese drama are relatively monochromatic and simple, having protagonists that represent certain social classes in ancient Chinese society. Shakespeare's characters are complex and the Chinese characters are comparatively simple. The main reason for this is, that Shakespeare tried to explore the depth and range of humanity's inner world, while classical Chinese playwrights were generally content to describe only the outer actions and certain emotions of human beings. The comparison between Shakespeare and traditional Chinese drama suggests that the type of characterization found in traditional Chinese drama may not satisfy Western audiences since they are used to Western dramatists, including Shakespeare, who emphasize complex psychological depth in character portrayal in the belief that the many-sided attributes of the subject help to round out their characters and make them seem real. Yet characterization in traditional Chinese drama has its own distinctive dramatic and aesthetic merit, considering that traditional Chinese drama and Shakepseare's plays belong to different modes of dramatic art. In any comparison between Shakespeare and traditional Chinese drama one aspect constantly commands scholarly interest : both are examples of poetic drama and both show great richness in poetic presentation and the use of imagery. Like Shakespeare's plays, the text of traditional Chinese drama consists of two parts, verse (qu) and prose (bai). Verse generally expresses emotion or depicts scenery while prose recounts stories or develops dialogue. Most classical Chinese playwrights concentrated on using verse, so that prose is frequently interspersed with short poems. The animal images used in traditional Chinese drama and Shakespeare's plays are a good way to illustrate such a difference. Traditional Chinese plays have far fewer of these images than do Shakespeare's works. Usually only animals having conventional symbolic meaning could be used as poetic images in traditional Chinese plays. By contrast, Shakespeare used many more kinds of animals as poetic images than did classical Chinese dramatists. He seemed to be familiar with their habits and characteristics. Hence he can accommodate them properly into his metaphorical visions. When Shakespeare chooses poetic images, he shows a special interest in domestic animals such as sheep, horses, dogs, and pigs, which are rarely used by classical Chinese plawrights as poetical images. The tendency of classical Chinese playwrights to choose beautiful and graceful poetic images was so strong that they could fill their descriptions with such images even when they wrote of intimate subjects such as sexual intercourse. Traditional Chinese writers used a very beautiful and explicit image of clouds and rain as a symbol of lovemaking. Shakespeare's bias in favor of strong and vigorous images is evident even in his description of love affairs. His plays have many symbolic images that vividly illustrate abstract concepts. Shakespeare's plays and traditional Chinese drama stem from different geographical circumstances and cultural backgrounds. England is a country noted for its navigation tradition, so it is easy to understand why the sea, ships, and sailing became traditional poetic images and affected Shakespeare's use of imagery. By contrast, China is mainly a large landlocked and mountainous country. Chinese civilization originated drom the Yellow River Basin, thus mountains and rivers were closely associated with the cultural thinking of the ancient Chinese. In both Shakespeare's plays and traditional Chinese drama, two opposing images are very obvious, the sun and the moon. This is not merely because the image of the sun is frequently used in Shakespeare's plays while that of the moon is employed in traditional Chinese drama ; it is mainly because these two images are profoundly associated with Western and traditional Chinese cultures. An examination of Shakespeare's plays and traditional Chinese drama shows that the former tends toward romanticism and the latter toward classicism. |
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| 13 | 1903 |
[Shakespeare, William]. Hai wai qi tan [ID D23522]. Darin enthalten sind The two gentlemen of Verona, The merchant of Venice, The twelfth night und The taming of the shrew. Der unbekannte Übersetzer schreibt in der Einführung : "The book was written by the Englishman Shakespeare. He was a world-renowned actor, an accomplished poet, an extraordinarily popular playwright, and is considered a literary giant in England. His works have been translated into French, German, Russian, and Italien, and are read by almost everyone. Our own contemporary literati who specialize in writing verse and fiction have also joined the chorus in his praise without even having had the opportunity to read his work. To remedy this unfortunate situation, I have undertaken this translation with the hope that it will add color and splendor to the world of fiction." |
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| 14 | 1903 |
[Tylor, Edward B.]. Jin hua lun. Ed. by Timothy Richard and W. Gilbert Walshe [ID D23824]. Richard schreibt : "Shakespeare has been called the king of poetry. He was also a famous dramatist." |
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| 15 | 1904 |
Lanmu, Cha'ersi [Lamb, Charles]. Yingguo shi ren yin bian yan yu [ID D10417]. Lin Shu's translation of Tales from Shakespeare contains twenty stories based on the Bard's plays, it was the second earliest introduction of Shakespearean works into China. Lin Shu schreibt im Vorwort : "When the Europeans criticize our country, they usually say that China is becoming increasingly weak and ill-fated because she is narrow in her view of the world, outdated in her thinking, allowing her past to dominate her present, and too fond of gods, fairies, ghosts, and demons. The young and audacious in our country are going all out for reform and change. They embrace only the new, mocking the old tradition and practice and discarding past history and heritage. There are certainly justifications in what these people are doing. But, if they think that all things Western are new to China, they are wrong, for it would be like glorifying somebody by exaggerating his merits or destroying somebody by magnifying his faults. Aren't Hardy and Shakespeare literary giants of the great civilized England ? Look at Hardy's books that I have translated ; there are taboo snakes and condemned ghosts all over the place. Shakespeare's poetry is quite comparable to that of our [great poet] Du Fu, but he often conjures up images of gods, fairies, ghosts, and demons. If the Westerners are so civilized, then maybe these works mentioned should be banned and burned so as not to interfere with scientific knowledge. As far as I know, however, Shakespeare's poetry is held in high esteem among the well bred [in the West]. There his works are not only read and recited in every household but also performed in theaters, where men and women are moved to tears as they hold each other's hands listening to every word, where no one is ever tempted to call him old-fashioned or accuse him of having a fetish about gods, fairies, ghosts, and demons. Why is this the case ? Certainly, many old things are useless today, for example, the cooking vessels and drinking cups from the Bronze Age, heavy and rust eaten. But no expense should be spared to obtain, preserve, and display, say, a distinguished suit of armor once worn by a great personage from an illustrious family. People who are affluent and not troubled by the material needs of everyday life turn their interest to the past in pursuit of new personal enrichment. This is just like what [Su] Dongpo said, that when one has had enough rich meats and fine grains he starts to miss the snails and clams [of the old days]. Running a country and educating its people are two important matters that do not depend on arts and literature. When all is well with the country and its people, good arts and literature can add more luster; but when good arts and literature is all a country has, they do not benefit either the governing or educating. That's why the Westerners make government and education their priorities, gathering wealth and building military strength. They are so rich and powerful that no outsiders dare to humiliate them. It is only then they begin to enjoy arts and literature in their leisure time. Maybe Mr. Hardy and Mr. Shakespeare are old-fashioned and using gods, fairies, ghosts, and demons too much, but the civilized Westerners are certainly not complaining. I am old, and I do not use the same language as Hardy and Shakespeare, but I am particularly fond of these two gentlemen's works. My good friend Mr. Wei Chunshu, from Renhe [Hangzhou, Zhejiang] —young, erudite, and a master of Western languages—and I teamed up to do translations at the Translation Studio of the Jingshi Daxuetang (Capital University). After Mr. Wei orally translated the works to me, I put them into [Chinese] literary form. In about two years we translated about three or four works, of which the most massive one is the Biography of Napoleon. We are about to graduate from the studio early this coming autumn. When free one night, Mr. Wei picked up some Shakespeare by chance; I started scribbling away by the night lamp. Twenty days later we have a book of Shakespeare's poetic tales. The British certainly embrace new ideas in running their country, but they do not discard Shakespeare's poetry. Now that I have translated the book of Shakespeare's poetic tales, won't those blievers in new things reject it ? There are some different versions of Shakespeare's poetic tales coming into our country. There are similarities and differences in the selections of tales as well as in the contents of actual tales themselves. My book contains bwenty tales, each of which has a new title by me for the purpose of highlighting." Tian Han schreibt : "The novels translated by Lin Qinnan [Lin Shu] were very popular then and they were also my favourite type of publication. I was really interested in Lamb's Tales from Shakespeare which was translated als 'English poet, reciting from afar on joyous occasions'. I've been unconsciously influenced by this book. I read The tempest, Hamlet and Romeo and Juliet in the originals when I grew up, but it seemed to me that Lin's way of telling these stories as fairy tales was more appealing." Li Ruru : Lin Shu adapted his Tales into Chinese. Taking the extract quoted earlier as an example, his version, compared to the original account by the Lambs, is tinged with more personal feelings evoked through the use of dialogue. His style is influenced by traditional Chinese story telling, which alternates freely and frequently between firs-person expression and third-person narration and commentary. |
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| 16 | 1908 |
Lu, Xun. Moluo shi li shou [ID D23841]. Er schreibt : "Therefore, what a society needs is not only Newton but also Shakespeare… a writer like Shakespeare can make people have a sound and perfect human nature and avoid an odd and partial humanity, making them the very people a modern civilized society needs." |
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| 17 | 1908 |
Lu, Xun. Ke xue shi jiao pian. [The history of science]. 科學史教篇 Er erwähnt William Shakespeare : "What people hope for is not just Newton, but also a poet like Shakespeare." |
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| 18 | 1908 |
Lu, Xun. Mo luo shi li shuo = On the power of Mara poetry. [ID D26228]. [Auszüge]. Lu Xun erwähnt George Byron, Percy Bysshe Shelley, Thomas Carlyle, William Shakespeare, John Milton, Walter Scott, John Keats, Friedrich Nietzsche, Johann Wolfgang von Goethe, Henrik Ibsen [erste Erwähnung], Nikolai Wassil'evich Gogol, Platon, Dante, Napoleon I., Ernst Moritz Arndt, Friedrich Wilhelm III., Theodor Körner, Edward Dowden, John Stuart Mill, Matthew Arnold, John Locke, Robert Burns, Aleksandr Sergeevich Pushkin, Adam Mickiewicz, Sandor Petöfi, Wladimir Galaktionowitsch Korolenko. Lu Xun schreibt : "He who has searched out the ancient wellspring will seek the source of the future, the new wellspring. O my brothers, the works of the new life, the surge from the depths of the new source, is not far off". Nietzsche... Later the poet Kalidasa achieved fame for his dramas and occasional lyrics ; the German master Goethe revered them as art unmatched on earth or in heaven... Iran and Egypt are further examples, snapped in midcourse like well-ropes – ancient splendor now gone arid. If Cathay escapes this roll call, it will be the greatest blessing life can offer. The reason ? The Englishman Carlyle said : "The man born to acquire an articulate voice and grandly sing the heart's meaning is his nation's raison d'être. Disjointed Italy was united in essence, having borne Dante, having Italian. The Czar of great Russia, with soldiers, bayonets, and cannon, does a great feat in ruling a great tract of land. Why has he no voice ? Something great in him perhaps, but he is a dumb greatness. When soldiers, bayonets and cannon are corroded, Dante's voice will be as before. With Dante, united ; but the voiceless Russian remains mere fragments". Nietzsche was not hostile to primitives ; his claim that they embody new forces is irrefutable. A savage wilderness incubates the coming civiliization ; in primitives' teeming forms the light of day is immanent... Russian silence ; then stirring sound. Russia was like a child, and not a mute ; an underground stream, not an old well. Indeed, the early 19th century produced Gogol, who inspired his countrymen with imperceptible tear-stained grief, compared by some to England's Shakespeare, whom Carlyle praised and idolized. Look around the worls, where each new contending voice has its own eloquence to inspire itself and convey the sublime to the world ; only India and those other ancient lands sit motionless, plunged in silence... I let the past drop here and seek new voices from abroad, an impulse provoked by concern for the past. I cannot detail each varied voice, but none has such power to inspire and language as gripping as Mara poetry. Borrowed from India, the 'Mara' – celestial demon, or 'Satan' in Europe – first denoted Byron. Now I apply it to those, among all the poets, who were committed to resistance, whose purpose was action but who were little loved by their age ; and I introduce their words, deeds, ideas, and the impact of their circles, from the sovereign Byron to a Magyar (Hungarian) man of letters. Each of the group had distinctive features and made his own nation's qualities splendid, but their general bent was the same : few would create conformist harmonies, but they'd bellow an audience to its feet, these iconoclasts whose spirit struck deep chords in later generations, extending to infinity... Humanity began with heroism and bravado in wars of resistance : gradually civilization brought culture and changed ways ; in its new weakness, knowing the perils of charging forward, its idea was to revert to the feminine ; but a battle loomed from which it saw no escape, and imagination stirred, creating an ideal state set in a place as yet unattained if not in a time too distant to measure. Numerous Western philosophers have had this idea ever since Plato's "Republic". Although there were never any signs of peace, they still craned toward the future, spirits racing toward the longed-for grace, more committed than ever, perhaps a factor in human evolution... Plato set up his imaninary "Republic", alleged that poets confuse the polity, and should be exiled ; states fair or foul, ideas high or low – these vary, but tactics are the same... In August 1806 Napoleon crushed the Prussian army ; the following July Prussia sued for peace and became a dependency. The German nation had been humiliated, and yet the glory of the ancient spirit was not destroyed. E.M. Arndt now emerged to write his "Spirit of the Age" (Geist der Zeit), a grand and eloquent declaration of independence that sparked a blaze of hatred for the enemy ; he was soon a wanted man and went to Switzerland. In 1812 Napoleon, thwarted by the freezing conflagration of Moscow, fled back to Paris, and all of Europe – a brewing storm – jostled to mass its forces of resistance. The following year Prussia's King Friedrich Wilhelm III called the nation to arms in a war for three causes : freedom, justice, and homeland ; strapping young students, poets, and artists flocked to enlist. Arndt himself returned and composed two essays, "What is the people's army" and "The Rhine is a great German river, not its border", to strengthen the morale of the youth. Among the volunteers of the time was Theodor Körner, who dropped his pen, resigned his post as Poet of the Vienne State Theater, parted from parents and beloved, and took up arms. To his parents he wrote : "The Prussian eagle, being fierce and earnest, has aroused the great hope of the German people. My songs without exception are spellbound by the fatherland. I would forgot all joys and blessings to die fighting for it ! Oh, the power of God has enlightened me. What sacrifice could be more worthy than one for our people's freedom and the good of humanity ? Boundless energy surges through me, and I go forth ! " His later collection "Lyre and sword" (Leier und Schwert), also resonates with this same spirit and makes the pulse race when one recites from it. In those days such a fervent awareness was not confined to Körner, for the entire German youth were the same. Körner's voice as the voice of all Germans, Körner's blood was the blood of all Germans. And so it follows that neither State, nor Emperor, nor bayonet, but the nation's people beat Napoleon. The people all had poetry and thus the poets' talents ; so in the end Germany did not perish. This would have been inconceivable to those who would scrap poetry in their devotion to utility, who clutch battered foreign arms in hopes of defending hearth and home. I have, first, compared poetic power with rice and beans only to shock Mammon's disciples into seeing that gold and iron are far from enough to revive a country ; and since our nation has been unable to get beyond the surface of Germany and France, I have shown their essence, which will lead, I hope, to some awareness. Yet this is not the heart of the matter... England's Edward Dowden once said : "We often encounter world masterpieces of literature or art that seem to do the world no good. Yet we enjoy the encounter, as in swimming titanic waters we behold the vastness, float among waves and come forth transformed in body and soul. The ocean itself is but the heave and swell of insensible seas, nor has it once provided us a single moral sentence or a maxim, yet the swimmer's health and vigor are greatly augmented by it"... If everything were channeled in one direction, the result would be unfulfilling. If chill winter is always present, the vigor of spring will never appear ; the physical shell lives on, but the soul dies. Such people live on, but hey have lost the meaning of life. Perhaps the use of literaure's uselessness lies here. John Stuart Mill said, "There is no modern civilization that does not make science its measure, reason its criterion, and utility its goal". This is the world trend, but the use of literature is more mysterious. How so ? It can nurture our imagination. Nurturing the human imagination is the task and the use of literature... Matthew Arnold's view that "Poetry is a criticism of life" has precisely this meaning. Thus reading the great literary works from Homer on, one not only encounters poetry but naturally makes contact with life, becomes aware of personal merits and defects one by one, and naturally strives harder for perfection. This effect of literature has educational value, which is how it enriches life ; unlike ordinary education, it shows concreteley a sense of self, valor, and a drive toward progress. The devline and fall of a state has always begun with is refusal to heed such teaching... [The middle portion of this essay is a long and detailed description of Lu Xun's exemplary Mara poets, including Byron, Shelley, Pushkin, Lermontov, Michiewicz, Slowacki and Petöfi]. In 18th-century England, when society was accustomed to deceit, and religion at ease with corruption, literature provided whitewash through imitations of antiquity, and the genuine voice of the soul could not he heard. The philosopher Locke was the first to reject the chronic abuses of politics and religion, to promote freedom of speech and thought, and to sow the seeds of change. In literature it was the peasant Burns of Scotland who put all he had into fighting society, declared universal equality, feared no authority, nor bowed to gold and silk, but poured his hot blood into his rhymes ; yet this great man of ideas, not immediately the crowd's proud son, walked a rocky outcast road to early death. Then Byron and Shelley, as we know, took up the fight. With the power of a tidal wave, they smashed into the pillars of the ancien régime. The swell radiated to Russia, giving rise to Pushkin, poet of the nation ; to Poland, creating Mickiewicz, poet of revenge ; to Hungary, waking Petéfi, poet of patriotism ; their followers are too many to name. Although Byron and Shelley acquired the Mara title, they too were simply human. Such a fellowship need not be labeled the "Mara School", for life on earth is bound to produce their kind. Might they not be the ones enlightened by the voice of sincerity, who, embracing that sincerity, share a tacit understanding ? Their lives are strangely alike ; most took up arms and shed their blood, like swordsmen who circle in public view, causing shudders of pleasure at the sight of mortal combat. To lack men who shed their blood in public is a disaster for the people ; yet having them and ignoring them, even proceeding to kill them, is a greater disaster from which the people cannot recover... "The last ray", a book by the Russian author Korolenko, records how an old man teaches a boy to read in Siberia : “His book talked of the cherry and the oriole, but these didn't exist in frozen Siberia. The old man explained : It's a bird that sits on a cherry branch and carols its fine songs”. The youth reflected. Yes, amid desolation the youth heard the gloss of a man of foresight, although he had not heard the fine song itself. But the voice of foresight does not come to shatter China's desolation. This being so, is there nothing for us but reflection, simply nothing but reflection ? Ergänzung von Guo Ting : Byron behaved like violent weaves and winter wind. Sweeping away all false and corrupt customs. He was so direct that he never worried about his own situation too much. He was full of energy, and spirited and would fight to the death without losing his faith. Without defeating his enemy, he would fight till his last breath. And he was a frank and righteous man, hiding nothing, and he spoke of others' criticism of himself as the result of social rites instead of other's evil intent, and he ignored all those bad words. The truth is, at that time in Britain, society was full of hypocrites, who took those traditions and rites as the truth and called anyone who had a true opinion and wanted to explore it a devil. Ergänzung von Yu Longfa : Die Bezeichnung Mara stammt aus dem Indischen und bedeutet Himmelsdämon. Die Europäer nennen das Satan. Ursprünglich bezeichnete man damit Byron. Jetzt weist das auf alle jene Dichter hin, die zum Widerstand entschlossen sind und deren Ziel die Aktion ist, ausserdem auf diejenigen Dichter, die von der Welt nicht sehr gemocht werden. Sie alle gehören zu dieser Gruppe. Sie berichten von ihren Taten und Überlegungen, von ihren Schulen und Einflüssen. Das beginnt beim Stammvater dieser Gruppe, Byron, und reicht letztlich hin bis zu dem ungarischen Schriftsteller Petöfi. Alle diese Dichter sind in ihrem äusserlichen Erscheinungsbild sehr unterschiedlich. Jeder bringt entsprechend den Besoderheiten des eigenen Landes Grossartiges hervor, aber in ihrer Hauptrichtung tendieren sie zur Einheitlichkeit. Meistens fungieren sie nicht als Stimme der Anpassung an die Welt und der einträchtigen Freude. Sobald sie aus voller Kehle ihre Stimme erheben, geraten ihre Zuhörer in Begeisterung, bekämpfen das Himmlische und widersetzen sich den gängigen Sitten. Aber ihr Geist rührt auch tief an die Seelen der Menschen nachfolgender Generationen und setzt sich fort bis in die Unendlichkeit. Sie sind ohne Ausnahme vital und unnachgiebig und treten für die Wahrheit ein… Nietzsche lehnt den Wilden nicht ab, da er neue Lebenskraft in sich berge und gar nicht anders könne, als ehrlich zu sein. So stammt die Zivilisation denn auch aus der Unzivilisation. Der Wilde erscheint zwar roh, besitzt aber ein gütmütiges Inneres. Die Zivilisation ist den Blüten vergleichbar und die Unzivilisation den Knospen. Vergleicht man jedoch die Unzivilisation mit den Blüten, so entspricht die Zivilisation den Früchten. Ist die Vorstufe bereits vorhanden, so besteht auch Hoffnung. Sekundärliteratur Yu Longfa : Lu Xun befasst sich zwar nicht ausführlich mit Friedrich Nietzsche, aber auf der Suche nach dem 'Kämpfer auf geistigem Gebiet', dessen charakteristische Eigenschaften, besonders die Konfiguration des Übermenschen, macht er ausfindig. Lu Xun ist überzeugt, dass die Selbststärkung eines Menschen und der Geist der Auflehnung kennzeichnend für den Übermenschen sind. In Anlehnung an den Übermenschen zitiert er aus Also sprach Zarathustra : "Diejenigen, die auf der Suche nach den Quellen des Altertums alles ausgeschöpft haben, sind im Begriff, die Quellen der Zukunft, die neuen Quellen zu suchen. Ach, meine Brüder, die Schaffung des neuen Lebens und das Sprudeln der neuen Quellen in der Tiefe, das dürft wohl nicht weit sein !" Tam Kwok-kan : Earliest reference to Henrik Ibsen. This is the first Chinese article that discusses in a comprehensive manner the literary pursuits of the Byronic poets. Lu Xun ranks Ibsen as one of these poets and compares the rebellious spirit exemplified in Ibsen's drama to Byron's satanic tendency. Lu Xun had a particular liking for the play An enemy of the people, in which Ibsen presented his ideas through the iconoclast Dr. Stockmann, who in upholding truth against the prejudices of society, is attacked by the people. Lu Xun thought that China needed more rebels like Ibsen who dared to challenge accepted social conventions. By introducing Ibsen in the image of Dr. Stockmann, the moral superman, together with the satanic poets, Lu Xun believed that he could bring in new elements of iconoclasm in the construction of a modern Chinese consciousness. As Lu Xun said, he introduced Ibsen's idea of individualism because he was frustrated with the Chinese prejudice toward Western culture and with the selfishness popular among the Chinese. Chu Chih-yu : Lu Xun adapted for the greater part of Mara poetry his Japanese sources (Kimura Katataro), he also added some of his own comments and speculations. Guo Ting : Given Lu Xun's leading position in the Chinese literary field at that time, his defense of Byron was powerful and set the overarching tone for the time of Byron when he was first introduced to Chinese readers. Liu Xiangyu : On the power of Mara poetry itself is an expression of Byronism to 'speak out against the establisment and conventions' and to 'stir the mind'. Lu Xun criticized traditional Chinese culture and literature. |
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| 19 | 1912-1921 |
Mule [Mill, John Stuart]. Mule ming xue. Yan Fu yi [ID D2763]. Yan Fu schreibt : "Shakespeare wrote a play recounting the murder of Caesar. When Antony delivers a speech to the citizens while showing the body of Caesar to the public, he uses logic to stir up the citizens cleverly because Brutus warned him that he would not be allowed to redress a grievance for Caesar and blame the murderers. The citizens are greatly agitated by the speech and their resentment against Brutus and his comrades is running high. We should attribute Antony's success to the function of logic." |
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| 20 | 1913 | Erste professionelle Aufführung von Rou quan = The merchant of Venice von William Shakespeare in der Übersetzung von Lin Shu und Wei Yi von Lamb, Charles. Tales from Shakespeare [ID D10417] durch die Xin min she (New People's Group) unter der Regie von Zheng Zhengqiu in Shanghai. |
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| 21 | 1913 | Aufführung von The woman lawyer = The merchant of Venice von William Shakespeare durch die Shanghai Eastern Girls' High School in der Adaptation von Bao Tianxiao. | |
| 22 | 1913 | Aufführung von The taming of the shrew von William Shakespeare durch die Chun liu she (Spring Willow Society) in Changsha. |
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| 23 | 1913-1923 |
Guo Moruo studiert Medizin und ab 1915 Englisch, Deutsch und Lateinisch in Tokyo. 1913 liest er The arrow and the song von H.W. Longfellow. 1916 beginnt er sich für Literatur zu interessieren und liest Rabindranath Tagore, Dichtung und Wahrheit von Johann Wolfgang von Goethe, William Shakespeare, Walt Whitman, Mozart auf der Reise nach Prag von Eduard Mörike, Ibsen, Dostoyevsky, Nietzsche und Spinoza. 1919 liest er Hangyakusha von Arishima Takeo. Darin enthalten sind August Rodin, Jean-François Millet und Walt Whitman. |
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| 24 | 1913 |
Sun, Yuxiu. Ou mei xiao shuo cong tan [ID D35025]. Sun compared Henry Fielding, Samuel Richardson, and Shakespeare, and concluded : "Fielding's works only had a few ardent admirers and Richardson was fashionable in a particular historical period, but Shakespeare alone is of all ages and of all nations." Sun treated Samuel Hawthorne as "a second-class novelist to Washington Irving and James Fenimore Cooper". He ranked The scarlet letter as a firs-class American novel because "its theme was high and its diction war rich". |
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| 25 | 1914 | Aufführung Sha xiong duo sao = Killing elder brother and marring sister-in-law = Hamlet von William Shakespeare in der Übersetzung von Lin Shu durch die Sichuan Oper Ya’an Chuang Theatre Company unter der Regie von Wang Guoren. |
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| 26 | 1914 | Aufführung von Wosailuo = Othello von William Shakespeare nach Lamb, Charles. Yingguo shi ren yin bian yan yu [ID D10417] durch die Chun liu she (Spring Willow Society). | |
| 27 | 1914 |
Die Zeitung Shen bao schreibt über Yuan hu = Bitterness = Much ado about nothing von William Shakespeare : "In Britain there are theatres which specialize in putting on Shakespeare's plays. You can imagine how expensive the tickets are ! Contract of the flesh has won high acclaim. Today we present 'Bitterness' to you, in which men and women deceive each other from the beginning to the end. The bickering couple become happy foes, and this makes you laugh to death. Later, the bridegroom stirs up trouble in the wedding hall, and the bride screams for justice. This makes you cry your eyes out... Those who are curious hurry up to see this Shakespeare play." |
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| 28 | 1915 |
Eintrag von "Shakespeare" in einer chinesischen Enzyklopädie. Es steht : "English playwright, world's greatest literary figure ; born in Stratford on Avon. Son of a wool merchant, he had not received a good education. In 1586 he went to London and there he served as an actor and worked hard writing his plays with number 35 in all, and all of these plays are treasures in world literature." |
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| 29 | 1915 | Aufführung von Chun meng = Othello von William Shakespeare durch die Chun liu she (Spring Willow Society) im Spring Willow Theatre in der Adaptation von Lu Jingruo nach Kawakami Otojirô in Shanghai. | |
| 30 | 1916 |
Sun, Yuxiu. Ou mei xiao shuo cong tan [ID D15718]. Sun erwähnt zum ersten Mal ausführlicher William Shakespeares Leben und Werk. |
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| 31 | 1916 |
Aufführung von Qie guo zei = The usurper of state power = eine chinesische Adaptation von Hamlet und Macbeth von William Shakespeare durch die Yao feng xin ju she (Yaofeng New Drama Group) mit dem Schauspieler Gu Wuwei in Shanghai. Die Aufführung ist eine Atacke gegen Yuan Shikai. Die Zeitung Min guo ri bao schreibt : "He [Claudius] is the minister of the court but he usurps the power of the king and the country, and also commits adultery with the queen. He is the brother of the king but he steals his sister-in-law from her husband and seizes state power. To avenge his father's death, the hero has no choice but to sham insanity. In the end death spares no one. What a ruthless tragedy this is !" Li Ruru : Gu Wuwei, a popular actor who was involved in the production, was arrested and sentenced to death by the authorities on the charge of using drama to incite local disorder. He was not released from prison until Yuan Shikai was overthrown. |
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| 32 | 1916 | Die Zeitung Min guo ri bao schreibt über Nü lü shi = The female lawyer = The merchant of Venice : "…one of Shakespeare's famous plays. It involves cutting off a piece of one's own flesh to borrow money, while the heroine, though a women, nevertheless becomes a lawyer. Ecxellent literary style ; a wonderful story full of fun. It is a masterpiece performed by Wang Youyou, Zha Tianying, Li Beishi and Xu Banmei." |
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| 33 | 1917-1918 |
Dong, Run [Zhu, Dongrun]. Sha shi yue fu tan. [ID D23859]. Murray J. Levith : Dong suggests that his observations about the playwright might help people in conversation with English speakers, since Shakespeare is a subject that inevitability arises in such exchanges. He hotes Lin Shu's translations from the Lambs, and reviews details of Shakespeare's life. He considers Shakespeare 'liberal' because he marries an older woman. Dong also compares the dramatist with the Chinese poet Li Bo : Li Bo's poems are subjective while Shakespeare's plays present dramatic characters. Shakespeare's techniques of stagecraft interest him as well, as do devices such as cross-dressing. Dong's other essays focus on specific plays, for example Julius Caesar and Romeo and Juliet. |
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| 34 | 1920 |
Xu Zhimo übersetzt die Balkonszene aus Romeo and Juliet von William Shakespeare in freie Verse. "Ah soft ! what light shines bright from yonder windows ? That is the east, Julieh is the eastern sun. Arise, beautiful sun, and outshine quickly That envious moon. Since you, being her maid, Are far more beautiful than she, she is already completely pale with grief." Shakespeare : "But soft, what light through yonder window breaks? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou, her maid, art far more fair than she." |
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| 35 | 1920-1968 |
Liang Shiqiu übersetzt William Shakespeare. Liang Shiqiu was the first Chinese who translated the complete plays of William Shakespeare in the vernacular Chinese prose style, except that he also included rhymed couplets in his translation. Er schreibt 1952 : "My translations were entirely in prose style. To be honest, I was not able to take the rhythms of Shakespeare's poetry into account. I really felt that it was already difficult enough if I was able to express the full and accurate meaning of the original. I was somewhat enlightened by Percy Simpson's Shakespeare's punctuation. It seems that Shakespeare did not use punctuation marks in the standard way but had a system of his own. His aim was to guide his actors and actresses in the recitation of their lines and enable them to reproduce these lines with the right cadence. I decided, therefore, to do my best in my translations to keep Shakespeare's original puncuation system intact. The consequence is that with every line in the original text there will be a line of translation ; in other words, I have taken sentences as my translation units. Of course, it will not be a literal translation, for word-for-word translation will result in total incomprehensibility ; nor will it be a mere translation of meaning, for such a translation, eloquent and fluent as it is, will be too far removed from the tone and the rhythm of the original. I am not sure if the sentence-for-sentence approach I have adopted will be able to retain more or less the original rhythmic pattern." Bai Liping : Liang tries to present Shakespeare seriously and meticulously. In order to fully understand Shakespeare, he took great pains to obtain all the available reference books on Shakespeare. When he translated, he supplied annotations to help readers understand the Bard. Therefore, Liang not only criticizes, but also provides constructive solutions ; he not only preaches, but also acts - in this sense, he is a translator with the virtues of both 'de' and 'xing'. Before his version of each play, there is a detailed introduction to the play's historical background, the source of its story, records of its various performances. Sometimes they also include Liang's own commentaries. The foreword gives a list of his translation principles, but this does not contain a reference to performance on the stage. He thinks that plays, including Shakespeare's, can exist independently of the stage, and can be either suitable or unsuitable for the stage. |
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| 36 | 1921 |
[Shakespeare, William]. Hamuleite. Tian Han yi. [ID D13674]. Tian Han schreibt im Vorwort zu den ersten drei Szenen in Shao nian Zhongguo ; vol. 2, no 12 (1921) : "It is now the 3rd month of the lunar calendar and the three islands of Japan are covered in cherry blossoms. Some early flowers are already falling in profusion. I looked into the distance and thought of Uncle Mei's tomb on which the grass must have grown thickly. Today I am going to take my wife Souyu to Ueno to see the fallen blossoms there. Who would help to carry our tears to Uncle's tomb and sprinkle them over the grass ? Alas ! What else can I say ? What else can I say ? I was filled with grief and indignation when I heard the bad news. Now I feel a little better and I am diverting my feeling to the translation of Hamlet." |
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| 37 | 1922 |
[Shakespeare, William]. Hamuleite. Tian Han yi. [ID D13674]. Es ist die erste vollständige chinesische Übersetzung aus dem englischen Original von Shakespeare. Er schreibt : "Hamlet is one of Shakespeare's most stirring and moving tragedies. Today we have a lot of young people of the Hamlet type. What will they think about their society after reading this great tragedy ?" Li Ruru : Tian was motivated to translate Hamlet by the greatness of the play's reputation and by his strong personal empathy with the protagonist which enabled Tian to use the work of translation to vent his own emotions, although he admitted a few years later that he had made mistakes in his translation because he had been 'too young and too ambitious' to deal with such a profound piece of English literature. Spoken drama was thus dominated for a significant period by Western models of realistic and naturalistic theater. Tian Han used his translation of Hamlet as a reaction against this trend. Yet this translation was important both as marking the first publication of an entire Shakespeare in Chinese and as a personal landmark for Tian in entering Shakespeare's world, or rather the world of theater. Shakespeare made him a playwright and a poet, and Shakespeare's influence is evident in aspects of the characters, plots and language of Tian's own plays. |
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| 38 | 1924 |
Kai, Ming. Lin Qinnan he Luo Zhenyu. In : Yu si ; no 3 (1924). Er schreibt : "After the Literary revolution, everybody seemed to have the right to chide Mr. Lin Shu because of his conservative attitude. But has there been anyone who worked as hard as Mr. Lin and devoted himself so assiduously to introducing foreign literature to China or translating so many famous literary works into Chinese ? Now even a rickshaw man can speak English and there is quite a number of experts in the English language who are always in the limelight in Chinese society – but where can we find any decent translations of the English masterpieces ? There is nothing but Lin's classical Chinese versions ! Even Shakespeare, such a literary giant in the world has not drawn enough attention and we only have Mr. Tian Han's one or two new translations and a peculiar rendering of Henry V made by Lin Shu." |
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| 39 | 1924 | Aufführung von The merchant of Venice von William Shakespeare in englischer Sprache durch das Xin xue shu yuan (New Learning College). |
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| 40 | 1926 |
Liang, Shiqiu. Wen xue pi ping bian [ID D28852]. "The circumstances and attitudes of humans very, but human nature is universal, and the quality of literature is immutable. Therefore great literary works can survive the test of time and space. The Iliad is still read and Shakespeare's plays are still performed, because universal human nature is the basis of all great works – thus the quality of literary works, regardless of the time of composition or the country of origin, can be evaluated according to a stable standard." |
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| 41 | 1927 | Erster chinesischer Stummfilm von Nü lü shi [The woman lawyer] = 女律师 = The merchant of Venice von William unter der Regie von Qiu Yixiang und Li Pingqian. |
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| 42 | 1928 |
Xiong, Foxi. Dan chun zhu yi. In : Foxi lun ju. (Beijing : Pu she, 1928). [On drama]. Er schreibt : "We need to learn how to be economical in the theatre business. First, the play has to be shortened. Second, we should avoid frequent scene changes. Third, the number of characters should be minimized. The reason that Shakespeare's plays are not suitable for our stage is not because the themes are outdated, but because these plays involve frequent scene changes and come with a long list of dramatic persons." |
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| 43 | 1928 |
[Roberts, R. Ellis] Yibusheng. Mei Chuan yi. [ID D26235]. Roberts schreibt : "[Ibsen's] prose plays shocked Europe because here once more were live people on the stage. This is certain, and yet all the time the theatres of Europe were all familiar to live people of Shakespeare, and their intense problems. Why did the situation in Ghosts seem so much more terrible than the situation in Measure for measure ? Why did Rosmer stun and shame audiences which could smile and yawn at the agony of Hamlet ? Why should Hedda Gabler appear heartless to a generation familiar with Iago, or Rebecca West ruthless to people who knew Macbeth, or Mrs. Allmers indecently sensual to playgoers who admired Cleopatra ? First, most people cannot listen intelligently to poetry, even when it is intelligently spoken ; secondly, the whole presentation of Shakespeare's plays under the Lyceum tradition tended to make actors and audiences alike treat them as belonging to some remote and long-dead past. Ibsen is too hard, too certain, too religious for an age which is soft, and vague and frivolous. Also he is, except for those who like the east wind and the mountain top, a bleak author." |
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| 44 | 1928 |
Lu, Xun. Wen xue de jie ji xing [ID D28834]. Liang cited Shakespeare's Macbethas a great literary work, notwithstanding that class differences were of minor importance in the portrayal of the main characters and for interpreting the play. He asserted that 'class nature is only a superficial phenomenon' and that 'the essence of literature is the expressing of human nature'. |
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| 45 | 1929 |
Guo, Moruo. Wo de you nian. (Shanghai : Guang hua shu ju, 1929). 我的幼年 Er schreibt : "The novels translated by Lin Shu were very popular and I liked them very much. The Lambs' tales from Shakespeare, which Lin shu translated into Chinese especially interested me. I was unconsciously influenced by this book. I read The tempest, Hamlet and Romeo and Juliet in the original when I grew up, but it seemed to me that Lin Shu's way of telling these stories as fairy tales was more appealing. More than many other foreign wirter, Walter Scott influenced me tremendously ; it was almost a secret of mine." |
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| 46 | 1929 |
Zhou, Yueran. Shashibiya [ID D23523]. Sun Yanna : Zhou Yueran was the first Chinese who introduced Western William Shakespeare criticism. He mentioned Lafcadio Hearn's opinion of Shakespeare. Hearn concluded that there were three major differences between Shakespearean and other dramas. To begin with, Shakespeare's plays are full of life, Shakespearean characters live more dynamically than those of other playwrights. Secondly, every single character in Shakespeare’s drama has his or her individuality. They not only live, but also have a different life from each other. Thirdly, it is impossible to find any two characters alike in his works. Everyone, whoever they are, is a special creation. |
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| 47 | 1930 |
[Shakespeare, William]. Tian chou ji. Shao Ting yi. [ID D23854]. Li Ruru : In Shao's interpretation of the play, the focus lay on Hamlet's revenge for both his father and mother, since marriage to Gertrude was a further crime committed by Claudius. The translation followed the style of the classical Chinese poetry, paying much attention to prosody, although sometimes this led Shao to distort the original meaning. |
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| 48 | 1930 |
[Shakespeare, William]. Weinisi shang ren. Gu Zhongyi yi ; Liang Shiqiu jiao. [ID D23505]. Liang Shiqiu schreibt im Vorwort : "Among all the evaluations of Shakespeare's The Merchant of Venice, I thought the essay written by Heinrich Heine (1797-1856) from Germany was of the greatest profundity. He was a poet and sympathizer of revolution and as well as a Jew; therefore, his viewpoint of the play is worth introducing." |
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| 49 | 1930 | Aufführung von As you like it von William Shakespeare durch die Zhong xi nü xiao (Chinese-Western Girls School) in Tianjin. |
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| 50 | 1930 |
Erste vollständige Aufführung des Weinishi shang ren = The merchant of Venice von William Shakespeare in der Übersetzung von Gu Zhongyi [ID D23505] durch die Shanghai xi ju xie she (Shanghai Drama Association) unter der Regie von Ying Yunwei und Meng Junmou als Bühnenbildner. Zhang Xiao Yang : It was the first time that the Chinese saw a real stage representation of a Shakespearean play given in a mature form of modern spoken drama and with Shakespeare’s original text. Murray J. Lewitt : This production is considered the first original-text performance of Shakespeare in China. It featured 16th and 17th century period costumes and scenery suggested by Renaissance Italian paintings. |
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| 51 | 1930 |
Brief von Hu Shi an Liang Shiqiu über die Übersetzung von William Shakespeare. Er schreibt : "Dear Shiqiu, I have received both of your letters, and officially assumed the post in the Translation Committee. The list [Ye] Gongchao has been preparing is almost ready. He has not yet handed it to me as the names of the various editions have yet to be filled in. I discussed the matter with I.A. Richards recently and with Zhimo in Shanghai. The idea is to invite [Wen] Yiduo, [Chen] Tongbo, [Xu] Zhimo, [Ye] Gongchao and you to work out a plan for the translation of the complete works of Shakespeare. We hope that a standard version can be made available within five or ten years' time. Do discuss the matter with Yiduo. The fundamental problem is to decide on the type of language we should use to translate Shakespeare. My suggestion is to ask Yiduo and Zhimo to try verse, while Dongbo and you try prose. After these experiments we could then decide whether to use prose throughout or both prose and verse. You'll be paid at the highest rates. This kind of books usually doesn't sell too badly and we may be able to retain the copyright for future reprints. I invite comments from you and Yiduo. Please consult Jinfu and Taimou as well. I have already written to Zhimo and Dongbe. On the fifth of January I'll be leaving Peking and going south on the Tientsin-Pu-kou train. I have a meeting on the ninth. In the middle of the month I should be able to travel north again. If I can manage to find enough money for the trip, I'll come to pay you a visit—just to dispell the widespread belief that Tsingtao [Qingdao] is inaccessible." |
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| 52 | 1930-2000 |
William Shakespeare's Dramen in China. Yanna Sun : Chinese performances of William Shakespeare can be assigned to one of three categories : the first contains those stagings that preserve the original Shakespearean spirit ; the second are those that sinicize the plays by transplanting Shakespeare into the Chinese culture and society, adopting the traditional Chinese operatic styles ; the third group comprises those that synthesize both Chinese and Western elements in terms of textual interpretations and theatrical techniques, a hybrid of the Western and the Chinese style. Lu Gusun : When seeing an actor wearing an ancient Chinese costume perform Shakespeare's plays some people feel that it looks like a square peg in a round hole. Actually, to wear different costumes is merely a matter of form. If English actors, when performing Shakespeare's plays, can wear Cossack uniforms and modern German steel helmets, if American players can wear Indian clothes and the Canadian performers Eskimo clothes, why can't Chinese performers put on ancient Chinese costumes ? There can be no doubt that so long as we preserve the Shakespearean spirit, the adaptation of Shakespeare's plays into traditional Chinese drama will further prove the universal appeal of Shakespeare and add extraordinary splendor to the Shakespearean theater of the world. |
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| 53 | 1931 |
Hu Shi proposed the plan for translating The complete works of William Shakespeare : 1. Invite Wen Yiduo, Liang Shiqiu, Chen Tongbo, Ye Gongchao, and Xu Zhimo to organize a committee for the translation of The complete works of William Shakespeare, with Wen Yiduo as chairman of the committee. 2. The time frame for completing the translations is tentatively set at five years. 3. The committee is totally responsible for the manuscripts of the translations. After the completion of the translation of each play, the manuscript will be sent to the other four committee members for careful editing, to include correction and polishing. The editing of each play by each individual should take no more than three months. 4. During the summer vacation each year, members of the committee should get together and discuss all problems concerning the translations. 5. It is inconvenient to set one style for the translations, but in general, prose with rhythm should be used. It should be noted that the translation should not use paraphrase. Whenever there are difficulties in rendering the original into Chinese, detailed notes should be given. 6. The translations of proper nouns should be consistent throughout the project. Each should make a copy of his transliterations in the form of a table alphabetized according to the original and send it o one translator who will sort them all out and make the transliterations of each proper noun identical overall. 7. Concerning the funding, the total amount for the project is tentatively set at XX yuan. There are three kinds of expenses: (1) translators’ remuneration, tentatively set at XX yuan per play ; total remuneration for each play (including the remuneration for the translator and the four editors) will be XX yuan ; (2) books, approximately XX yuan ; and (3) sundry fees, approximately XX yuan (including paper for making drafts, travel expenses for the annual meetings, committee expenses, etc.). 8. Payment of remuneration in advance : no more than XX yuan per month per person. If the translation of a play cannot be completed within six months, then no advance payment will be given to the translator. 9. When translating, the translator can make detailed annotations to the English original. In the future, another reader of the annotated Shakespeare plays may be published. The methods of remuneration and publication of this reader are to be determined later. 10. If anyone outside the committee has translated a Shakespeare play and is willing to submit it to the committee for review, the committee can accept this translation and review it for him. If such a translation is very good, the committee can edit and publish it and then decide on the means of compensating the translator. |
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| 54 | 1931 |
Tolstoy, Leo. Shakespeare and the drama. Dong Sheng yi. [ID D23873]. "I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful aesthetic pleasure, but having read, one after the other, works regarded as his best, King Lear, Romeo and Juliet, Hamlet, and Macbeth, not only did I feel no delight, but I felt an irresistible repulsion and tedium, and doubted as to whether I was senseless in feeling works regarded as the summit of perfection by the civilized world to be trivial and positively bad, or whether the significance which this civilized world attributes to the works of Shakespeare was itself senseless. My consternation was increased by the fact that I always keenly felt the beauties of poetry in every form; then why should artistic works recognized by the whole world as those of a genius - the works of Shakespeare - not only fail to please me, but be disagreeable to me ?... All his characters speak, not their own, but always one and the same Shakespearean pretentious and unnatural language, in which not only they could not speak, but in which no living man ever has spoken or does speak.... From his first words, exaggeration is seen: the exaggeration of events, the exaggeration of emotion, and the exaggeration of effects. One sees at once he does not believe in what he says, that it is of no necessity to him, that he invents the events he describes and is indifferent to his characters - that he has conceived them only for the stage and therefore makes them do and say only what may strike his public, and so we do not believe either in the events or in the actions or in the sufferings of the characters. He alone can write a drama who has got something to say to men, and that something of the greatest importance for them: about man's relation to God, to the Universe, to the All, the Eternal, the Infinite. But when, thanks to the German theories about objective art, the idea was established that for the drama this was quite unnecessary, then it became obvious how a writer like Shakespeare - who had not got developed in his mind the religious convictions proper to his time, who, in fact, had no convictions at all, but heaped up in his drama all possible events, horrors, fooleries, discussions, and effects - could appear to be a dramatic writer of the greatest genius. But these are all external reasons. The fundamental inner cause of Shakespeare's fame was and is this that his dramas corresponded to the irreligious and immoral frame of mind of the upper classes of his time and ours." |
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| 55 | 1931 | Stummfilm von Yi jian mei = A spray of plum blossom = 一剪梅 = Adaptation von The two gentlemen of Verona von William Shakespeare unter der Regie von Bu Wancang. |
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| 56 | 1933 |
Zhang, Yuanchang. Sha xue. In : Wen zhe xue ji kan (1933). 莎学 Zhang Yuanchang introduced the William Shakespearen criticism of the Romantics in England, such as Charles Lamb, William Hazlitt, Samuel Taylor Coleridge, which "changed Shakespeare's literal reputation and established him once and for all as the head of English drama or even as the leading dramatist of the world". |
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| 57 | 1933 |
Liang, Shiqiu. [The heritage of literature]. [ID D28854]. Liang said, that it was wrong to conclude that Shakespeare was in favor of the bourgeoisie because of some contemptuous statements by aristocrats about the common people in Shakespeare's plays. He argued that, since there were many expressions of sympathy for poor people in Shakespeare's works, it would be just as easy to prove that Shakespeare is a 'proletarian writer'. |
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| 58 | 1934 |
Mao, Dun. Shashibiya yu xian shi zhu yi [ID D23874]. Einführung der Beurteilung von Marx und Engels von Shakespeare in China durch Mao Dun, basierend auf Aussagen des russischen Kritikers S. Dianamov. Er schreibt : "… They [Marx and Engels] once tried to persuade Lassalle to study Shakespeare. When they commented on Shakespeare, their focus was not on the external shape of Shakespeare’s works... Both Marx and Engels thought that on the basis of the themes, content and real nature of these plays, Shakespeare is a truly realistic writer... He [Shakespeare] was eager to look for a new foundation in life. By evaluating the whole experience and the history of the class that he belongs to, he attempts to seek the basis of the new, fresh, and free life. He created a gigantic encyclopaedia of morality and an upright life style." |
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| 59 | 1934 |
Liang, Shiqiu. Hamuleite wen ti [ID D23875]. Li Ruru : Liang began by analyzing the various arguments put forward by writers in the West on the subject of Hamlet’s indecision and distinguished three schools of thought. He represented Romantic criticism by T. Hammer, H. Mackenzie, Goethe, S.T. Coleridge and W. Hazlitt who were all obsessed by Hamlet’s character. Liang's second group was represented by C. Lamb and K. Werder who, having dismissed the alleged flaw in Hamlet's character as deriving from the critics’ own imaginations, considered instead the world surrounding Hamlet and concluded that the delay in his taking action was necessitated by the external conditions. Liang rejected the arguments of both of the above groups because their interpretations were based on the subjective opinions of the essayists rather than an objective study of the text. Liang was more convinced by the contribution of critics who examined the theatrical conventions and applied textual analysis to expose the possible errors that Shakespeare made when he wrote the play. In his conclusion, Liang commented that the research on Hamlet was not only fascinating but also revealed the important points that literary criticism must be founded on detailed textual research and that Shakespeare should not be idolized since even the greatest writer's masterpiece could have errors. |
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| 60 | 1935-1937 | Huang Zuolin studiert Shakespeare an der University of Cambridge und Dramaturgie an der London Drama School. | |
| 61 | 1935 |
Mao, Dun. "Shakespeare's Hamlet" Hamulaite Shashibiya zhu [ID D23876]. He introuced the Shakespeare's life, divided his writing periods, and mentioned the play's plot. At the same time, Mao pointed out that Shakespeare belonged to the aristocracy, for his works depiced the conflict between the old culture of aristocrat and the new of the bourgeois class. |
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| 62 | 1936 | Aufführung von Weinisi shang ren = The merchant of Venice von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Abschlussklasse der National School of Drama, Nanjing. | |
| 63 | 1936 |
Wu, Jingxiong [Wu, John C.H.]. Shakespeare as a taoist. In : T’ien Hsia monthly ; no 3 (1936). Er schreibt : "The fundamental of taoism is the subtle idea of the permeation or interpenetration of opposites, life's mingled yarn. This is exactly the vision that Shakespeare saw. Shakespeare is so inebriated with this thoroughly taoist notion that he applies it to every situation in life, with the result that underneath the infinite variety of his lore, there lurks a simplicity that is primoridal. I almost think that the works of Shakespeare can be used as a casebook of taoism." |
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| 64 | 1937 |
Aufführung von Luomi'ou yu Zhuliye [ID D14237] = Romeo and Juliet von William Shakespeare in der Übersetzung von Tian Han durch die Shanghai ye yu shi yan ju tuan (Shanghai Amateur Experimental Drama Company) unter der Regie von Zhang Min. Zhao Dan spielt Romeo und Yu Peishan Juliet. Tang, Wen. Luomiou yu Zhuliye : canguan cai pai. In : Da gong bao zeng kan ; 8 Juni (1937). Er schreibt : "Everything on the stage is black, and immediately you feel the horror and the sadness of death. The set is made from a dozen platforms of different sizes in semi-circular shapes. Along both sides of the stage, there are a chancel, a platform for Juliet's body and hug staircases. Lighting is provided by candles. Accompanied by heartbreaking music, the hero and heroine – one dies and the other comes to life, and then one comes to life and the other dies. How sad ! How touching ! This play will make audiences shed countless tears !" Li Ruru : The production was of importance in at least one sense : during its run, many reviews and critical analyses were carried in newspapers, journals and magazines. This production initiated a link between translation, performance and criticism in the history of the 'Shakespeare enterprise' in China It was a production in which Chinese practitioners attempted to implement Constantin Stanislavski's methods in 'hua ju' acting. As a theatrical form based on the established Western theatre with influences taken from Japanese 'shingeki', it was keen to 'grab' anything from abroad, no matter if it was from 'xi yang' (Western – foreign – Europe and America) or from 'dong yang' (Eastern foreign – Japan). |
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| 65 | 1937 |
Aufführung von = Weinishi shang ren [ID D14427] = The merchant of Venice von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (The National Drama School) unter der Regie von Yu Shangyuan in Nanjing. Yu Shangyuan schreibt einen Artikel in Zhong yang ri bao ; June 18 (1937) : He explains why the first graduating class of his school would perform a public Shakespearean production. He held what it was of great significance to use Shakespeare's plays for drama training because they had been universally accepted as one of the most important theatrical activities in the world and even as the highest standard of stage representation. |
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| 66 | 1938 |
Aufführung von Zhu qing = The tempering of love = Romeo and Juliet = 铸情 von William Shakespeare in der Adaptation von Xing Yunfei durch die Shanghai xin sheng hua ju yan jiu she (Shanghai New Life Spoken Drama Research Society) unter der Regie von Xing Yunfei. Li Ruru : The adapted script was a mixture of Tian Han's translation, dialogue from the American film produced by MGM, and Xu Zhimo's verse translation of the balcony scene. |
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| 67 | 1938 | Aufführung von Hei jiang jun = The black general = Othello = 黑殭菌von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao, Sichuan unter der Regie von Yu Shangyuan in Chongqing. | |
| 68 | 1940 | Film : Cong xin suo yu = 从心所 = As the Heart Desires = A comedy of erroros von William Shakespeare unter der Regie von Zhao Shushen = Chiu Shu-sun. |
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| 69 | 1942 |
Aufführung von Hamuleite = Hamlet von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (National Drama School), unter der Regie von Jiao Juyin. Wen Xiying spielt Hamlet, Lu Shui Ophelia in einem konfuzianischen Tempel in Jiang'an. Jiao Juyin hält eine Rede vor der Schauspieltruppe : "The character of Hamlet is like a mirror, a lesson to us people who are living the the period of the Anti-Japanese war... So, the conclusion we can draw from the tragedy of Hamlet is that victory in our Anti-Japanese war will depend on the joint action taken by the people all over the country, and also more on immediate actions taken by the people without any hesitation. Today this sounds more correct than ever as triumphant reports pour in from battlefields on the anti-Nazi front all over the world, and we can foresee our victory against the Japanese invaders as well. This is the significance underlying our introduction of Hamlet to Chinese audiences. As to the skills or techniques of the performance, this is less significant, and it is quite unnecessary to bother too much about where it succeeds or fails." Yu Shangyuan, Leiter der National Drama School in 1942 sagt : "The social significance of Hamlet [to us] is Hamlet's progressive and revolutionary spirit, which is what the Chinese people need during the Anti-Japanese war. Prince Hamlet resisted the destiny arranged by fate, countered feudal oppressions, and sought liberation from an environment filled with licentious and corrupt individuals. Those countries that produce the most high-quality Shakespearean productions are the countries with the highest cultural prestige. Performing Shakespeare is a crucial step for our country to catch up and to join the countries with world-class cultural achievements". |
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| 70 | 1942 | Aufführung von Qing tian hen (Oper, yueju) = Love and hate = Romeo and Juliet = 情 天恨 von William Shakespeare durch die Yuan Xuefen ju tuan unter der Regie von Yuan Xuefen im Shanghai da lai Theater. |
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| 71 | 1943-1963 | Cao Weifeng was the first Chinese translator who tried rendering the complete plays of William Shakespeare's plays in poetic form. |
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| 72 | 1944 |
Aufführung von Roumiou yu Youliye [ID D23516] = Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch das Shen ying ju tuan (The Divine Eagle Theatre) mit Jin Yan als Romeo und Bai Yang als Juliet ; unter der Regie von Zhang Junxiang in Chongqing. Cao Yu : "One of my favourite Western playwrights is Shakespeare, and my fondness of Shakespeare's plays started from reading Lin Shu's Tales when I was a little boy. As soon as I was able to read the original English, I was eager to get hold of a Shakespeare play because Lin’s translation of Shakespeare's fantasy world was so fresh in my own mind.” Li Ruru : Cao Yu's translation, rendered in an elegant style of verse and prose, plays with the tones of Mandarin as well that the combination of rise and fall gives actors an excellent opportunity to deliver the poetry in the text. Cao Yu himself was undergoing an emotional turmoil during this period, and the feelings and passions Shakespeare wrote beautifully for Romeo and Juliet best expressed his own inner world. |
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| 73 | 1944 | Aufführung von San qian jin [ID D23533] = Three daughters = King Lear von William Shakespeare in der Übersetzung von Gu Zhongyi durch das Shanghai yi shu ju tuan (Shanghai Art Theatre) unter der Regie von Fei Mu. | |
| 74 | 1944 |
[Shakespeare, William]. Yadian ren Taiman. Yang Hui y [ID D23870]. Cao Weifeng : The preface of Timon of Athens by Yang Hui is the first and most important critical essay on Shakespeare's works from a Marxist-Leninist approach. Murray J. Levith : This detailed study mentioned a number of times in the writings of Marx and Engels anticipates the critical slant that became 'de rigueur' for Chinese critics on the mainland after 1949. Yang first rehearses well-known facts about Shakespeare's life and times, reading the playwright's presumed biography into the critic's interpretation of Elizabeth's and James' reigns. He discusses the waning of feudalism and the initial optimism about the new social order replacing it, linkening the social chaos at the start of the 17th century to a 'corresponding situation in China : the old moral order was bankrupt and the new moral order had yet to be established'. Then Yang launches into his interpretation of Timon of Athens, suggesting that 'the play is Shakespeare's violent attack on his society, his roar of anger' at what happened in England after the death of Elizabeth. 'Timon of Athens is the tragedy of gold'. He states that Timon of Athens is 'Shakespeare's most important work. If we want to know Shakespeare, his era and society, we need to study the play'. |
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| 75 | 1945 |
Aufführung von Luan shi ying xiong = The hero of the turmoil = Macbeth = 乱世英雄von William Shakespeare in der Adaptation von Li Jianwu's Drama Wang Deming aus den Fünf Dynastien, durch die Ku gan xiu yan xue guan (Bitter Toilers Drama School) unter der Regie von Huang Zuolin in Shanghai. Si Ming schreibt in der Zhongguo zhou bao : "Having experienced the turmoil and chaos of the war, The hero of the turmoil really shocked us ! What a sigh of emotion". Li, Quan. "Luan shi ying xion" guan hou de ping jia. In : Hai bao ; May 2 (1945). Er schreibt : "The whole play is penetrated with a power, so strong that it can shake the mountains. It gripped us audiences from the beginning to the end. We saw a violent, fierce and ambitious man, who assassinated the emperor, killed the innocent, and finally destroyed himself. He was battling all the time, fighting against external enemies and against his own conscience. We couldn't help following him to struggle and to combat. We were out of breath throughout the entire show". |
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| 76 | 1945 | Aufführung von Xiao nü xin = The filial piety of the daughter = Adaptation von King Lear von William Shakespeare mit der Shaoxing Opera Troupe unter der Regie von Fu Jinxiang im Shanghai Long Men Grand Theater | |
| 77 | 1946 | Aufführung von Xiao nü xin (yue ju) = The heart of a filial daughter = King Lear von William Shakespeare. Adapation durch die Fu Quanxiang ju tuan, Shanghai. |
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| 78 | 1947 |
Li, Jianwu. Ashina = 阿史那, eine Adaptation von Othello von William Shakespeare, eine Geschichte aus der Tang-Zeit. Er schreibt im Vorwort : "Let's learn from Shakespeare. The adaptor is already gratified if people can detect a certain flavour of Shakespeare in Ashina ; but he will certainly not be surprised if people can find in it nothing like Shakespeare at all. This started as a presumption, so failure should be a due punishment. The adaptor wants Ashina to be hundred percent Chinese but he also hopes that Shakespeare will also share this hundred percent. However, the most important point to make is that the adaptor never regards his work as an adaptation ; on the contrary, for him, it is a creation as a result of ten month’s pregnancy. He has exhausted himself to give birth to it. Nevertheless, he feels that physical acquaintance can never compare with spiritual convergence. Can Shakespeare live again in China owing to its bold venture ?" |
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| 79 | 1947 |
[Shakespeare, William]. Shashibiya xi ju quan ji. Zhu Shenghao yi [ID D23377]. Zhu Shenghao ist der erste chinesische Übersetzer, der die Gesamtwerke von William Shakespeare übersetzen will. Er schreibt im Vorwort : "I have always loved Shakespeare's plays and in some cases I went over whole plays a dozen times, studying the text closely and reciting it to myself. I feel that I have quite a good understanding of the spritit in the original plays. In the spring of 1935, encouraged by my colleagues and my predecessors, I began my attempt to translate the complete works of Shakespeare. The next year war broke out and all my books, more than one hundred items including different Shakespeare editions, annotations, research papers and reviews, were completely destroyed by fire in a bombing raid. In great haste, I was abel to rescue the complete edition published by the Oxford University Press and a few pieces of translation. After that I was compelled to move from place to place and hunt around for a living so that I did not have the leisure to carry on with what I wanted to do. Not until the spring of 1942, when I found the times really bad, did I sever myself from all other work and, confining myself to home, concentrate on my translation work. Though I was pressed on both sides by poverty and illness, I never stopped translating. Over a period of ten years, I finished all the manuscripts. Ten years is not a long time for a task as arduous as translating Shakespeare. However, I have put my whole life's effort into it." "I do my best for conserving the flavor and features of the style of the original. In case I failed to reach this goal, I would try to communicate the ideas... clearly and faithfully in an elegant and comprehensive Chinese. I considered it indecent to translate word for word without expressing the ingenuity and vigor of the original. Whenever I felt unable to render an English sentence into Chinese adequately, I would work a long time on it, and strive to reveal the English poet's ideas clearly, risking a completely different rearrangement of the words of the original sentence. Every time I finished translating a paragraph, I used to read it carefully as the first reader... if there were any ambiguities, and at the same time I would consider myself an actor for examining if the tone of the version was harmonical and the rhythm was agreeable. If, for example, a word or a sentence were not used with good taste, I would mediate even for some days trying hard to find the right word." |
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| 80 | 1948 |
[Shakespeare, William]. Liya wang. Sun Dayu yi. [King Lear. ID D23593]. Li Ruru : The question of how to translate Shakespeare's blank verse into Chinese fascinated Sun Dayu. Sun had been seeking a new style of Chinese poetry written in the vernacular. His ideal form would "consist of rhythm and must have rhythm, but it should neither rely on rhymes nor should it follow the strict prosodic rule of exact numbers of character in each line". He invented a new concept of 'yin zu' (sound group) for modern Chinese poetry, which was much inspired by the style of the Italian sonnet. Murray J. Levith : Sun's 'Preface' discusses the almost insurmountable difficulty of translating Shakespeare into vernacular Chinese verse due to the vast differences between the English and Chinese languages. He states that accomplishing a 'perfect translation' would indeed be a 'miracle'. Sun invents a Chinese equivalent for Shakespeare's blank vers, 'yin zu' or 'sound unit', based upon phoneme groupings. His idea is that because vernacular Chinese words are often composed of two or three characters, which may be seen as akin to syllables, something approximating a five beat blank verse line can be suggested. Sun's desire is that his King Lear recreates the 'spirit' of the original play, which he feels is what Schlegel-Tieck accomplished with their famous German version. |
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| 81 | 1948 |
Aufführung von Zhu qing ji (jing ju) = The story of tempering love = Romeo and Juliet von William Shakespeare in der Adaptation von Weng Ouhong durch die Xiao you ju tuan (Alumni Company), Beijing unter der Regie von Jiao Juyin. Wang Jinlu spielt Romeo. Wang Jinlu sagt im Interview zu Li Ruru : "The play was adapted in accordance with the form of a Chinese story, yet the adaptation was not done as a totally conventional jing ju. For exemple, although the female roles wore traditional make-up, the costumes were modified. We used jin ju melodies, but there were long prose recitations rarely heard in traditional plays. The play was divided according to acts. There were also scenery and lighting effects. The ball in the original was changed to a 'choosing a son-in-law and fencing competition'. In the last act, we devised an episode in which there was fighting with real swords. The play was well received by audiences. A a reformed play, it was also approved by veterans in the jing ju circle." |
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| 82 | 1948 | Aufführung von Weinishi shang ren = The merchant of Venice von William Shakespeare in der Übersetzung von Liang Shiqiu durch die Guo li xi ju zhuan ke xue xiao (The National Drama School), Nanjing unter der Regie von Yu Shangyuan und Yan Zhewu. | |
| 83 | 1949 | Aufführung von Clouds of doubt (hua ju) = Othello von William Shakespeare in der Übersetzung von Liang Shiqiu durch das Experimental Theater of Taibei. |
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| 84 | 1949-1978 |
William Shakespeare und Marxismus / Leninismus / Maoismus in China Yanna Sun : The Soviet model of Shakespearean criticism exerted a great influence on Chinese scholars of Shakespearean Studies. In the Soviet Union, Shakespeare was regarded as an important Western writer for the Soviet critic and Soviet theatre ; accordingly, more and more Chinese academics were encouraged to study his works through translating Russian critical essays on him. As a result, these Chinese renditions developed into compulsory reference books for teaching foreign literature and Shakespearean plays at the Department of Foreign Languages and Chinese language. Basing their works on the theory of Soviet criticism, many Chinese scholars analysed Shakespeare’s plays from such aspects as the historical and social backgrounds for creating these plays, the class struggle and social conflicts in them, always leading to the conclusion that Shakespeare plays balonged to realism rather than romanticism. Theatre companies, both hua ju and local genres, were organized under the leadership of the party and the government in each region at different administrative levels. State-run theatres quickly replaced most of the private companies. Three plays were chosen by the Soviet experts : Much ado about nothing, Twelfth night and Romeo and Juliet. Following the Soviet experts' models, the majority of hua ju Shakespeare performances werde dominated by an intricately realistic but cumbersome scenography : grand scenery set in the Renaissance style with high pillars and broad arches, artificial make-up with prosthetic noses and wigs, and luxurious costumes. Stage presentation was guided by commentaries of Marx and Engels, and interpretation had to follow the same track. Zhang Xiao Yang : As China's dominating ideology since 1949, Marxism has greatly influenced the social and cultural practices of the Chinese. The socialist revolution took place under the guidance of Marxism-Leninism because Chinese culture has elements in common with the principles of Marxism such as advocating active participation in state and local government and sharing similar moral and social values. While Marx himself tended to approach Shakespeare from a literary and artistic standpoint, his successors, especially in Russia, often interpret the playwright historically and politically to illustrate the Marxist theory of dialectical and historical materialism. The Chinese appreciation was mainly influenced by Russian Shakespearean studies, as can be easily discovered by persuing Shakespeare criticism in China from this period. There had been a tendency in Chinese Shakespeare studies to link the plays with their Elizabethan and Jacobean historical contexts. Marxist theory states that people are the real motivating force of history. Influenced by Marxism, Chinese critics believed that all writers wrote for a particular social class, most likely their own. Using the Marxist method of class analysis, some Chinese critics believed that in hist works Shakespeare described the conflict between the declining feudal system and the ascendant bourgeois force. The studies of Shakespeare's philosophical ideas in China, ranging from his concept of nature to his views of history, are greatly affected by Marxist philosophy, especially its materialism and dialectics. Engel's theory of literary typification has often been used by Chinese Shakespeare scholars to analyze Shakespeare's characters. Following this theory they tried to find how Shakespeare reproduced 'typical characters under typical circumstances', which was actually an endeavor to relate the qualities of Shakespeare's characters to the relevant social contexts shaping such qualities. The universal appeal of Shakespeare helped him to easily adapt to the taste of the proletarian revolutionaries, even if he wrote mainly for the aristocracy and bourgeoisie. Marxism has contributed to the positive reception of Shakespeare by the Chinese. Marx's historically and socially analytical method was commonly employed. This continued Marxist influence on Shakespeare studies in China is partly due to the fact that the impact of Marxism on the Chinese is so deep that some of his principles, particularly dialectic and historic materialism, habe become ingrained in the thinking of the people. Murray J. Levith : The Chinese have mostly appropriated and adapted the playwright for their own purposes. They have dressed the Bard in various Chinese opera styles, forced him to be an apologist for Marxism-Leninism, celebrated his clunkers, neglected several of his masterpieces, excised sex, religion and contrary politics from his texts, added to them, and at times simplified, corrupted, or misunderstood his characters and themes. Perhaps more than any other nation, China has used a great artist to forward its own ideology rather than meet him on his ground. Shen Fan : The study and criticism of Shakespeare was based on a few simple Marxist-Maoist theories of art and culture : 1. All societies – feudal, capitalist, and socialist – are divided into classes save for the primitive communist society and the final communist society of the future. 2. Each writer writes from the point of view of his class, consciously or unconsciously using his writing to serve his class's goals while reflecting society from its point of view. 3. All literature and art should be analyzed from a class perspective as a product of class struggle. The merchant of Venice, which has been produced more frequently in China than almost any other Shakespearen play, deals with merchants, trade, banking, and love – all major concerns of Marxist Chinese interpretation – and presents spectacle qhich requires peculiar adaptations to fit the concentions of traditional Chinese theatre. |
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| 85 | 1950 |
Englischsprachiges Symposium über William Shakespeare in Shanghai. Cao Weifeng spricht über "The translation of Shakespeare in China", Li Jianwu über "The adaptation of Shakespeare in China". Aufführung der 'Dagger scene' aus Macbeth in der Adaptation von Li Jianwu unter der Regie von Huang Zuolin. Huang Zuolin schreibt : "I see a great future for Shakespeare in China. And, if we take into the bargain the intricacies of his plots as well as the breadth of humanity of his characters, I am absolutely certain that the Chinese people will fall for him like mad ! No other dramatist, neither Ibsen nor Shaw nor Strindberg will ever rival him in popularity." |
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| 86 | 1952 | Aufführung einer Adaptation von Othello von William Shakespeare durch die Shanghai Shaoxing Opera Troupe in Shanghai. |
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| 87 | 1953 | Aufführung der Balkonszene aus Romeo and Juliet von William Shakespeare durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Kurinev. | |
| 88 | 1953-1964 | Edmund Blunden ist Dozent für Englisch am English Department der University of Hong Kong. Er gründet die dramatische Gruppe "Masquers", die William Shakespeare in englischer Sprache aufführt : Twelfth night (1956-1957), As you like it (1958), Romeo and Juliet (1961), A midsummer night's dream (1962) und Othello (1963). | |
| 89 | 1954 | Der Sino-British Club organisiert das erste William Shakespeare Festival zu seinem 390. Geburtstag in Hong Kong mit einer kantonesischen Lesung von Romeo and Juliet durch Ma Jian. | |
| 90 | 1954-1955 | Der englische Sender des Radio Hong Kong sendet The tempest (1954) und Hamlet (1955) von William Shakespeare. |
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| 91 | 1955 | Film : Tao lin niao = 同林鸟 = Tragedy of vendetta = Romeo and Juliet von William Shakespeare unter der Regie von Tao Qin. |
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| 92 | 1956 | Aufführung von Romeo and Juliet von William Shakespeare durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Kurinev. | |
| 93 | 1956 |
Chen, Jia. Shashibiya zai li shi yu ju zhong suo liu lu de zheng zhi jian jie [ID D23911]. Er schreibt : "Shakespeare obviously revealed his own political views in his history plays. He was against feudal separation, tyrants, and civil war. He was for centralization of power, national unity, and a just king. He hated the conflicts between the monarch and nobles because they brought disaster to the country. He noticed the significant power of the bourgeois and the working people (especially the towns’ people). He exposed, although in a limited way ; the oppression and exploitation of aristocrats against the people (including the bourgeois). He applauded patriotism and criticized the unscrupulous pursuit of personal interest. His attitudes were from the middle class viewpoint, but also often reflected the voice of the working people. One thing is worthy of special note : he criticized the ugliness of the bourgeois class. This fact reflected the progressiveness of Shakespeare and his standing on the same ground as the common people." |
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| 94 | 1956 | Aufführung von Romeo and Juliet von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Dan Ni = Danni und A.V. Raikov in Beijing. Es ist die erste Shakespeare-Aufführung seit 1949. Ji Qiming spielt Romeo und Tian Hua spielt Juliet. |
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| 95 | 1956 | Film : Othello von William Shakespeare unter der Regie von Sergei Yutkevich mit Sergei Bondarchuk als Othello. | |
| 96 | 1956 | Film : Biao Cuo Qing = 表错情 = Laughable Mistakes = A comedy of errors von William Shakespeare unter der Regie von Liu Fang. |
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| 97 | 1957 |
Bian, Zhilin. Shashibiya de bei ju "Hamuleite" [ID D23925]. Er schreibt : "Hamlet : Shakespeare had written for the people, not for the ruling class, and that Shakespeare opposed the feudal system in the early part of his career and exposed the evils of capitalism in the later part." After the ending of the Cultural revolution, Bian Zhilin came to realize his mistake in analysing Shakespeare and his plays only from the point of view of class struggle and then admitted Shakespeare's great contributions to the literature of Romanticism, breaking away from the strong in influence of the Soviet Marxist criticism. Li Ruru : Bian Zhilin was concerned with the ideological aspect of Shakespeare interpretation. He started translating Hamlet in 1954 as part of his overarching research project "to apply the standpoint, concepts and methods of marxism to the exploration of the thought and art in Shakespeare's works". Bian Zhilin's famous essay on Hamlet was the first Chinese work that attempted to interpret a Shakespeare play by applying the Marxist "dialectical and historical materialist point of view". First of all, Bian considered the idea Shakespeare expressed through Hamlet that "the purpose of playing, whose end both at the first, and novve, was and is, to holde as twere the Mirrour vp to nature, to shew vertue her feature ; scorne her own Image, and the very age and body of the time his forme and pressure". According to Bian, the word 'playing' here covers both theater and all creative literature. Thus Shakespeare's works are intended to be the reflection of his times and must be interpreted in the context of the period of history in which Shakespeare lived and wrote. "As the 'soul of his time' (not merely skin or hair), [Shakespeare] used his outstanding realistic art and expressed his eternal affinity to the people". Even when Hamlet meditates on the deeply personal question "To be, or not to be", Bian claims that "he hardly thinks of himself but inequality in society" as exemplified in the lines "For who would beare the whips and scornes of time, The oppressors wrong, the proude mans contumely,... who would fardels beare, To grunt and sweat vnder a wearie life" (1724-31). To Bian, Hamlet aligns himself with those who have been exploited by society when he describes himself as "a rogue and pesant slaue" and only finds true companionship with the players who belong to the lowest strata of society. "Through his bitter thinking (i.e. his soliloquies) and his mad words, Hamlet realizes the social inequality and the suffering that the masses have borne. Such an experience not only makes Hamlet hate his enemies more but also gives him more strength to carry on his fight. The bright color of his idealism is shown in Hamlet's accusation of the whole world". Before Hamlet dies, he still maintains his responsibility for his people by arranging for a successor. From this detailed analysis Bian concludes: "The theme of this tragedy should be the conflicts between the ideal and the reality. Human beings fight for the ideal. Even if they fail at the time, their fight illuminates the glory of the ideal. This therefore strengthens and consolidates human beings' confidence in their ability to reform the reality". In further support of Engels's view of Shakespeare as a 'realistic' dramatist, Bian interprets Hamlet's comments on playing as proving that Shakespeare advocated the realistic style of theater and acting. He Qixin : Bian Zhilin discussed English society in Shakespeare's age and concluded that Shakespeare had written for the people, not for the ruling class, and that Shakespeare opposed the feudal system in the early part of his career and exposed the evils of capitalism in the later part. Shakespeare's affinity to the people was the central theme of his plays and was also the key to his great success in subsequent centuries. |
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| 98 | 1957 |
Xu, Banmei. Hua ju chang shi qi hui yi lu [ID D23926]. Er schreibt : "We werde doing a run of Shakespeare's Hamlet one spring when it began to rain. The rain lasted for more than one week. So the title of the advertisement for Hamlet we chose was a folks proverb : 'Just as the rain is bound to fall, so is a woman bound to get married'. The cause of the tragedy of prince Hamlet was the fact that his mother insisted on remarrying." Li Ruru : Xu Banmei said that "the cause of the tragedy of Prince Hamlet was the fact that his mother insisted on remarrying". He assumed that Hamlet's tragedy was caused by the moral lapse of a women. However, the theme of remarriage was also topical at that time, since it was linked with the new and fashionable movement for women's rights. This extract offers us some idea of what the new drama people thought of Shakespeare and his play. It would appear, therefore, that this Chinese Hamlet was either an inevitable victim of his mother's decision to remarry or a fierce defender of her honor. |
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| 99 | 1957 | Aufführung von Much ado about nothing von William Shakespeare in der Übersetzung von Zhu Shenghao [ID D23403] durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Yevgeniya Konstantinovna Lipkovskaya und Hu Dao in Shanghai und Beijing. |
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| 100 | 1957 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Zhu Shenghao [ID D23382] durch die Beijing dian ying zhu an ke xue xiao (Beijing Film School) unter der Regie von Gennadi Kazansky. | |
| 101 | 1958 |
Film : Qing Dou Chukai = 情窦初开 = First Love = Romeo and Juliet von William Shakespeare unter der Regie von Ren Yizhi und Chen Jingbo. |
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| 102 | 1958 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Cao Weifeng [ID D23707] durch das Shanghai dian ying yan yuan ju tuan (Shanghai Film Studio) unter der Regie von Lin Zhihao. | |
| 103 | 1958 | Film : Wang zi fu chou ji = 王 子復仇記 = Hamlet von William Shakespeare, mit Laurence Olivier, synchronisiert von Sun Daolin nach der Übersetzung von Bian Zhilin [ID D23517]. |
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| 104 | 1959 | Aufführung von Much ado about nothing von William Shakespeare durch die Shi yan ju tuan Shanghai xi ju xue yuan (The Experimental Troupe of the Shanghai Theatre Academy) unter der Regie von Hu Dao. | |
| 105 | 1959 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Cao Weifeng durch das Shanghai dian ying yan yuan ju tuang (Shanghai Film Studio) unter der Regie von Lin Zhihao [Wiederholung von 1958]. | |
| 106 | 1959 | Aufführung von Hamlet von William Shakespeare in der Übersetzung von Zhu Shenghao durch Studenten der Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Jiao Juyin in Beijing. | |
| 107 | 1961 |
Aufführung von Much ado about nothing von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan shi yan ju tuan (Shanghai Theatre Academy's Experimental Company) unter der Regie von Hu Dao. Zhu Xijuan [Beatrice] referred to the play as "a comedy shining in the brightness of humanism. With its optimistic attitude, it eulogizes enthusiastically the sublime love of young people, hones friendship and happy marriage. Shakespeare, countering the medieval feudal system and its asceticism, created a group of new bourgeois female characters". |
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| 108 | 1961 | Aufführung von Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Zhang Qihong. | |
| 109 | 1962 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Cao Weifeng durch die Shanghai dian ying zhu an ke xue xiao (Shanghai Film School) unter der Regie von Lin Zhihao. | |
| 110 | 1963 |
Liang, Shiqiu. Guan yu Shashibiya de fan yi [On translating Shakespeare]. [ID D23673]. Er schreibt : It was in 1931 that I first took up the task of translating Shakespeare. Since then thirty years have passed, eight of which were consumed by war. Great changes took place after the war and I was forced to move from place to place. As I was unable to settle down, my work was interrupted time and again. After all these years I have managed to prepare no more than twenty plays for publication—hardly a record to be proud of. According to my original plan the plays were to be published only after completion of the entire project. In recent years a number of friends have urged me to publish those already translated, while others have misunderstood my intentions and assumed I had already abandoned the whole scheme. In fact, I have not deviated from my original plan; but while working at a snail's pace, I had never thought of reporting on my own progress. More recently I heard that this year [1963] is the 400th anniversary of Shakespeare's birth, an event which has inspirited literary enthusiasts the world over. We have felt the repercussions even here in Taiwan. Years ago Mr. Xiao Mengneng suggested that I should publish my translations, but I had always declined to do this. The occasion of this 400th Anniversary seems to have added an irresistible pressure, and so I have finally agreed to publish twenty of the plays. At the same time I feel I owe the reader an explanation and account of the whole project. The translation of Shakespeare was first suggested by Dr. Hu Shi who took up the post of Chairman of the Translation Committee of the Board of Directors of the China Foundation for the Promotion of Education and Culture in 1930. His plans were ambitious, and the translation of Shakespeare was but one of them. The output of this Translation Committee was later published by the Commercial Press... The work of this Translation Committee gradually expanded until it came to an abrupt end at the outbreak of the Sino-Japanese War. I cannot recall clearly how we planned the translation of Shakespeare. Fortunately, I managed to uncover a number of letters addressed to me by Dr. Hu, and reproducing them here in abridged form will help to provide an idea of our preliminary plans. In fact, we never actually proceeded according to the plan. The First Annual Meeting was never held. Dongbo refused to take part in the project. Zhimo died unfortunately in November, 1931, while Gongchao and Yiduo's interests lay elsewhere. So I was left to take on this long and arduous task alone. I remember that I was living at No. 7 Yu Shan Road in Qingdao at the time. Apart from twelve hours of lectures per week in school, I devoted every spare moment of my time to the translation. At first I did not have many reference books at hand as the school was a new one and there was not much in the library. So I began to build up a small, private Shakespeare library, and in five or six years' time my collection compared favourably with that found in any schools. But what a lack of reference materials for my work in those first years! The only thing I could count upon in those days was a strong dose of enthusiasm, and the belief that by dogged effort mountains might be moved. I decided to take it step by step and work at my own speed. In this way I could at least learn something in the process. I am hardly an authority on Shakespeare and though I had read, while in college, plays like The Merchant of Venice, Hamlet, Julius Caesar, Macbeth, Henry IV, and so on, my knowledge of them is most superficial. I had seen while abroad Walter Hampden's Hamlet and Warfield's Merchant of Venice and that was about all. In spite of my ignorance of the subject, and without actually realising how unqualified I was, I dared to venture upon the scheme. If all five of us had ever pooled our efforts and worked according to the original scheme, we should have completed the project long ago and in proof-reading each other have many of the errors eliminated. That we were unable to carry out the original plan is most regrettable. The first problem I encountered in the course of translating Shakespeare was that of the choice of text. Textual problems do not exist for some literary works; but for those written in an earlier age, this problem is very common and can be crucial. Shakespeare, by Chinese standards, cannot be reckoned an early writer. He was born four centuries ago, around the end of the Ming Dynasty. And the English he used is 'Modern English'. His works, however, are chiefly dramas, and dramatic texts were not regarded as literature in those days, but rather as the property of the troupes that performed them; Thus Shakespeare never personally published any of his own plays. The sixteen 'Quartos' that appeared came from diverse sources, and were uneven in quality; some of them had been scripts provided by the troupes, others were pieced together from lines memorized, while still others originated in notes taken secretly during performances. The complete works were not published until 1623—seven years after Shakespeare's death—by two of his fellow actors. All this has complicated the textual problems of Shakespeare's plays. Furthermore, printing techniques in those days were poor. Typographical errors were multiplied by the practice of employing, in addition to a "reader", several type-setters. Moreover, Shakespeare's handwriting, as far as we know, is not easily legible. For these reasons the editing of Shakespeare's texts has developed into a specialized branch of scholarship. Since the eighteenth century there have been numerous scholars in the field who have edited and standardized the texts, divided it into acts and scenes where it had not been done, modernized the irregular spellings and supplied stage directions where they were incomplete or non-existent. The Shakespearean texts we use nowadays are the fruit of these labours. Yet in the process of editing, the specialists do not always agree, and it is common for them to offer different interpretations. Thus variant readings are frequently found in different texts. This presents no problem for the reader who can always pick and choose any modernized text he likes. The translator, on the other hand, is denied this freedom. He must choose one edition and base his translation upon it. This was quite a serious problem for me at the beginning. In Professor Kittredge's class6 we used Rolfe's edition. I have no idea why the professor had us use this version; it may be that this was an American edition that best suited the needs of the classroom. In selecting my text I did not base my choice on the number of footnotes—I would have to consult all the editions I could lay my hands on anyway, so the abundance of footnotes in any one edition did not matter to me. What mattered was the text itself. As a translator I could in no way contribute to the textual scholarship, nor would I have the time to collate the results of earlier textual specialists. The task of translating the text from one language to another was already work enough for me. So, I simply had to settle on an edition that is more popularly accepted. Finally I decided to use the Oxford text edited by W.J. Craig. This edition is widely used and is also the one on which the Yale Edition is based. The textbook versions of Shakespeare's plays used by most schools have one drawback in common: they are abridged in one way or another. The lines deleted are usually from the so-called bawdy passages. Shakespeare had an extremely diverse audience of which the majority were 'groundlings' whose tastes were far from refined. In common with popular audiences of all ages, Elizabethan play-goers liked off-colour jokes and bawdy allusions which Shakespeare dutifully supplied. As a result hardly a play goes without mentioning the cuckold with horns on his head; even the male codpiece was made fun of. Puns referring to sexual matters are only too common. In 1818 a certain Thomas Bowdler published in England an edition of the complete works from which all the bawdy passages had been carefully excised, so that the plays could be read in any family supposedly without causing embarassment. This rtoble effort has itself become a laughing-stock. Ad-libbing and slapstick do reveal something about the background of an era and it should not really matter that much even if ribaldry is involved. This might even be a healthy sign psychologically. The Oxford Edition contains the complete, unabridged text, without any deletions, nor did I have any taboos or inhibitions in my translation. I simply tried my best to provide faithful renditions of the original. About a third of the original is in prose, and rendering this portion into Chinese prose was no great problem. However, the greater part of the text is in blank verse, that is, unrhymed iambic pentameter. Shakespeare did not adhere to this verse-form very strictly and often wrote lines with one or two extra feet. Nor did he end-stop every line ; sentences often run for several lines in succession. Thus Shakespearean blank verse actually comes quite close to prose. A euphonious 'bai hua' prose style might vaguely approximate the blank verse of Shakespeare but the distinctive rhythm of blank verse is not easily transplanted into another language. I have used prose throughout my translation. Quite frankly, I was unable to take care of the meter of the original. If a translator can fully and correctly render the meaning of the original, he has, to my mind, achieved no mean feat. Dr. Hu's suggestion that Wen Yiduo and Xu Zhimo should try to translate Shakespeare into verse—blank verse, that is—represents a very high ideal, for would it not be more colourful to translate Shakespeare into 'bai hua' verse ? Such a task must be left to the poets who have their own inspired ways with words. It is a great pity that Zhimo died prematurely, and that I-to became immersed in ancient tomes, so that neither of them could take part in the project. I would only say that my prose version is one way of tackling the job. Rhymed couplets are found in abundance in Shakespeare, especially in the earlier plays, their frequency decreasing in the mature works. The rhymes, in many cases, are forced and the couplets may sound grand, but they are, for the most part, devoid of meaning. I have done my best to reproduce them, forced rhymes and all. In short, my translation is largely prose. If some inspired translator can render Shakespeare's blank verse into Chinese verse, then he is certainly the answer to our prayer, and I should be the first to congratulate Mm. However, it should be borne in mind that blank verse is by no means the same thing as prose printed in separate lines. I have taken considerable pains to acquire an understanding of Shakespearean meter. Is it enough to explain it by simply defining it as "iambic pentameter"? I do not think so. Shakespeare's artistry cannot have been as simple as that. I have found Percy Simpson's Shakespeare's Punctuation illuminating in this respect. Shakespeare's use of punctuation seems to have deviated from the accepted norm. In fact it is a system unto itself. Shakespeare's purpose in punctuation was to guide the actors in the delivery of their lines and to indicate the proper vocal inflexion and the necessary pauses. In accordance with this interpretation, I tried as far as possible to preserve Shakespeare's original punctuation. The result is that every sentence in the original is matched by a sentence in the translation. Sentences in the original text are used as units of translation. My translation is by no means 'literal'. Word-for-word translation would produce passages which would be unreadable in Chinese. Neither is it 'free'. Free translation may result in fluency, but the tone and rhythm will diverge too greatly from the original. In making sentences the units of translation, I may have been able to retain some of the original rhythm. The translation of proper names can be very frustrating too. I am for using 'guo you' transliteration to represent names according to their commonly accepted pronunciation. I do not believe in the practice of shortening foreign names to make them sound more Chinese. Foreigners do possess odd and unwieldly names; why should we bother to give them Chinese names instead ? The name Shashibya (Shakespeare) is well known enough and needn't be discussed. The translation of other names, however, requires careful consideration. For help in these matters I was able to consult only two reference works: A Pronouncing Dictionary of Shakespearean Proper Names by Theodora Irvine and Shakespeare's Names: a Pronouncing Dictionary by Helge Kokeritz. In principle I prefer to follow modern English pronunciation rather than Elizabethan, and to follow Anglicized pronunciations instead of their Greek, Latin, French and Italian originals. Many people, for example, have translated Julius Caesar as General Kaisa or Emperor Kaisa. I have no idea on what these translations are based and I would rather put it faithfully as Chu-li-a-ssu-hsi-sa. As for Antony and Cleopatra, instead of giving it an attractive and impressive title like that of a movie, I transliterate the whole name as An-tung-ni yu K'o-li-ao-p'ei-t'e-la. This sounds a bit clumsy, a bit plain, I agree; but I feel much better about it. There are, of course, other names which do require translation of meaning and not transliteration. 'Bottom', the spinner, for one, I have translated as xian tuan (clew) as the name actually means 'a ball of thread or yarn'. 'Hotspur' means a 'quicktempered fellow' so I have translated it asp'i-li-huo (hothead), an epithet familiar to most readers. Punning was a fashionable diversion in Shakespeare's day. The dramatist used puns at every opportunity and they were readily accepted by the audience. A 'pun' is simply two or more meanings embodied in the same word. For instance, the word 'light' has three meanings: 1. brightness, 2. the opposite of heavy and 3. frivolous. Or again, 'gilt' and 'guilt' are homonyms; so are 'sole' and 'soul'. When read aloud these words cannot be distinguished one from the other, and much confusion and misunderstanding result. In Shakespeare's age 'Modern English' was gradually taking shape and absorbing large quantities of ancient and contemporary foreign vocabulary. People were interested in words, and therefore also interested in word-play. From our present-day point of view, puns are acceptable if employed sparingly. Excessively used, however, they easily become tedious. In translation puns present great difficulties as they are almost always untranslatable. But, if the translator chooses to ignore them altogether, he will feel he is not being faithful to the original. So he is left with no alternative but to footnote his translation. These are by no means the real difficulties on the linguistic side. Although it is termed 'Modern English', Shakespeare's language differs considerably from English as it is spoken and written today. A word used by Shakespeare may spell exactly the same as in modern English when in fact it had a different meaning. A moment's carelessness can easily lead to errors in the translation. Certain English words are quite complicated in meaning, having a variety of senses—radical, extended, transferred or archaic. The translator has to be continually on the alert and try to determine which meaning Shakespeare intended when using a certain word. Serious mistakes can result if, without thinking twice, he translates words according to their commonly accepted modern meaning. Problems occur all too often where no problem seems to exist. The translator will be on safe ground if he is willing and able to consult the various textual commentaries whenever necessary. It is only out of carelessness or reluctance to consult the commentaries that mistakes are made. Translation is not considered scholarly research. That is why it is usually ignored by academic institutions. After translating twenty of Shakespeare's plays, I have come to realise that the translator, as often as not, has to involve himself in a little research work from time to time. He will hesitate time and again to put anything down, always hoping that he could understand the original more thoroughly and so lessen the chances of making regrettable errors. For this purpose he will have to consult widely the commentaries written since the eighteenth century. There are numerous annotated texts of Shakespeare available. Those I consulted most often include the Arden, Hudson, Rolfe, Yale, Deighton, Clarendon Press, Kittredge, Harrison, Craig, New Cambridge, New Variorum, Warrick and Scholar's Library editions, as well as others. Among these, the New Variorum is not only rich in its collection of textual criticisms, but also includes an abundance of reference materials. It is a pity that not all the plays have been published in this edition, while those published in earlier years now seem a little out of date. From the academic point of view, these materials can only be regarded as secondary sources, being the results of the research of earlier scholars. But these secondary references must not be overlooked. Without having absorbed them as thoroughly as possible, one can never approach the realm of primary source materials. It requires tremendous time and effort to survey this vast critical apparatus. And the translator has to do a little pondering whenever he comes across disagreements among the scholars. That is why I say the translator has to involve himself in a bit of research work. One's reference materials should not, of course, be limited to annotated texts alone. Ideally I ought to have collected and examined all the writings that have to do with Shakespeare. But what an extravagant idea this is. I had dreamt of visiting the Shakespeare Memorial Library or the Folger Shakespearean Library—how wonderful that would have been! And I do not mean merely making a quick tour of the spot; I would want to sit down and work seriously for four or five years, making full use of the books available there. As these dreams of mine have not been realised, I have had to settle for the second best and do my utmost to collect the reference books necessary for my work. This was not too much of a problem before the outbreak of the Sino-Japanese War. I was able to establish credit with a second-hand book-dealer in England. Catalogues were sent to me regularly, and I used to purchase some of the books not readily available in China. As time went by, my collection, humble as it might be, came to compare favourably with what one finds in any of our universities. For example, I managed to get hold of a large number of Shakespeare Society Transactions. Though they were fairly old publications and in shabby condition, their contents proved most valuable. After the war broke out there could be no more talk of such things. I remember that while in the hinterland during the war, I once heard of the publication of a "New Annotated Edition" and longed in vain to own a copy. It so happened that I managed to get hold of the relative of a friend who had a chance to visit the States and I begged him to buy me a copy. He went and he returned, bringing me a large number of gifts—but not the book I wanted. He did not even mention it. I am not trying to lay the blame on anybody; I merely want to emphasize how difficult it was to obtain reference books in those days. After coming to Taiwan empty-handed, I worked very hard to catch up on the Shakespearean scholarship of the previous decade. Research in this field had not stopped in England and America, and books kept coming out in amazing quantities while my own studies had lapsed into dormancy. Yet in seeking to buy the necessary books I ran into many difficulties: my own budget was limited; then there were the foreign exchange restrictions; when I tried to buy books through my school I encountered a lot of red tape and incredible inefficiency. Once an American friend came to my aid and asked me to make up a booklist. I leapt for joy and immediately sent him the list. It was only after a very long time that I received his reply which, when I read it, left me with a wry smile: "I am sorry, your booklist was submitted to our Government but not approved, and the reason given was that all the books were about an 'English' author." As for the twenty plays I have translated, the first to be completed were Hamlet, Macbeth, King Lear, Othello, The Merchant of Venice, As you like it, and The tempest. After I had finished these, the China Foundation sent them to the Commercial Press to be printed. So these plays-came out between May and November 1936. At that time there was a Mr. Wei Jue at the Commercial Press who, after examining my translation of Othello, made a few suggestions which I received through Dr. Hu Shih, accompanied by this letter: Of course I did not mind "scholarly discussions", Dr. Hu's courteous request was most touching. As we all know, there is no such thing as 'perfection' in translation work. So long as there are no serious errors in the translation, one ought to feel a modicum of satisfaction. If there are those who can point out mistakes before the whole thing goes to press, the translator can but thank them wholeheartedly. I went through those few suggestions made by the Commercial Press and readily agreed to the changes, which would improve the tone of the translation — in all but one place. To my surprise, when the book came out, all the places in question were revised, including the one that I had decided should stand. Guan Qitong of the China Foundation wrote to me concerning this matter in the following letter dated 5 January, 1937: "Othello has been published, and I enclose ten copies. The Commercial Press tried to be clever and inserted an extra 'not' — the second word in line 9 on page 6, thereby making the meaning altogether different from that of the original. You ought to write them a letter of protest so that this will not happen again." I did not write a letter of protest, as I understood that the editor had acted out of goodwill, even though the extra negative spoiled the passage. The Press had already been most helpful in pointing out a few mistakes in the translation. There were doubtless many others but I am nevertheless very grateful for their suggestions. At the beginning of the Sino-Japanese War, Zhang Zigao and later Ren Shuyong took charge of the Translation Committee. I was notified that the Committee was not able to accept more than one Shakespeare play each year. In fact, I was unable to finish a play each year. At first I only completed Twelfth night which was published in Hong Kong in September, 1939. Then I translated A midsummer night's dream which I sent to the Commercial Press immediately after the war. The type was set and I finished correcting the proofs, but the play was not printed. This was because of the alarming rate of inflation at the time, I was told, and because the price of paper had increased many times. Blank paper became valueless as soon as anything was printed on it. So, publication was shelved for the time being. Later I brought the proofs to Taiwan. After the war I finished both parts of Henry IV, the first part of which was published by Ming Hua Bookstore in Taiwan. The other plays were translated one after another after I came to Taiwan. As the twenty plays I have translated were done over a wide span of time, their format suffers one inconsistency, and that is there are fewer footnotes in the earlier translations and more in the later translations. I had imagined at the beginning of the project that, as the translations were intended for Chinese readers, I should do my best to make them comprehensible and readable without the help of footnotes. However, after I had completed several plays Dr. Hu suggested that I should put in annotations, so I inserted some where they were most needed. As I carried on with my work, my interest in footnotes grew and so their number gradually increased. I have no time now to go over the translations again thoroughly, so all addenda and revisions will have to be left till the publication of the complete corpus. Finally, I should add a word of explanation on the illustrations I have used. They are all taken from The Complete Works edited by Charles and Mary Cowden Clarke, which was published about 1864 and includes some 300-odd etchings. Xiao Mengneng owns a copy of this edition. The reproduction of these etchings has done a great deal to enliven my volumes and I would like to express my thanks here to Mr. Xiao for his kindness in this matter. |
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| 111 | 1963 |
Wu, Xinghua. Weinisi shang ren [ID D24003]. Shen Fu : Wu's picture of the bourgeois Shakespearenas' view of the dramatist suggests that they wrongly see the artist as 'like the God of Creation, within or behind or above his creation'. Wu then asserts that his research proves that Shakespeare's work confirms the Marxist theory of art and literature by showing that the work is, in fact, a product of the class struggle. His analysis starts with a comparison between Shakespeare's text of The merchant of Venice and its source, the Italian Il pecorone. The noncommercial elements in the play reflect Shakespeare's bourgeois role in the class struggle. Though Wu sees Shakespeare as a bourgeois apologist, in some senses he also sees him as an artist who stood above the period. |
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| 112 | 1963 |
Zhu, Hong. Xi fang guan yu Hamuleite dian xing de yi xie pin lun [ID D23929]. Li Ruru : Zhu Hong wrote an essay on the Western interpretation of Hamlet. Having surveyed the important critics of the first half of the twentieth century, A.C. Bradley, E.E. Stoll, T.S. Eliot, G.W. Knight and J.D. Wilson, she asserted the "he commentaries on Hamlet in the twentieth century in general cannot help us understand the characterization of Hamlet" because "the twentieth century is the century when the bourgeoisie has declined and decayed. This is also the centry when all the decadent and rotten 'new schools' have emerged in bourgeois concepts of literature and art as well as in criticism". |
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| 113 | 1964 |
Liang, Shiqiu. [The investigation of William Shakespeare in China]. In : Zhong yang ri bao = Central daily news ; May 25 (1964). Liang writes that his first contact with Shakespeare in his youth was trough the medium of Lin Shu's translation. He pointed out that the Lambs' Tales from Shakespeare was written in order that young people might get some impression of Shakespeare's dramas before they began to study them later. The ancient formal Chinese of Lin Shu's version, though some scholars appreciated it greatly, was neither effective, nor agreeable for the young people in general. The first time he saw a Shakespearean play on a Chinese stage war in 1936. The play presented was The merchant of Venice performed by the graduation class of the National School of Drama in Nanjing, based on Liang's version. Liang schreibt : "I went there from Beijing especially for seeing that presentation which was considerably satisfactory. Some parts of my version were changed for the purpose of accomodating them to the conditions of the stage of that school. Moreover, some sentences were also adapted according to the familiar language. This is an evidence that my version was still too formal. That is to say, the sentences were not easy and fluent enough. This presentation on stage was the best critic of my work." |
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| 114 | 1964 |
Zhao, Shouyin ; Long, Wenpei. Du Weinisi shang ren [ID D23930]. Shen Fan : Zhao and Long deny Shakespeare's transcendence of class and argue that Shakespeare was not condemning the destructive effects of money but rather treating money as a necessary companion of happiness, that he was not criticizing capitalists values, law, and commerce in The merchant of Venice but using the spirit of christian humanism to complement the law. |
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| 115 | 1964 |
Festival zum 400. Geburtstag von William Shakespeare in Hong Kong. Aufführung von Twelfth night in englischer Sprache durch den Hong Kong Stage Club und Garrison Players und Weinishi di shang ren = The merchant of Venice durch die Drama Society of the Hong Chinese University in Kantonesisch. Das British Council organisiert eine Shakespeare-Ausstellung. |
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| 116 | 1966-1976 |
William Shakespeare während der Kulturrevolution. Li Ruru : During the Cultural revolution Shakespeare's plays were branded as 'feudal, capitalist and revisionist works' and were not performed or studied. The Cultural revolution destroyed Sun Dayu's haven, as thirty Red guards occupied his home and took away all his books, research materials and personal possessions. His son-in-law had removed all the manuscripts of his Sheakespeare translations before the arrival of the Red guards, and these papers survived to be published in 1988. Shen Fan : The Chinese stage was completely dominated by the modern revolutionary plays known as the 'Eight model plays', and literary scholarship concerning Western writers, including Shakespeare, was forbidden. Shakespearen scholars, like all other intellectuals in China, were sent to reeducated either in the countryside or the factories, and Shakespeare was occsionally mentioned only in political newspaper articles as representative of bourgeois writer. |
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| 117 | 1967 |
[Shakespeare, William]. Shi si hang ji. Liang Shiqiu yi [ID D14420]. [Übersetzung der Sonnets]. Liang, Shiqiu. Ya she xiao pin. (Taibei : Zheng zhong shu ju, 1949). 雅舍小品 Er schreibt : "Among the genres of poetry, essay, novel, and drama, poetry is the most difficult to translate, especially from English into a language as distant as Chinese. The language of poetry is refined, allusive, subtle, and elusive, it is very hard to reproduce all of the aspects that constitute the experience of poetry." Alexander C.Y. Huang : Liang decided to use rhymed prose imitating the metric form of Shakespearean sonnet. |
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| 118 | 1970 | Das British Council und das Hong Kong Urban Council organisieren "The appreciation of Shakespearean Drama". Aufführung von Szenen aus The winter's tale, Hamlet, Twelfth night und Othello durch das London Shakespeare Theatre. |
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| 119 | 1975-1976 | Aufführung von Xun han ji = The taming of the shrew von William Shakespeare in Kantonesisch durch die Youth Art Amateur Group in Hong Kong unter der Regie von Raymond Wong Pak-Ming |
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| 120 | 1976 | Film : Yi bang rou = 一磅肉 = A pound of flesh = The merchant of Venice von William Shakespeare unter der Regie von Hu Xiaofeng. |
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| 121 | 1977 |
Gründung des Hong Kong Repertory Theatre = Xianggang hua ju tuan durch das Urban Council. Aufführung von Wang zi fu chou ji = Vengeance of the prince = Hamlet von William Shakespeare in Kantonesisch in der Adaptation von Richard Ho Man-wui unter der Regie von Daniel S.P. Yang |
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| 122 | 1978 | William Shakespeare ist der erste westliche Schriftsteller der als Abschluss eines M.A. oder einer Dissertation von der State Education Commission of China bewilligt wird. |
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| 123 | 1979 |
Yuan, Kun. [On Shakespeare's humanism]. In : Wai guo wen xue yan jiu ; no 2 (1979). Yuan Kun discusses the historical and immediate significance of Shakespeare’s humanism. He believes that Shakespeare represented in his works a humanism that was prevailing and progressive idology during the Renaissance, showing through his characters how humanism could be used as an ideological weapon against feudalism. Yuan also blieves that this humanism was not the outmoded bourgeois idea that was condemned by the Gang of Four in the Cultural revolution. Rather, it was of great significance to Chinese society after the Cultural revolution because the people needed humanism to sweep away feudalism under the cover of socialism. |
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| 124 | 1979 |
Yang, Zhouhan. Shashibiya ping lun xuan bian [ID D23943]. Yang, Zhouhan. Wen yi lun cong. In : Wen yi yan jiu ; 8, 1979. [So sprach Shakespeare]. He Qixin : The most common issues contemporary Chinese critics focus upon in their discussions are : For what class did Shakespeare write ? What are the major themes Shakespeare selected for his plays ? How did Shakespeare develop representative characters in his plays ? For Chinese critics, Shakespeare's purpose in writing is the most significant focus of their study of Shakespeare's plays. One critic states this common concern when he says, "Only with an accurate understanding of Shakespeare's purpose of writing, are we able to form correct judgment upon his plays and make a clarifying analysis of their theme, plot, characterization and dramatik skill". What, then, is Shakespeare's purpose ? The conclusion, resulting from the analysis of the age of Shakespeare, is that "Shakespeare was molding and guiding public opinion for the rising bourgeois class". |
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| 125 | 1979 |
Fang, Ping. Lun Xialuoke. In : Wai guo wen xue yan jiu ji kan ; no 1 (1979). Er schreibt über The merchant of Venice von William Shakespeare : "We should not sing the praises of Antonio, the merchant, as the incarnation of 'friendship' and 'love' ; nor should we, on the other hand, mix Shylock with the millions of poor Jews who were deeply oppressed in Europe, and treat him as a hero who seeks revenge for his nation". |
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| 126 | 1979 | Aufführung von Much ado about nothing von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai qing nian hua ju tuan (Shanghai Youth Spoken Drama Company) unter der Regie von Hu Dao. Die Aufführung wird von der Shanghai Television übertragen. | |
| 127 | 1979 | Aufführung von Macbeth von William Shakespeare in Kantonesisch durch die Hong Kong Repertory Company. |
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| 128 | 1979 | Aufführung von Hamlet von William Shakespeare in Englisch und einer Simultanübersetzung mit Kopfhörern durch Ying Ruocheng in der Übersetzung von Bian Zhilin ; durch die die British Old Vic Company und das Beijing ren min yi shu ju yuan (Beijing People's Art Theatre), mit Derek Jacobi als Hamlet und Jane Wymark als Ophelia in Beijing und Shanghai unter der Regie von Toby Robertson. | |
| 129 | 1979 |
Aufführung von Macbeth = Shi jun ji von William Shakespeare durch das Hong Kong Repertory Theatre in der Übersetzung von Chow Yung Ping = Zhou Yongping und Butt Ho Ming = Bi Haoming ; unter der Regie von Chow Yung Ping = Zhou Yongping. 弒君記 |
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| 130 | 1980 |
Bian, Zhilin. Guan yu wo yi de Shashibiya 'Hamuleite' : wu shu you xu [ID D23955]. Li Ruru : Bian Zhilin began candidly and self-critically to re-examine what they had written about William Shakespeare and to apply new concepts in their interpretations. |
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| 131 | 1980 |
Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Zhongguo qing nian yi shu ju yuan (China Youth Art Theatre) unter der Regie von Zhang Qihong in Beijing. Zhang, Qihong. Zai shi jian he tan suo zhong de ji dian ti hui shi tan 'Weinisi Shangren' de dao yan chu li [ID D23956]. Er schreibt : "Time has passed and we are in different countries with distinctive national features. It is for a Chinese audience and for their understanding that we put The merchant of Venice on the Chinese stage. The hostility that existed hundreds of years ago between the christian and jewish religions, between the two peoples, is quite alien to the ordinary Chinese audience of today. After learning that we had chosen The merchant of Venice for our season or else after seeing our performance, many foreign journalists and students visited our theatre. Among the first questions put to us always were why we had chosen this particular play and whether there is any connection between our play and the current situation in Israel. Wasn't it better for us simply to reduce the unessential points made in the play to avoid such unneccessary conjectures and misunderstandings ?" |
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| 132 | 1980 | Aufführung von Macbeth (hua ju) von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Zhong yang xi ju xue yuang (Central Academy of Drama) unter der Regie von Xu Xiaozhong und Li Zibo. | |
| 133 | 1980 | Aufführung von Romeo and Juliet von William Shakespeare in der Übersetzung von Cao Yu durch das Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Huang Zuolin, Zhuang Zejing und Ji Qiming. | |
| 134 | 1980 | Aufführung von Twelfth night von William Shakespeare durch den New Generation Drama Club in Hong Kong. |
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| 135 | 1980 | Aufführung von A midsummer night's dream von William Shakespeare in Englisch durch die Studenten des English Department des Shanghai Foreign Language Institute unter der Regie eines Amerikaners. |
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| 136 | 1980 | Aufführung von Luomiou yu Zhuliye = Romeo and Juliet von William Shakespeare in Kantonesisch durch das Hong Kong Repertory Theatre = Xianggang hua ju tuan in der Adaptation von Zhu Shenghao unter der Regie von Glen Walford. |
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| 137 | 1980 | Lin Tongji nimmt als erster chinesischer Gelehrter an der Nineteenth International Shakespeare Conference am Shakespeare Institute der University of Birmingham in Stratford-upon-Avon teil. |
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| 138 | 1980 |
Aufführung von Romeo and Juliet = Luomiou yu Zhuliye von William Shakespeare durch das Hong Kong Repertory Theatre unter der Regie von Glen Watford. 羅密歐與茱麗葉 |
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| 139 | 1981 | Ausstellung "William Shakespeare's time" in Beijing. |
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| 140 | 1981 | Aufführung von Measure for measure von William Shakespeare in der Übersetzung von Ying Ruocheng durch das Beijing ren min yi shu ju yuan (Beijing People's Art Theatre) unter der Regie von Toby Robertson und Ying Ruocheng. | |
| 141 | 1981 | Aufführung von Romeo and Juliet von William Shakespeare durch Studenten in tibetischer Sprache, basierend auf der Übersetzung von Cao Yu durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Xu Qiping xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Xu Qiping. | |
| 142 | 1981 | Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Fang Ping durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Zhang Zhenmin, Liu Jianping und Zhao Guobing. | |
| 143 | 1981 | Aufführung von The merchant of Venice von William Shakespeare durch die Taiyuan shi hua ju tuan (Taiyuan City Spoken Drama Company). |
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| 144 | 1982 | Aufführung von Macbeth von William Shakespeare durch die Chung Ying Theatre Company unter der Regie von Glen Walford in Hong Kong. | |
| 145 | 1982 | Aufführung von The taming of the shrew von William Shakespeare durch das Hong Kong Repertory Theatre unter der Regie von Daniel S.P. Yang. | |
| 146 | 1982 |
Cao, Yu. Cao Yu he ju zuo jia tan du shu he xie zuo 'ju ben'. In : Ju ben, Beijing (1982). [Talking with the playwrights about reading and writing]. 曹禺和剧作家谈读书和写作剧本 Cao Yu schreibt : "Shakespeare's plays are so great and profound that they are as miraculous as the universe. I once learned some techniques from Ibsen, yet I learned more from Shakespeare. His works exhibit the richness and variation of humanity, exquisite structure, beautiful poetic flavor, humanistic enthusiasm, and a fertile imagination. No genius can bear comparison with him. The most important technique of Shakespeare that we should learn is his brilliant characterization." |
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| 147 | 1982 | Aufführung von Twelfth night von William Shakespeare in Englisch und gekürzter Fassung durch das British Council unter der Regie von John Fraser in Beijing, Nanjing und Shanghai. | |
| 148 | 1982 |
Aufführung von The tempest von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Zhong yang xi ju xue yuan (Central Academy of Drama) unter der Regie von Tsai Chin. Tsai Chin schreibt : The play has similarities with many Beijing operas and provided me an opportunity to experiment with synthesizing the two forms. Tragic and comic scenes juxtapose in the play’s structure. Miranda and Ferdinand conform to the Chinese ideals of love and marriage : purity, chastity, and parental consent with celestial blessing. A Chinese audience could also easily identify with this story of calamity, injustice, and revenge. Moreover, the theme of the play was especially topical, concerning as it does a lesson in forgiveness, which mirrored the attitude adopted by the Chinese people towards their former persecutors during the Cultural revolution. |
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| 149 | 1982 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Thatre Academy) unter der Regie von Yu Zitao und Zhong Gaonian. | |
| 150 | 1982 |
Fang, Ping. Huan ying ni, Li'erwang [ID D24027]. Er schreibt : "The play teaches us a lesson about political struggle, in which we must learn how to differentiate friends from enemies, or how to differentiate the flattering, hypocritical Goneril and Regan from the honest and filial Cordelia. The play bridges the historical and cultural distance between an Occidental past and a Chinese present through a vivid characterization of King Lear as 'the highest ruler of a monarchy', who creates a chaotic world in which the loyal are punished and the treacherous are rewardes. Although our concept of love is different from that of the Renaissance humanist, we nevertheless need the same kind of beautiful soul, which is full of noble love, not just for our relatives and families, but also for our comrades, our motherland, and our glorious party. We should live as a poet, who loves everything that is beautiful." |
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| 151 | 1983 |
Cao Wenhan schnitzt ein Portrait von William Shakespeare, das auf der Titelseite einiger Zeitschriften in China und Japan erscheint. Er schreibt darüber : "As a Chinese painter I have admired Shakespeare for a long time. Shakespeare provides precious nourishment for my mind. I have obtained great inspiration and artistic pleasure from his works. It is not important whether the portrait is successful or not. What really matters is that it demonstrates the active participation of Chinese painters in the Shakespeare industry of China although the participation is not as noticeable as that of literary critics. It also shows clearly how widespread and popular Shakespeare’s influence upon Chinese culture is." |
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| 152 | 1983 |
Aufführung von Othello von William Shakespeare in der Übersetzung von Shao Hongchang durch die Beijing shi yan jing ju tuan (Beijing Experimental Jingju Company) unter der Regie von Zheng Bixian. Ma Yong'an spielt Hamlet, Li Yalan Desdemona. Ma Yong’an sagt 2002 in einem Interview zu Alexander Huang : "The biggest challenge to me, a person trained in the ‚hua lian’ role type, is to bring out the delicate emotions and sensitivity of a seemingly rough and masculine chracter like Othello. As an actor specializing in the ‘hua lian’ role type, I was used to enacting rough, militant, and quick-tempered characters such as generals, soldiers, or court officials. The love between Othello and Desdemona needs to be carefully developed, so that the audience can relate to their situations later on in the tragedy." |
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| 153 | 1983 | Cao Yu schreibt über William Shakespeare in Ren min ri bao : "Our studies of Shakespeare are conditioned differently from our Western counterparts. We have a long cultural tradition... We approach Sakespeare and admire the 'world giant' with Chinese eyes of a new historical phase." |
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| 154 | 1983 | Aufführung von Tian zhi jiao nü = The gentle woman from heaven = The merchant of Venice von William Shakespeare = 天 之嬌女 in der Adaptation von Qin Zhongying durch die Guangzhou shi yan yue ju tuan (Guangzhou Experimental yue yu Company) unter der Regie von Zhang Qihong und Hong Xiannü. | |
| 155 | 1983 |
Gründung der Shakespeare studies = Shashibiya yan jiu [ID D23518]. Es ist die erste Zeitschrift in China, die einem Schriftsteller ausserhalb Chinas gewidmet ist. Cao Yu schreibt in der Einführung : "The dual purpose is to publish critical essays on Shakespeare and also articles concerning the playwright on the Chinese stage. Our aim is to recognize Shakespeare as a great Elizebethan dramatist and poet whose plays require both literary and theatrical research and study. If literary scholars cooperate closely and harmoniously with those who act Shakespeare, I believe we can advance both critical studies and improve stage productions." He Qixin : "In this journal scholars evaluated Shakespearean dramas from the aspect of humanism while maintaining a Chinese sensibility, that is, Shakespeare's works are interpreted by the Chinese from the perspective of human nature and human rights embedded in the plays, closely combined with the social and political issues in contemporary China. Instead of analyzing the theme of Shakespearean dramas, the Chinese tend to appreciate characters with passion, awakening self-consciousness, desire for freedom and competitive individualism, which inspires the spirit of emancipation from spiritual fetters and demands human rights and dignity. Some radical Chinese critics relate particular social issues in Shakespeare's dramas to those of contemporary China, for exemple, the power struggles in the playwright's plays are used to mock the political situation in China." |
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| 156 | 1983 | Gründung der Shakespeare Association of Tianjin. Zhu Weizhi wird Präsident. | |
| 157 | 1984 | Gründung der Zhongguo Shashibiya yan jiu hui = The Shakespeare Society of China = 中國莎士比亞 硏究會編. Cao Yu wird Präsident. |
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| 158 | 1984 | Gründung des China Shakespeare Research Centre durch die Central Academy of Drama an der Beijing-Universität. Sun Jiaxiu wird Direktorin. | |
| 159 | 1984 | Das Urban Council organisiert das Hong Kong William Shakespeare Festival. |
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| 160 | 1984 | Aufführung von Weinishi di shang ren = The merchant of Venice von William Shakespeare durch das Hong Kong Repertory Theatre unter der Regie von Daniel S.P. Yang. |
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| 161 | 1984 | Aufführung von Antony and Cleopatra von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai qing nian hua ju tuan (Shanghai Youth Spoken Drama Company) unter der Regie von Hu Weimin. | |
| 162 | 1984 |
Aufführung von Hamlet von William Shakespeare in der Übersetzung von Zhu Shenghao durch Studenten der Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Chen Mingzheng und An Zhenji. Li Ruru : Chen's production displays certain influences from two Western versions of Hamlet : Laurence Oliver's 1948 film which was dubbed into Chinese in 1958 and the English stage production from the Old Vic in London which visited Beijing and Shanghai in 1979. |
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| 163 | 1984 | Aufführung von Othello von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Guangdong hua ju yuan (Guangdong Provincial Spoken Drama Theatre) unter der Regie von Zhou Ying und Liang Yong. | |
| 164 | 1984 | Aufführung von The winter's tale von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Zhang Zhenmin. | |
| 165 | 1984 | Aufführung von Twelfth night von William Shakespeare durch The Acting Touring Company London in Hong Kong. |
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| 166 | 1984 | Aufführung des Ballettes Romeo and Juliet von William Shakespeare durch die Shanghai Ballet Company in Shanghai. Romeo ist Ballett-Tänzer Shi Hui, Juliet ist Wang Qifeng. | |
| 167 | 1985 | Gründung der Shakespeare Library an der Fudan-Universität in Shanghai. |
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| 168 | 1985 | Gründung der Shakespeare Society der Provinz Jilin. Präsident wird Lin Tongji. | |
| 169 | 1985 |
Zhang, Qihong. Rang shang di jiang lin ren jian : zai Zhongguo Shashibiya yan jiu hui cheng li da hui shang de fa yan [ID D23968]. Shen Fan : Zhang said in her speech that her purpose was to invite Shakespeare, 'god' of England, to descend to the land of China and become friends with and accepted by the Chinese audience. She wanted to explore and display Shakespeare's 'profound critique of feudalism' and 'great realism, humanism, and moral power' in this play. She adapted the play, reducing its twenty-five scenes to twelve, and cut most of the lines referring to the conflict between the Jews and the Christians. She argued that : 1. A Chinese production need not emphasize religious and racial conflicts unfamiliar to the Chinese audience. 2. Shylock should appear basically as a usurer, not as a Jew, and the major scenes of the play should focus on the conflict between Shylock as a feudal usurer and Antonio as a representative of rising capitalism. 3. The play should extol generosity, honesty, friendship, and love, and condemn cruelty and evil. |
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| 170 | 1985 | Aufführung von Tian chang di jiu = Everlasting and unchanging = Romeo and Juliet von William Shakespeare. Adaptation durch die Shanghai Hongkou yue ju tuan (Hongkong District yue ju Company) unter der Regie von Xie Honglin und Zhou Zhigang. | |
| 171 | 1986 |
William Shakespeare Festival in Shanghai und Beijing. Li Ruru : For the first time in China, Shakespearean scholars, traditional operatic performers, orchestras, experts on foreign literature, and audiences of local operas were brought together in the theatre. The festival provided a forum for discussing not only the plays and their performances, but also the wider issues involved in bringing together Chinese and Western cultures. The four operatic productions of Shakespeare staged in Shanghai can be classified roughly into three types : those which emphasize the 'foreignness' of the plays, those which fully sinicize the plays, and those which synthesize Chinese and Western elements both textualy and theatrically. The audiences who attended the plays can also be divided roughly into two groups. On the one hand are those who think that this new approach to an old form is very interesting and compelling. Others feel that it is strange and awkward, lacking both the spirit and poetry of Shakespeare and the conventions and beauty of traditional Chinese theatre. Traditional Chinese theatre's relationship with its audience coincides closely with Shakespeare's, because in both cases the prime consideration was to entertain the audience and cause playgoers to accept and 'enter into' what they were watching on the stage. It should also be pointed out that both Shakespeare's plays and traditional Chinese operas were originally performed in front of audiences made up not only of ranking officials and nobility who had fastidious tastes but of illiterate common people as well. All this constitutes another link between Shakespeare and traditional Chinese theatre. Shakespeare's plays and traditional Chinese theatre nevertheless represent two disinct cultures. Despite the similarities, there are major differences. At a lively forum concerning their productions, the directors of four operas unanimously described their creative process as one of violent and painful collision. Whether between Shakespeare and 'kun qu' or 'yue ju' or 'huang mei xi', there are clashes and conflicts which inevitably have and impact on operatic traditions, and consequently lead to change and innovation in traditional Chinese theatre art. Shakespeare has singing-and-dance scenes, and his language conforms to its own rhyme schemes, but these are different from Chinese stylized song, dance, and rhyme conventions. In the process of rehearsals and production, operatic conventions have been developed and changed, absorbing many realistic movements and gestures, which together with stagecraft, lighting, musical accompaniment, and costuming go beyond the traditional operatic framework. As a result, the performing techniques and skills of the opera have been greatly enriched, and this is one major achievement of the operatic adaptations of these Shakespearean plays. |
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| 172 | 1986 |
Vortrag von Ding Tao an einer Konferenz der Central Dama Academy wärend des Chinese Shakespeare Festival in Beijing. His topic was the staging of Shakespeare's plays from the standpoint of the modern age, with emphasis on the significance of Shakespeare's humanism for contemporary China. He maintained that Shakespeare's plays showed us how people were released from the ideological shackles of the Middle Ages and that the Chinese also faced an arduous task to emancipate themselves from outmoded spiritual fetters and to vindicate human rights and dignity. Thus he believed that to present Shakespeare's plays was, in a sense, to present modern-day China. |
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| 173 | 1986 | Besuch von Hu Yaobang als erster chinesischer Politiker von Stratford-upon-Avon, dem Geburtsort von William Shakespeare. | |
| 174 | 1986 |
Interview von Zhang Siyang über William Shakespeare mit Mr. Tong der Zhong yang xi ju xue yuan (Central Drama Academy), Beijing. When Professor Zhang Siyang asked Tong, whether the local residents of Liangshan had any difficulty in understanding Shakespeare's plays. Tong said : "Not at all! When the play was performed, many of the audience were poorly educated and even illiterate farmers. But it seemed that all of them understood the production very well. After the performance some young men told me that the exotic atmosphere of the play struck them as new. Yet they liked it very much. There were no strange customs or moral doctrines in the play, so they were able to identify with the characters. For them, Shakespeare's plays sometimes were even easier to understand than traditional Chinese drama. For example, a young man told me that when he saw the famous classical Chinese tragedy The Injustice to Don E, he could not understand why Dou E had to be loyal to her dead husband and not remarry although she was only seventeen years old." |
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| 175 | 1986 |
Rede von Huang Zuolin am Seminar of China's Inaugural Shakespeare Festival. Er sagt : "Our conventional theater has already lost more and more audiences. If we use our drama to perform Shakespeare's plays, the production might be 'neither fish nor fowl', which would make the situation of our conventional theater even worse and damage the intact theatrical tradition. We can find a lot of common characteristics in Shakespeare's drama and traditional Chinese drama. We can also see some strong points in each which the two types of drama may learn from each other. There is no doubt that we shall make more contributions to the theatrical circles of the world if we perform Shakespeare's plays by using some stage techniques of traditional Chinese drama when we introduce the works of this great dramatic poet to Chinese audiences. And in the meantime we can make our brilliant theatrical tradition and consummate stage techniques known to countries all over the world." |
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| 176 | 1986 | Yi Kai, ein Theaterkritiker schreibt über die Aufführungen von William Shakespeare : "Since the opening up of our closed social and economic structure, our national spirit has chenged from static to fluid, people’s aesthetic concerns and theatre-going habits changed from the collective to the individualized. A profound, all-around reform has been going on slowly but surely within the traditional Chinese theatre circles. It is no coincidence that traditional Chinese theatre productions of Shakespeare have come along." |
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| 177 | 1986 | Zhang Anjian schreibt über das Inaugural Chinese Shakespeare Festival : "It is indeed a new theatrical exploration to adapt Shakespeare's plays into traditional Chinese drama .... As is known to all, Shakespearean drama is a bright pearl of Western culture and traditional Chinese drama is a treasure of Eastern art. If we mix them together, it will not only make Shakespeare known to more Chinese audiences but also cause traditional Chinese drama to exert a widespread influence upon the theatrical circles of the world. Thus it is really a matter of great importance. | |
| 178 | 1986 | Aufführung von All's well that ends well von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Xi’an hua ju yuan (Xi’an Spoken Drama Theatre) unter der Regie von Yang Huizhen. | |
| 179 | 1986 | Aufführung von Titus Andronicus von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju yue yuan (Shanghai Theatre Academy) unter der Regie von Xu Qiping. | |
| 180 | 1986 | Aufführung von Licha san shi = Richard III von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Zhongguo er tong yi shu ju yuan (China Children's Art Theatre) unter der Regie von Zhou Lai und Huang Yilin. | |
| 181 | 1986 | Radio Übertragung von Macbeth von William Shakespeare in der Übersetzung von Yuan Guoying durch die Shanghai ren min guang bo dian tai (Shanghai People's Broadcasting Station) unter der Regie von Zu Wenzhong und Yuan Guoying. | |
| 182 | 1986 | Radio Übertragung in einer BBC Version von Romeo and Juliet von William Shakespeare durch die Zhongguo zhong yang dian shi tai (Central Television Station) unter der Regie von Sun Jiaxiu. | |
| 183 | 1986 |
Aufführung von Xie shou ji (kun ju) = Blood-stained hands = Macbeth von William Shakespeare in der Adaptation von Zheng Shifeng durch die Shanghai kun ju tuan (Shanghai Kun ju Company) unter der Regie von Li Jiayao, Shen Bin und Zhang Mingrong unter der Leitung von Huang Zuolin. Ji Zhenhua spielt Macbeth, Zhang Jinxian Lady Macbeth. Li Ruru : Macbeth is an authentic 'kun ju' production with a wholly Chinese stars, characters and costuming and all the techniques and skills typical of the traditional style. |
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| 184 | 1986 | Aufführung von A midsummer night's dream von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Zhongguo mei kuang wen gong tuan (Chinese Coal Mining Song, Dance and Drama Ensemble) unter der Regie von Xiong Yuanwei. | |
| 185 | 1986 | Aufführung von The taming of the shrew von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Bernard Goss. | |
| 186 | 1986 | Aufführung von The merry wives of Windsor von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Zhong yang shi yan hua ju yuan (Central Experimental Spoken Drama Theatre) unter der Regie von Yang Zongjing. | |
| 187 | 1986 | Aufführung von The merry wives of Windsor von William Shakespeare in der Übersetzung von Fang Ping durch das Wuhan shi hua ju yuan (Wuhan City Spoken Drama Theatre) unter der Regie von Hu Dao. | |
| 188 | 1986 | Aufführung von Love's labour's lost von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Jiangsu sheng hua ju tuan (Jiangsu Provincial Spoken Drama Company) unter der Regie von Xiong Guodong. | |
| 189 | 1986 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Sun Jiaxiu [et al.] durch die Zhong yang xi ju xue yuan (Central Academy of Drama), Beijing unter der Regie von Ran Jie, Liu Muduo und Li Zibo. | |
| 190 | 1986 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Tianjin ren min yi shu ju yuan (Tianjin People's Art Theatre) unter der Regie von Sha Wei. | |
| 191 | 1986 | Aufführung von Othello von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Zhong guo tie lu wen gong tuan (Chinese Railway Song, Dance and Drama Ensemble) unter der Regie von Chen Ping. | |
| 192 | 1986 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Liaoning ren min yi shu ju yuan (Liaoning People's Art Theatre) unter der Regie von Ding Ni. | |
| 193 | 1986 | Aufführung von Othello von William Shakespeare in mongolischer Version, basierend auf der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Liu Jianping. | |
| 194 | 1986 |
Aufführung von Twelfth night (yue ju) von William Shakespeare in der Adaptation von Zhou Shuihe durch die Shanghai yue ju yuan san tuan (Shanghai Yue ju Theatre Company) unter der Regie von Hu Weimin und Sun Hongjiang. Li Ruru : The presentation is distinctly foreign with Western costumes, make-up and gestures, all of which are far removed from the standard 'yue ju'. |
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| 195 | 1986 |
Aufführung von Much ado about nothing (huang mei xi) von William Shakespeare in der Übersetzung von Jin Zhi durch die Anhui sheng huang mei xi ju tuan (Anhui Provincial Huang mei xi Company) unter der Regie von Jiang Weiguo und Sun Huairen. Berater ist Zhang Junchuan. Ma Lan spielt Beatrice, Wu Qiong spielt Hero, Jiang Jianguo spielt Claudio. Li Ruru : The 'huang mei xi' version was chosen by the Ministry of Culture to entertain Queen Elizabeth when she visited China in the autumn. It is a relatively recent style in traditional Chinese thatre. It has been popular in the country generally, and especially among urban youth. The story, characters, costumes, music and stage presentation have a distinctly Chinese flavour. The events take place at un unspecified time in a remote border region of ancient China where Han people live with minority races. |
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| 196 | 1986 | Aufführung von The winter's tale (Shao xing opera) von William Shakespeare durch die Hangzhou yue ju yuan yi tuan (Hangzhou Yue ju Theatre Company No. 1) im China Theatre Shanghai in der Adaptation von Qian Mingyuan, Wang Fumin, Tian Ma unter der Regie von Wang Fumin. |
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| 197 | 1986 | Aufführung von Luan sheng xiong mei = The twins = Twelfth night (Puppentheater) von William Shakespeare in der Adapation von Lu Yanglie und Ding Yanzhao durch die Shanghai mu ou ju tuan (Shanghai Puppet Company) unter der Regie von Yao Jinshi. | |
| 198 | 1986 | Aufführung von Twelfth night (Shao xing opera) von William Shakespeare in der Adaptation von Zhou Shuihe durch die Shanghai Shaoxing Opera Troupe im Shanghai da ju yuan (People's Grand Theatre Shanghai) unter der Regie von Hu Weimin. | |
| 199 | 1986 | Aufführung von A midsummer night's dream von William Shakespeare in mongolischer Version, basierend auf der Übersetzung von Fang Ping durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Lu Ruoping und Tong Ruimin. | |
| 200 | 1986 | Radio Übertragung von A midsummer night's dream von William Shakespeare in der Übersetzung von Huang Zuolin durch die Shanghai ren min guang bo dian tai (Shanghai People's Broadcasting Station) unter der Regie von Zu Wenzhong. |
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| 201 | 1986 | Aufführung von Luan shi wan (jing ju) = The king of the Rurmoil = Macbeth von William Shakespeare durch die Wuhan shi jing ju tuan (Wuhan City Jingju Company) unter der Regie von Hu Dao [et al.]. | |
| 202 | 1986 | Aufführung von Yuan xiao = Twelfth night von William Shakespeare in der kantonesischen Übersetzung von Ruper Chan durch die Chung Ying Theatre Company unter der Regie von Bernard Goss in Hong Kong. | |
| 203 | 1986 | Die Chinese Phonograph and Tape Company produziert zwei Tapes "The highlights of William Shakespeare's best known plays" mit ausgewählten Passagen, Dialogen und Monologen mit den Schauspielern Sun Daolin, Qiao Zhen, Qiao Qi und Zhu Yi. | |
| 204 | 1986 |
Aufführung von Measure for measure = Qing jun ru weng von William Shakespeare durch das Hong Kong Repertory Theatre in der Übersetzung und unter der Regie von Ying Ruocheng. 请君入翁 |
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| 205 | 1986 |
Aufführung von Othello = Ji von William Shakespeare durch das Hong Kong Repertory Theatre in der Adaptation und unter der Regie von Joanna Chan = Chen Yinying. 嫉 |
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| 206 | 1987 |
Ding, Jiasheng. Zhuang ji hou se si suo [ID D23973]. Er schreibt : "One of the important characteristics of Shakespeare's plays is that the portrayal of individuality is greatly emphasized, which would provide a vast field for using the actor's talent to play the role. We rarely see stereotyped characters in Shakespeare's plays. Every actor can have a different interpretation of Hamlet, Othello, and Shylock. ... By contrast, the fatal weakness of traditional Chinese drama is to neglect the portrayal of individuality. The actors lack the consciousness to "recreate" the roles they play. All they do on the stage is present the plot, not to represent the personality of the characters. They usually treat the roles with the same method, which inevitably leads to a stereotyped orientation. That is strikingly contrasted with the variety and richness of the portrayal of personality in Shakespeare's plays. So we have drawn a good lesson from the impact of Shakespeare upon traditional Chinese drama." |
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| 207 | 1987 | Aufführung von The merry wives of Windsor von William Shakespeare in der Übersetzung von Hou Suizhu [et al.] durch die Huizhou shi dong jiang xi ju tuan (Huizhou city Dong jiang xi Company) unter der Regie von Hou Suizhu. | |
| 208 | 1987 | Aufführung von The merry wives of Windsor (chao ju) von William Shakespeare durch die Shantou shi chao ju tuan (Shantou City Chao yu Company). [Keine Angabe von Übersetzer und Regisseur]. |
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| 209 | 1987 | Aufführung von Qiao duan ren rou an (Hunan xiang ju) = A brilliant judgement on the case of flesh = Adaptation von The merchant of Venice von William Shakespeare durch das Hunan sheng xiang ju yuan (Hunan Provincial Xiang ju Theatre). [Keine Angabe von Übersetzer und Regisseur]. |
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| 210 | 1987 | Aufführung von Xie jian (wu ju) = The bloody sword = Adaptation von Macbeth von William Shakespeare durch die Wu ju xiao bai hua dong yang yan chu tuan (Wu ji Small Hundred Flowers, Dongyang Company). [Keine Angabe von Übersetzer und Regisseur]. |
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| 211 | 1987 | Aufführung von Romeo and Juliet (yu ju) von William Shakespeare durch die Zhoukou di qu yu ju tuan (Zhoukou District Yu ju Company). [Keine Angabe von Übersetzer und Regisseur]. |
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| 212 | 1987 | Aufführungen von Xie shou ji (kun ju) = Blood-stained hands = Macbeth von William Shakespeare in der Adaptation von Zheng Shifeng durch die Shanghai kun ju tuan (Shanghai Kun ju Company) unter der Regie von Li Jiayao, Shen Bin und Zhang Mingrong unter der Leitung von Huang Zuolin in Edinburgh, Manchester, Birmingham, Cardiff und London. | |
| 213 | 1988 |
Shashibiya de san chong xi ju : yan jiu, yan chu, jiao xue [ID D23967]. Drei Studenten der Jilin-Universität schreiben : Shakespeare tells us that the emancipation of individuality is of great importance to the progress of a modern society. Any restriction of the rational demands and rights of man will hamper the initiative and crativity of people. Shakespeare also tells us that the progress of social development is never smooth, as we see in his tragedies. This should be especially understood by Chinese people, who have just experienced the disaster of the Cultural revolution. |
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| 214 | 1988 | Aufführung von Di shi er ye = Twelfth night in der Übersetzung von Zhu Shenghao durch das Hong Kong Repertory Theatre = Xianggang hua ju tuan unter der Regie von unter der Regie von Tsai Chin. | |
| 215 | 1988 | Aufführung von Yan = A midsummer night's dream von William Shakespeare in der kantonesischen Übersetzung von Ruper Chan durch die Chung Ying Theatre Company unter der Regie von Bernard Goss in Hong Kong. | |
| 216 | 1988 | Radio Sendung einer Adaptation von Szenen aus 37 Dramen von William Shakespeare durch die Jilin ren min guang bo dian tai jiao tong guang bo (Julin People's Broadcasting Station) in der Synchronisation durch Schauspieler des Changchun Film Stuio. |
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| 217 | 1989 | Gründung des Wuhan Shakespeare Center. Yuan Kun wird Präsident. | |
| 218 | 1989 |
Aufführung von Hamlet von William Shakespeare in der Übersetzung von Li Jianming durch das Beijing ren min yi shu ju yuan (Beijing People's Art Theatre) unter der Regie von Lin Zhaohua und Ren Ming. Lin Zhaohua schreibt 1994 in seinen Program notes : "Hamlet is one of us. In the street, we may pass him without knowing who he is. The thoughts that torture him also torture us everyday. The choice he needs to make is also the one we face every day. 'To be or not to be' is a question of philosophy, but is also a concrete matter, big or small, in our everyday life. 'To be or not to be' : you can choose only one of these alternatives." Er sagt in einem Interview 1997 : "I was always hoping to put Hamlet on the stage ; I liked the loneliness of Hamlet. Moreover, during that period, people lost their vitality completely. Everybody now wanted to make money or to win prizes or lotteries. Only those who can think feel lonely. The lonely Chinese Hamlet was neither a prince who seeks revenge for the sake of justice nor a hero of humanism. What we are facing is ourselves. To face oneself is the most active and braves attitude modern people can possibly assume." Li Ruru : Deeply depressed by the consequences of the June 1989 student demonstration in Tiananmen Square, Lin Zhaohua channeled his reflections on those tragic events and the realities they exposed about contemporary China into an experimental production of Hamlet which he presented in Beijing later that year. Lin's Hamlet was not a Renaissance giant with the sublime mission of rescuing his country and his people from a feudal tyrant. There were no longer heroes or villains in the play, just ordinary Beijing people in the late-twentieth century. |
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| 219 | 1989 |
Zhang, Fa. Zhongguo wen hua yu bei ju yi shi [ID D24000]. Er schreibt über Hamlet von William Shakespeare : "Hamlet intends to clarify the truth of his father's death. Yet he demonstrages his own weakness when he undertakes the task to avenge his father. He also realizes the contradiction between his duty for vengeance and his character and is baffled by the attitude of man toward this reversed world. All of these factors bring about his destruction the tragic protagonist clearly exhibits a complex ability to trandscend the simple division of good and evil, to transcend the provisional social institution or even to transcend culture itself. The presentation of the faithful ministers who fight with treacherous ministers has been based on the qualities of stability, patience, and preservation of Chinese culture. It aims to neither thoroughly examine the existing social system and ideology nor show a transcending spirit through the complexity of the protagonist. It is designed mainly to sacramentalize the existing system and ideology and to portray the characters by the simple division of good and evil. One cannot say that the classical Chinese playwrights do not see the serious problem in reality. But they always tend to reassure themselves and the people with conventionally political ideas and the strong rationalism of Chinese culture." |
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| 220 | 1989 | Aufführung von Richard III. von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Peng Liqi. | |
| 221 | 1989 | Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Fang Ping durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Zhang Zhenmin und Jiang Wenqiu. | |
| 222 | 1989 | Aufführung von Qi zhai qing yuan (Anhui lu ju) = A strange debt and fated marriage = Adaptation von The merchant of Venice von William Shakespeare durch die Hefei shi lu ju tuan (Hefei City Lu ju Company). [Keine Angabe von Übersetzer und Regisseur]. |
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| 223 | 1990 | Aufführung von Yu wang cheng guo = The kingdom of desire = 欲望城國 = Adaptation in Form einer Peking Oper von Macbeth von William Shakespeare unter der Regie von Wu Xingguo im The National Theater in Taipei. | |
| 224 | 1990 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Xiang Qi und Liu Jianping. | |
| 225 | 1990 | Aufführung von Much ado about nothing von William Shakespeare durch das Hong Kong Repertory Theatre = Xianggang hua ju tuan unter der Regie von Daniel S.P. Yang. | |
| 226 | 1990 | Aufführung von Two gentlemen of Verona von William Shakespeare durch das Chung Ying Theatre unter der Regie von Chris Johnson in Hong Kong. |
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| 227 | 1991 | Aufführung des Ballettes Romeo and Juliet von William Shakespeare durch die Central Ballet Company zur Eröffnung der 11th Asian Games in Beijing. |
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| 228 | 1991 |
Zhang, Siyang ; Xu, Bin ; Zhang, Xiaoyang. Shashibiya xi ju yan jiu [ID D24013]. Xu Bin schreibt über King Lear von William Shakespeare : "King Lear shows us a miserable world in which truth and falsehood are confused, right and wrong are misjudged. At court, the King neglects his duty and subjects commit treason against the King. In families, the father does not behave like a father, the son does not behave like a son ; wife and husband fall out ; brothers act against each other. Degree and virtue are abandoned ; moral principles are violated. People are obsessed with the desire for power and gain. Peace and order are disrupted. It is a great social tragedy." |
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| 229 | 1991 | Aufführung von Tian hou = As you like it von William Shakespeare durch die Xianggang yan yi xue yuan = The Hong Kong Academy for Performing Arts unter der Regie von Du Guowei = Kwok-wai Raymond To. | |
| 230 | 1993 |
Wuhan International Shakespeare Conference unter der Leitung der Wuhan-Universität und dem Wuhan Shakespeare Center. It was the first time that China's Shakespearean scholars had convened an international conference on Shakespeare and the first opportunity for them to exchange academic ideas with their Western counterparts. More than sixty Western and Chinese scholars, including those from Taiwan and Hong Kong attended the conference. Scenes from A midsummer night's dream and As you like it were presented by students of the English Department at Wuhan University. |
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| 231 | 1993 |
Wu, Ningkun ; Li, Yikai. A single tear : a family’s persecution, love, and endurance in communist China. (New York, N.Y. : Atlantic Monthly Press, 1993). Er schreibt über Hamlet von William Shakespeare : "At the end of my long day's work it was a joy for me to spend time talking with [my wife] about her reading. I would recite Hamlet’s great soliloquies for her... Hamlet was my favorite Shakespeare play. Read in a Chinese labor camp, however, the tragedy of the Danish prince took on unexpected dimensions... The outcry 'Denmark is a prison' echoed with a poignant immediacy, and Elsinore loomed like a haunting metaphor of a treacherous repressive state. The Ghost thundered with a terrible chorus of a million victims of proletarian dictatorship. Rosencrantz and Guildenstern would have felt like fish in water, hat they found their way into a modern nation of hypocrites and informers... I would say to myself, 'I am not Prince Hamlet, nor was meant to be', echoing Eliot's Prufrock. Rather, I often felt like one of those fellows 'crawling between earth and heaven', scorned by Hamlet himself. But the real question I came to see was neither 'to be, or not to be', nor whether 'in the mind to suffer the slings and arrows of outrageous fortune', but how to be worthy of one's suffering. Hamlet suffered as an archetypal modern intellectual. Touched off by practical issues in the kingdom of Denmark, his anguish, emotional, moral, and metaphysical, took on cosmic dimensions and permeated the great soliloquies with an ever-haunting rhytm. When I recited them to myself on the lake shore, I felt this anguish was the substance of the tragedy." |
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| 232 | 1993 | Gründung der Zhejiang Shakespeare Association. |
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| 233 | 1993 | Gründung des Shakespeare Research Center der Beijing-Universität. Gu Zhengkun wird Direktor. | |
| 234 | 1993 | Aufführung von Twelfth night von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Zhong yang xi ju xue yuan (Central Academy of Drama), Beijing unter der Regie von He Bingzhu. | |
| 235 | 1993 | Aufführung von Measure for measure von William Shakespeare in der Übersetzung von Ying Ruocheng durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Chen Mingzheng. | |
| 236 | 1993 | Aufführung von King Lear von William Shakespeare durch das Hong Kong Repertory Theatre = Xianggang hua ju tuan unter der Regie von Daniel S.P. Yang. | |
| 237 | 1994 | Die Zhongguo Shashibiya yan jiu hui = The Chinese Shakespeare Society organisiert das Shanghai International Shakespeare Festival. |
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| 238 | 1994 |
Aufführung von Shamuleite = Shamlet = 莎 姆雷特. An apology for the life of Mrs Shamela Andrews, eine Parodie von Hamlet von William Shakespeare und eine Satire von Henry Fielding auf Samuel Richardson's Novelle Pamela in der Adpation von Li Guoxiu durch das Shanghai xian dai ren ju she und Taiwan ping feng biao yan han (Shanghai Modern People's Theatre und Taiwan Ping feng Workshop) unter der Regie von Liu Yun. Li Ruru : There are three levels at which Shamlet tries to communicate with the audience. The first level is a satire on Shakespeare himself together with a parody of Hamlet in which a few episodes from the original texte are performed in a low comedy style. On the second level is a portrayal of a troupe of Taiwanese actors attempting to stage a performance of Hamlet, or Shamlet as it is called by the director of the troupe who has misread the title of the play. The thoughts, emotions and behavior of Hamlet and other characters in the original play are apralleled, in a trivialized and satirical style, with the personalities of the actors, their lives in contemporary Taiwanese society and the difficulties they face in playing Hamlet. The production of 'Shamlet' did not go well. The audience simply could not understand what the play was about. Critics at the forum pointed out some of the problems : too many repetitious episodes and some events lasting too long and becoming boring. Murray J. Levith : The play's intention is to make a commentary on the absurdity of modern life with ist lack of meaningful order and confused identities.This self-reflexive theme suggests both the complexity and emptiness of contemporary society where all the world seems a stage. |
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| 239 | 1994 | Aufführung von Henry IV von William Shakespeare in der Übersetzung von Zhu Shenghao und dem Drehbuch von Wu Xiaojun durch die Shanghai xi ju xue yuan (Shanghai Theatre Academy) unter der Regie von Su Leci. | |
| 240 | 1994 |
Aufführung von The merchant of Venice von William Shakespeare in der Übersetzung von Zhu Shenghao durch das Shanghai er tong yi shu ju yuan (Shanghai Children's Art Theatre) unter der Regie von Kang Ansheng. Kang Ansheng schreibt in den 'program notes' : "We sincerely hope, that in The merchant of Venice all the benevolence and beauty in human life will be loved and cherished by people and will further develop while everything malevolent and ugly will be censured and brought to an end." |
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| 241 | 1994 |
Aufführung von The merchant of Venice von William Shakespeare durch den Fudan University Theatre Club unter der Regie von Geng Baosheng. Li Ruru : The Fudan production had a narrator, who not only brought the selected scenes into an integrated play but also made comments from time to time that enlightened the audience about various interpretations of the play as well as the character of Shylock. |
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| 242 | 1994 |
Aufführung von Othello von William Shakespeare in der Adaptation von Li Rong durch die Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Lei Guohua und Bühnenbildner Wang Jun. Li Ruru : The mise-en-scène of the production appears to have been strongly influenced by the 1956 Soviet film version of Othello, directed by Sergei Yutkevich with Sergei Bondarchuk. The production was an attempt to discuss concepts of 'justice and injustice' and 'fairness and unfairness' that Chinese people had not faced since 1949, when the People's Republic of China was founded. Under the Communist regime 'justice' was defined by the revolutionary cause and was limited to the fight between revolutionary and counterrevolutionary. Thus most people never thought they should question what justice was, and those who wanted to do so were either too frightened or, having the courage to speak, were quickly silenced by means of persecution. |
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| 243 | 1994 |
Aufführung von Wang zi fu chou ji = [The prince revenge] = 王 子复仇记 = Yue ju Adaptation von Hamlet von William Shakespeare durch die Shanghai xi ju xue ju yuan (Shanghai Theatre Academy) nach dem Drehbuch von Xue Yunhuang unter der Regie von Su Leci, Wu Xiaolou und Liu Jue ; mit Zhao Zhigang als Halmet und Lei Liya als Ophelia. Li Ruru : The yue yu Hamlet was a fully sinicized adaptation transposing the original work into an entirely Chinese setting with Chinese characters. |
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| 244 | 1994 | Aufführung von Troilus and Cressida (Western opera style) von William Shakespeare in der Adaptation von Sheng Zhengjun (Lyrik) und Xu Jianqiang (Komponist) durch das Harbin ge ju yuan (Harbin Opera House) unter der Regie von Guo Xiaonan und Wang Yongji und dem Bühnenbildner Zhao Jinsong. | |
| 245 | 1994 | Aufführung von King Lear von William Shakespeare in der Übersetzung von Dai Xiaotong durch die Shijiazhuang si xian xi ju tuan (Shijiazhuang si xian xi Company) unter der Regie von Hu Dao. | |
| 246 | 1994 | Aufführung von Twelfth night von William Shakespeare durch das Salisbury Playhouse und das Royal Lyceum of Edinburgh in Shanghai. |
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| 247 | 1994 | Aufführung von Romeo and Juliet in Deutsch durch das Youth Theatre Nürnberg in Shanghai. |
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| 248 | 1994 | Radio Sendung von A midsummer night's dream und All's well that ends well von William Shakespeare in China. |
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| 249 | 1995 | Aufführung von Qi wang meng (jing ju) = King Qi's dream = 歧 王梦 King Lear von William Shakespeare in der Adaptation von Wang Yongshi durch das Shanghai jing ju yuan (Shanghai Jing ju Theatre) unter der Regie von Ma Ke. | |
| 250 | 1995 | Aufführung von Tian zuo zhi he (Guangdong yue ju) = A match made in heaven = Twelfth night von William Shakespeare in der Adaptation von Wu Shumin und Zhang Qihong durch die Guangzhou hong dou yue ju tuan (Guangzhou Hong dou yue ju Company) unter der Regie von Zhang Qihong, Zhang Jianjun und Hong Xiannü. | |
| 251 | 1995 | Open Air Aufführung von Much ado about nothing von William Shakespeare in der Übersetzung von Zhu Shenghao durch die Shanghai ren min yi shu ju yuan (Shanghai People's Art Theatre) unter der Regie von Yu Luosheng im Huangpu Park in Shanghai. | |
| 252 | 1996 | Aufführung von The two gentlemen of Verona (chuan ju) von William Shakespeare durch die Guiyang shi chuan ju tuan (Guiyang City Chuan ju Company). [Keine Angabe von Übersetzer und Regisseur]. |
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| 253 | 1996 | Aufführung von Zhuomei yu Aluo (hua deng xi) = Adaptation von Romeo and Juliet von William Shakespeare durch die Yuxi di qu hua deng xi ju tuan (Yuxi District Hua deng xi Company). [Keine Angabe von Autor und Regisseur]. |
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| 254 | 1996 | Sixth Congress of the International Shakespeare Association in Los Angeles. Zwölf chinesische Professoren und Gelehrte nehmen daran teil. Fang Ping wird Mitglied des Executive Committee. |
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| 255 | 1996 |
Jiang, Tao. Lun Zhongguo sha ju wu tai shang de dao yan yi shu [ID D24029]. Er schreibt : "With regard to Hamlet, the most important aspect is his character, and the hesitation in his character. He hesitated not because he is a coward. His hesitation is caused by his love for truth. He has to think over everything he encounters and he than fails... We Chinese people are often too cautious about everything and as a result we lose courage. In the end we can do nothing." |
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| 256 | 1996 |
Yan, Guanghui. Gu Hongming ping zhuan. Haikou: Hainan, 1996. [Biographie von Gu Hongming]. 辜鴻銘評傳 Yan schreibt : Shakespeare mirrors real life, in whom right and wrong can be recognized at a look ; Faust [Goethe] dives deep philosophically, in which right and wrong are obscure and indistinguishable; while Paradise Lost [by John Milton] is overwhelmingly passionate, quietly steady, masculine and sublime. Shakespeare is easy to grasp, Faust hard, and Paradise lost moving. |
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| 257 | 1997 |
Chen, Guohua. Lun sha ju chong yi. In : Wai yu jiao xue yu yan jiu ; no 2-3 (1997). [On re-translating Shakepseare's plays]. Li Ruru : Chen argued that the best translation should be evaluated on the accurate understanding and full expression of the original taking account of Shakespeare's varied use of stye and language. From his analysis Chen concluded that translations should be based on the First Folio, with modern editions being consulted merely for reference. |
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| 258 | 1997 | Vicki Ooi Cheng-har und Jane Lai Chui-chun gründen die Hong Kong Shakespeare Society = Hong Kong Shashibiya xue hui = 香港莎士比亞學會. | |
| 259 | 1997 | Aufführung von A midsummer night's dream von William Shakespeare durch das Hong Kong Repertory Theatre (Xianggang hua ju tuan) unter der Regie von Daniel S.P. Yang. | |
| 260 | 1997 |
[Marx, Karl]. Shashibiya lun jin qian. Liang Shiqiu yi. [ID D28855]. "The text The power of money by Marx contains significant insight, and I think that there are two points worthy of attention : 1) Shakespeare is a great artist, and one aspect of his greatness is that his works to not belong to any class and that they comprise all humankind from emerpors and aristocrats to the common people. People who say that Shakespeare is a bourgeois artist should read Shakespeare and then read the text by Mars. 2) Shakespeare is not a writer of a certain party or group. Rather, his art is to use a mirror to reflect human nature." |
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| 261 | 1998 | Die Shanghai Theatre Academy = Shanghai xi ju xue yuan, die Chinese Shakespeare Academy = Zhongguo Shashibiya yan jiu hui, die Hong Kong Shakespeare Society = Hong Kong Shashibiya xue hui und die Australian Shakespeare Society organisieren die International Shakespeare Conference in Shanghai. |
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| 262 | 1999 | Aufführung von A Rock 'n' Roll Midsummer night's dream of the East in der Adapation nach William Shakespeare unter der Regie von Liang Zhimin in Taibei. | |
| 263 | 1999 | Aufführung von Xun han ji : Zhong wen wen ben = The taming of the shrew von William Shakespeare durch die Huang jia Shashibiya ju tuan in Hong Kong. |
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| 264 | 2000 | Aufführung von Dian wang meng (dian ju) = King Dian's dream = Adaptation von Macbeth von William Shakespeare durch die Kunming shi dian ju tuan (Kunming City Dian ju Company). |
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| 265 | 2000 |
Aufführung von Hamuleite, Hamuleite = Hamlet, Hamlet unter der Regie von Xiong Yuanwei mit der Sha Tin Theatre Company, Amity Theatre Company und Horizonte Theatre Company, Hong Kong. Dramaturg ist Zhang Bingquan, Bühnenbildner ist He Yingfeng. Li Ruru : The main themes Xiong chose to explore in Hamlet were foreignness and uncertainty, as these seemed especially relevant to the current situation in Hong Kong, and his method for illustrating these concepts was to present the live ation on the stage in parallel with Laurence Olivier's film of Hamlet. The title pointed to the presence of two Hamlets before the audience : the classical image in the film speaking in English, and the live actor on stage speaking in Cantonese. Xion, Yuanwei. Hamuleite, Hamuleite shuo ming shu. (Hong Kong 2000). [Programm Notizen zu Hamlet]. Er schreibt : Today we put on Shakespeare and no doubt we need some of our own interpretation, modern interpretation. I want our performance first of all to be perceived as Shakespeare, but at the same time the stage is full of uncertainty. Uncertainty is the defining characteristic of today's eclectic world. Value nowadays is ambiguous and uncertain. People uncertain about what to do take the simplest way and turn to 'screen worship'. Contemporary behavior and fashion are deeply influenced and controlled by the electronic media. Reality needs to be confirmed by the screen, or even worse that reality disappears in the screen. In our performance, we let our modern Hamlet on the stage see a classical Hamlet in the videotape, and the former reflects his own life and fate in the light of the latter on the screen. |
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| 266 | 2000 |
Aufführung von Shei sha si le gua wang = Adaptation von Hamlet von William Shakespeare durch die Shanghai Thatre Academy nach dem Drehbuch von Cao Lusheng unter der Regie von Gu Yian. Li Ruru : The focus of this production was passion : the passion between man and woman, and the passion for power. The adapters drew their inspiration from Hamlet's phrase "To be, or not to be", but because there is no exact equivalent for "to be" in Chinese, they decided on a more sensational Chinese title with the literal meaning "Who kills the king". The king at the center of the story is Hamlet's father, but in this adaptation the king's three closest relatives, his brother, wife and son, are each planning to poison him. |
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| 267 | 2000 | Aufführung von A midsummer night's dream von William Shakespeare durch das Hong Kong Repertory Theatre (Xianggang hua ju tuan) unter der Regie von Daniel S.P. Yang. | |
| 268 | 2010 |
Xu, Shulun. Qing chu Shashibiya jie shao zhong de zi chan jie ji si xiang [ID D23910]. Li Ruru : Xu Shulun set the criteria for Shakespeare interpretation in the new China. He stated that "Shakespeare studies has long been controlled by bourgeois thought", citing the example of Hamlet where despite voluminous essays on the play "none of the critics could successfully solve the puzzles of the character. The essential reasons for not being able to do so are first of all, [those critics] ignored the spirit of the time when the English bourgeois revolution was under way ; in addition, they abandoned the humanism in the English Renaissance. They thus could not see where the composition [of Shakespeare's works] was based". Having quoted Marx, Engels, Pushkin, Belinsky and Morozov, Xu asserted that the USSR, the "second motherland of Shakespeare", had already eliminated bourgeois thought from Shakespearean scholarship, and the Soviet Shakespeareans had thus established an ideal model for the Chinese scholars. He further insisted that "the most urgent task for us Shakespeareans in the Chinese cultural realm is to apply Marxism to the correct interpretation and introduction of Shakespeare ; to eliminate the influence of European and American schools and their theories on our Shakespeare studies". |
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Bibliography (293)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1903 |
[Shakespeare, William]. Hai wai qi tan. (Shanghai : Da wen she, 1903). Übersetzung von 10 Geschichten von Lamb, Charles ; Lamb, Mary. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). [Erste Übersetzung ; Übersetzer ist unbekannt]. 海外奇谈 |
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| 2 | 1904 |
Lanmu, Cha'ersi [Lamb, Charles ; Lamb, Mary]. Yingguo shi ren yin bian yan yu. Shashibiya yuan zhu ; Lin Shu, Wei Yi yi. (Shanghai : Shang wu yin shu guan, 1904). (Shuo bu cong shu ; 1, 8). Übersetzung von Lamb, Charles ; Lamb, Mary. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 英國詩人吟邊燕語 |
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[Shakespeare, William]. Yin bian yan yu. Shashibiya yuan zhu ; Lin Shu, Wei Yi tong yi. (Shanghai : Shangwu yin shu guan, 1906). [Tales from Shakespeare]. 吟邊燕語 |
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| 4 | 1916 |
Shashibiya [Shakespeare, William]. Hengli di liu yi shi. Shashibiya yuan zhu ; Lin Shu, Chen Jialin yi shu. (Shanghai : Shang wu yin shu guan, 1916). (Shuo bu cong shu ; 3, 1). Übersetzung von Shakespeare, William. The true tragedie of Richard Duke of York and the death of good King Henrie the sixt ; with the whole contention betweene the two houses Lancaster and Yorke, as it was sundrie times acted by the right honourable the Earle of Pembrooke his seruants. Pt. 1-3. (London : Printed by P.S[hort] for Thomas Mulligan, and are to be sold at his shoppe vnder Saint Peters Church in Cornwal, 1595). [Geschrieben um 1590-1592]. [Henry VI]. 亨利第六遺事 |
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| 5 | 1916 |
Shashibiya [Shakespeare, William]. Hengli di si ji. Lin Shu yi. In : Xiao shuo yue bao ; Bd. 7, Nr. 2-4 (1916). Übersetzung von Shakespeare, William. The historie of Henrie the fourth. (London : A. Wise, 1598). [Henry IV]. 亨利第四紀 |
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| 6 | 1916 |
Shashibiya [Shakespeare, William]. Kai che yi shi. Lin Shu yi. (Shanghai : Shang wu yin shu guan, 1916). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 凱徹遺事 |
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| 7 | 1916 |
Shashibiya [Shakespeare, William]. Leichade ji. Lin Shu yi. In : Xiao shuo yue bao ; Bd. 7, Nr. 1 (1916). Übersetzung von Shakespeare, William. The tragedie of King Richard the second. (London : Printed by Valentine Simmes for Andrew Wise, 1597). 雷差得紀 |
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| 8 | 1917 | Dong, Run [Zhu, Dongrun]. Sha shi yue fu tan. In : Tai ping yang ; vol. 1, no 5-6, 8-9 (1917-1918). [Talks on Shakespeare's works]. | Publication / ZhuD1 |
|
| 9 | 1922 |
[Shakespeare, William]. Hamuleite. Shashibiya zhu ; Tian Han yi. (Shanghai : Zhong hua shu ju, 1922). (Shao nian Zhongguo xue hui cong shu. Sha weng jie zuo ji ; 1). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). [Die ersten drei Szenen erscheinen in Shao nian Zhongguo ; vol. 2, no 12 (1921)]. 哈姆雷特 |
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| 10 | 1924 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya zhu ; Tian Han yi. (Shanghai : Zhonghua shu ju, 1924). (Sha weng jie zuo ji ; 6). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅蜜歐與朱麗葉 |
Publication / Shak3 |
|
| 11 | 1925 |
Shashibiya [Shakespeare, William]. Hengli di wu ji. Lin Shu yi. In : Xiao shuo shi ji ; Bd. 12, Nr. 9-10 (1925). Übersetzung von Shakespeare, William. The chronicle history of Henry the fifth. (London : Printed by Thomas Creede, Tho. Millington, and John Busby, 1600). [Henry V]. 亨利第五紀 |
Publication / Lin99 |
|
| 12 | 1929 |
[Shakespeare, William]. Lian ai shen sheng. Shashibiya zhu ; Miao Lanhui yi. (Shanghai : Wei ai cong shu she, 1929). (Wei ai cong kan). Übersetzung von Shakespeare, William. A most pleasant and excellent conceited comedy, of Sir Iohn Falstaffe, and the merry wives of Windsor ; entermixed with sundrie variable and pleasing humors of Syr Hugh the Welch knight, Justice Shallow and his wife Cousin M. Slender ; with the swaggering vaine of ancient Pistoll, and Corporall Nym. (London : Printed for T.C. for Arthur Johnson, 1602). [Geschrieben 1600-1601]. 戀愛神聖 |
Publication / Shak88 | |
| 13 | 1929 |
[Shakespeare, William]. Shashibiya de gu shi. Di Zhenzhu yu ; Wang Doukui he yi. (Shanghai : Guang xue hui, 1929). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞的故事 |
Publication / Shak128 | |
| 14 | 1930 |
[Shakespeare, William]. Maikebeisi. Shashibiya zhu ; Dai Wangshu yi. (Shanghai : Jin ma shu tang, 1930). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麦克倍斯 |
Publication / DaiW16 | |
| 15 | 1930 |
[Shakespeare, William]. Weinisi shang ren. Gu Zhongyi yi ; Liang Shiqiu jiao. (Shanghai : Xin yue shu dian, 1930). Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 |
Publication / Shak11 | |
| 16 | 1930 |
[Shakespeare, William]. Di shi er ye. Shashibiya yuan zhu ; Peng Zhaoliang yi. (Shanghai : Zhonghua xin jiao yu she, 1930). (Shi jie wen xue jie zuo cong shu ; 1. Lan man cong shu ; 1). Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / Shak56 | |
| 17 | 1930 |
[Shakespeare, William]. Mokebaisi yu mo fu ren. Zhang Wenliang yi. (Guangzhou : Qing ye shu dian, 1930). (Qing ye wen yi cong shu). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 墨克白絲與墨夫人 |
Publication / Shak119 | |
| 18 | 1930 |
[Shakespeare, William]. Tian chou ji. Shao Ting yi. (Shanghai : Shang wu yin shu guan, 1930). (Han yi shi jie ming zhu. Wan you wen ku ; 855). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 天仇記 |
Publication / shak192 | |
| 19 | 1930 |
Hu, Shi. Hu Shi ri ji. ([S.l. : s.n.], 1930). [Enthält Übersetzungen von Gedichten von] : Alfred Tennyson, Robert Browning, William Shakespeare, Ralph Waldo Emerson, Rudyard Kipling, James Russell Lowell, Alfred Noyes, Oliver Wendell Holmes, Joseph Dane Miller, Denis H. Robertson. 胡適日記 |
Publication / HuS5 |
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| 20 | 1934 |
[Shakespeare, William]. Gaisa da jiang. Wang Zeping yi. (Shanghai : Shen pao, 1934). (Shen bao cong shu ; 41). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 該撒大將 |
Publication / Shak63 | |
| 21 | 1936 |
[Shakespeare, William]. Ru yuan. Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1936). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 如願 |
Publication / LiaS99 |
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| 22 | 1936 |
[Shakespeare, William]. Li'er wang. Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1936). Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李爾王 |
Publication / LiaS101 |
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| 23 | 1936 |
[Shakespeare, William]. Sha shi yue fu ben shi. Xi Shizhi yi. (Shanghai : Chun jiang shu ju, 1936). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎氏乐府本事 |
Publication / Shak133 | |
| 24 | 1936 |
[Shakespeare, William]. Weinisi shang ren. Zhang Xinnong bian zhu. (Shanghai : Zhong hua shu ju, 1936). (Chu zhong xue sheng wen ku). Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 |
Publication / Shak199 | |
| 25 | 1936 |
[Shakespeare, William]. Weinisi shang ren. Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1936).Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 |
Publication / Shak214 | |
| 26 | 1936 |
[Shakespeare, William]. Sha shi yue fu ben shi. Lanmu ; Zhang Guangfu yi. (Shanghai : Shi jie shu ju, 1936). (Shi jie shao nian wen ku). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎氏乐府本事 |
Publication / Lamb11 | |
| 27 | 1938 |
[Shakespeare, William]. Makebai. Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Qi ming shu ju, 1938). (Zu ben sha weng jie zuo ji). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 莎士比亞 |
Publication / Shak10 |
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| 28 | 1938 |
[Shakespeare, William]. Gaisa da jiang. Sun Weifo yi. (Shanghai : Kai ming shu ju, 1938). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 該撒大將 |
Publication / Shak62 | |
| 29 | 1938 |
[Shakespeare, William]. Hamengleite. Zhou Zhuangping yi. (Shanghai : Qi ming shu ju, 1938). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 哈孟雷特 |
Publication / Shak65 | |
| 30 | 1939 |
[Shakespeare, William]. Di shi er ye. Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1939). Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / LiaS89 |
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| 31 | 1939 |
[Shakespeare, William]. Bao feng yu. Jiang Zhen yi. (Shanghai : Qi ming shu ju, 1939). Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / Shak47 | |
| 32 | 1943 |
[Shakespeare, William]. Luomi'ou ji Zhuliye. Cao Weifeng yi. (Guiyang : Wen tong shu ju, 1943). (Cao yi Shashibiya quan ji ; 34). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅米歐及朱麗葉 |
Publication / Shak101 | |
| 33 | 1944 |
[Shakespeare, William]. Roumiou yu Youliye. Shashibiya ; Cao Yu. (Zhongqing : Wen hua sheng huo chu ban she, 1944). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 柔密欧与幽丽叶 |
Publication / shak21 | |
| 34 | 1944 |
[Shakespeare, William]. San qian jin : si mu ju. Gu Zhongyi zhu. (Shanghai : Shi jie shu ju, 1944). (Ju ben cong kan ; 1). [Three daughters ; Adaptation von King Lear von William Shakespeare]. 三千金 四幕劇 |
Publication / GuZho1 | |
| 35 | 1944 |
[Shakespeare, William]. Yadian ren Taiman. Shashibiya ; Yang Hui yi. (Chongqing : Xin di chu ban she, 1944). Übersetzung von Shakespeare, William. Timon of Athens. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1606]. 雅典人台满 |
Publication / Shak207 | |
| 36 | 1946 |
[Shakespeare, William]. Bao feng yu. Cao Weifeng yi. (Shanghai : Wen hua he zuo gong si, 1946). Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / Shak46 | |
| 37 | 1946 |
[Shakespeare, William]. Fanlongna de er shen shi. Shashibiya zhu; Cao Weifeng yi. (Shanghai : Wen hua he zuo gu fen you xian gong si, 1946). Übersetzung von Shakespeare, William. The two gentlemen of Verona. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1590-1595]. 凡 隆納的二紳士 |
Publication / Shak59 | |
| 38 | 1947 |
[Shakespeare, William]. Shashibiya xi ju quan ji. Zhu Shenghao yi. Vol. 1-3. (Shanghai : Shi jie shu ju, 1947). [Übersetzung der Gesamtwerke von Shakespeare]. [Darin enthalten sind 27 von 31 Übersetzung von Shakespeare, die in Taibei 1953-1956 neu aufgelegt wurden ; 4 Übersetzungen sind zusätzlich in der Gesamtausgabe von Wu Xinghua in Beijing : Ren min wen xue chu ban she, 1978 erschienen]. 莎士比亞戯劇全集 |
Publication / ZhuS1 | |
| 39 | 1947 |
[Shakespeare, William]. Shashibiya shi dai de shu qing shi. Shashibiya deng zhu ; Liu Wuji yi. (Shanghai : Da shi dai chu ban she, 1947). [Übersetzung ausgewählter Lyrik von Shakespeare]. 莎士比亞時代抒情詩 |
Publication / Shak157 |
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| 40 | 1948 |
[Shakespeare, William]. Weinisi shang ren. Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1948). Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 |
Publication / LiaS105 |
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| 41 | 1948 |
[Shakespeare, William]. Liya wang. Sun Dayu yi. (Shanghai : Shang wu yin shu guan, 1948). Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 里亚王 |
Publication / Shak14 | |
| 42 | 1948 |
[Shakespeare, William]. Makebai. Shashibiya zhu ; Zhou Zhuangping yi. (Shanghai : Qi ming shu ju, 1948). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 馬克白 |
Publication / Shak116 | |
| 43 | 1948 |
[Shakespeare, William]. Makebaisi. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1955). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 馬克白斯 |
Publication / Shak70 | |
| 44 | 1950 |
[Shakespeare, William]. Shashibiya shi si hang shi ji. Tu An yi. (Shanghai : Wen hua gong zuo she, 1950). [Übersetzung der Sonnets von Shakespeare]. 莎士比亞十四行詩集 |
Publication / Shak162 | |
| 45 | 1952 |
[Shakespeare, William]. Weinasi yu Atongni. Shashibiya zhu ; Fang Ping yi. (Shanghai : Wen hua gong zuo she, 1952). (Wen hua gong zuo she shi jie wen xue yi cong ; 42). Übersetzung von Shakespeare, William. Venus and Adonis. (London : Imprinted by Richard Field, and are to be sold [By J. Harrison I] at the signe of the white Greyhound in Paules Church-yard, 1593). 維納絲与阿童妮 |
Publication / Shak197 | |
| 46 | 1953 |
[Shakespeare, William]. Aoseluo. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奥瑟羅 |
Publication / ZhuS3 | |
| 47 | 1953 |
[Shakespeare, William]. Di shi er ye. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / ZhuS6 | |
| 48 | 1953 |
[Shakespeare, William]. Hanmulaituo. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 漢姆萊脫 |
Publication / ZhuS9 | |
| 49 | 1953 |
[Shakespeare, William]. Li'er wang. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). . Shashibya zuo zhe ; Liang Shiqiu yi. (Shanghai : Shang wu yin shu guan, 1936). Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李爾王 |
Publication / ZhuS15 | |
| 50 | 1953 |
[Shakespeare, William]. Maikepeisi. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麥克佩斯 |
Publication / ZhuS17 | |
| 51 | 1953 |
[Shakespeare, William]. Weiluona er shi. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The two gentlemen of Verona. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1590-1595]. 維洛那二紳士 |
Publication / ZhuS21 | |
| 52 | 1953 |
[Shakespeare, William]. Weinisi shang ren. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 |
Publication / ZhuS22 | |
| 53 | 1953 |
[Shakespeare, William]. Wu shi fan nao. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Much adoe about nothing : as it hath been sundrie times ublikely acted by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by V[alentine] S[ims], for Andrew Wise and William Aspley, 1600). [Geschrieben 1598-1599]. 無事煩惱 |
Publication / ZhuS24 | |
| 54 | 1953 |
[Shakespeare, William]. Yadian di Taimen. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Timon of Athens. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1606]. 雅典的泰門 |
Publication / ZhuS27 | |
| 55 | 1953 |
[Shakespeare, William]. Zhong xia ye zhi meng. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1953). (Shashibiya xi ju). Übersetzung von Shakespeare, William. A midsommer nights dreame : as hath beene sundry times publikely acted, by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by Iames Roberts, 1619). [ = A midsummer night's dream. Geschrieben 1595-1597]. 仲夏夜之夢 |
Publication / ZhuS31 | |
| 56 | 1953 |
[Shakespeare, William]. Bu feng zhuo ying. Shashibiya ; Fang Ping yi. (Shanghai : Ping ming chu ban she, 1953). Übersetzung von Shakespeare, William. Much adoe about nothing : as it hath been sundrie times ublikely acted by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by V[alentine] S[ims], for Andrew Wise and William Aspley, 1600). [Geschrieben 1598-1599]. 捕风捉影 |
Publication / Shak50 | |
| 57 | 1953 |
[Shakespeare, William]. Sha shi yue fu ben shi. He Yijie yi. (Xianggang : Qi ming shu ju, 1953). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎 氏乐府本事 |
Publication / Shak132 | |
| 58 | 1954 |
[Shakespeare, William]. Bao feng yu. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / ZhuS4 | |
| 59 | 1954 |
[Shakespeare, William]. Dong tian de gu shi. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The winter's tale. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1609]. 冬天的故事 |
Publication / ZhuS7 | |
| 60 | 1954 |
[Shakespeare, William]. Gaisa yu shi ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 該撒遇弒記 |
Publication / ZhuS8 | |
| 61 | 1954 |
[Shakespeare, William]. Liang zui ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Measure for measure. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1604]. 量罪記 |
Publication / ZhuS12 | |
| 62 | 1954 |
[Shakespeare, William]. Jie da huan xi. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 皆大欢喜 |
Publication / ZhuS14 | |
| 63 | 1954 |
[Shakespeare, William]. Nü wang xun ai ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Antony and Cleopatra. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1607]. 女王殉愛記 |
Publication / ZhuS18 | |
| 64 | 1954 |
[Shakespeare, William]. Ying xiong pan guo ji = Keli'aolannasi.. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Coriolanus. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1607-1608 ; Uraufführung 1608]. 英雄叛國記 |
Publication / ZhuS28 | |
| 65 | 1954 |
[Shakespeare, William]. Zhong cheng juan shu. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1954). (Shashibiya xi ju). Übersetzung von Shakespeare, William. All's well that ends well. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1602-1603]. 終成眷屬 |
Publication / ZhuS30 | |
| 66 | 1954 |
[Shakespeare, William]. Weinisi shang ren. Fang Ping yi. (Shanghai : Ping ming chu ban she, 1954). Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威 尼斯商人 |
Publication / Shak198 | |
| 67 | 1954 |
[Shakespeare, William]. Zhong xia ye zhi meng. Lu Ying yi. (Beijing : Zuo jia chu ban she, 1954). Übersetzung von Shakespeare, William. A midsommer nights dreame : as hath beene sundry times publikely acted, by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by Iames Roberts, 1619). [ = A midsummer night's dream. Geschrieben 1595-1597]. 仲夏夜之夢 |
Publication / Shak228 | |
| 68 | 1955 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1955). (Shashibiya xi ju). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = Shakespeare, William. The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / ZhuS16 | |
| 69 | 1955 |
[Shakespeare, William]. Di shi er ye. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1955). Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / Shak54 | |
| 70 | 1955 |
[Shakespeare, William]. Hanmulaite. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1955). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 漢姆萊特 |
Publication / Shak72 | |
| 71 | 1955 |
[Shakespeare, William]. Hengli di wu. Shashibiya zhu ; Fang Ping yi. (Shanghai : Ping ming chu ban she, 1955). Übersetzung von Shakespeare, William. The chronicle history of Henry the fifth. (London : Printed by Thomas Creede, Tho. Millington, and John Busby, 1600). [Henry V]. 亨利第五 |
Publication / Shak73 | |
| 72 | 1955 |
[Shakespeare, William]. Ru yuan. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1955). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 如願 |
Publication / Shak125 | |
| 73 | 1955 |
[Shakespeare, William]. Ru yuan. Zhang Caizhen yi. (Beijing : Zuo jia chu ban she, 1955). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 如願 |
Publication / Shak126 | |
| 74 | 1955 |
[Shakespeare, William]. Zhong xia ye zhi meng. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1955). Übersetzung von Shakespeare, William. A midsommer nights dreame : as hath beene sundry times publikely acted, by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by Iames Roberts, 1619). [ = A midsummer night's dream. Geschrieben 1595-1597]. 仲夏夜之夢 |
Publication / Shak227 | |
| 75 | 1956 |
[Shakespeare, William]. Ai de tu lao. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. A pleasant conceited comedie called Loves labors lost. (London : Imprinted at London by W.W. for Cutbert Burby, 1598). (Three centuries of drama). 愛的徒勞 |
Publication / ZhuS2 | |
| 76 | 1956 |
[Shakespeare, William]. Cuo wu di xi ju. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The comedy of errors. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1591]. 錯誤的喜劇 |
Publication / ZhuS5 | |
| 77 | 1956 |
[Shakespeare, William]. Huang jin meng. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. Timon of Athens. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1606]. 黃金夢 |
Publication / ZhuS11 | |
| 78 | 1956 |
[Shakespeare, William]. Teluo'ai wei cheng ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The famous historie of Troylus and Cresseid : excellently expressing the beginning of their loues, with the conceited wooing of Pandarus Prince of Licia. (London : Imprinted by G. Eld for R. Bonian and H. Walley, and are to be sold at the spred Eagle in Paules Church-years, ouer against the great north doore, 1609). [Geschrieben um 1601]. 特洛埃圍城記 |
Publication / ZhuS20 | |
| 79 | 1956 |
[Shakespeare, William]. Wensha di feng liu niang er men. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. A most pleasant and excellent conceited comedy, of Sir Iohn Falstaffe, and the merry wives of Windsor ; entermixed with sundrie variable and pleasing humors of Syr Hugh the Welch knight, Justice Shallow and his wife Cousin M. Slender ; with the swaggering vaine of ancient Pistoll, and Corporall Nym. (London : Printed for T.C. for Arthur Johnson, 1602). [Geschrieben 1600-1601]. 溫莎的風流娘兒們 |
Publication / ZhuS23 | |
| 80 | 1956 |
[Shakespeare, William]. Xue hai jian chou ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The most lamentable Romaine tragedie of Titus Andronicus : as it hath sundry times beene playde by the Earle of Pembrooke, the Earle of Darbie, and the Earle of Sussex, and the Lorde Chamberlaine theyr seruants. (London : Printed by I. R[oberts] for Edward White, 1600). [Geschrieben 1589-1592]. 血海殲仇記 |
Publication / ZhuS25 | |
| 81 | 1956 |
[Shakespeare, William]. Xun han ji. Zhu Shenghao yi. (Taibei : Shi jie shu ju, 1956). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The taming of the shrew. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1594]. 馴悍記 |
Publication / ZhuS26 | |
| 82 | 1956 |
[Shakespeare, William]. Hamuleite. Shashibiya zhu ; Bian Zhilin yi. (Beijing : Zuo jia chu ban she, 1956). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆雷特 |
Publication / Shak22 | |
| 83 | 1956 |
[Shakespeare, William]. Licha er shi. Shashibiya zhuan ; Yu Erchang yi. (Taibei : Shi jie shu ju, 1956). Übersetzung von Shakespeare, William. The tragedie of King Richard the second. (London : Printed by Valentine Simmes for Andrew Wise and are to be sold at his shop in Paules Church-yard at the signe of the Angel, 1597). [Geschrieben um 1590-1599]. 理查二世 |
Publication / Shak92 | |
| 84 | 1956 |
[Shakespeare, William]. Shashibiya xi ju gu shi ji. Cha'ersi Lanmu, Mali Lanmu gai xie ; Xiao Qian yi. (Beijing : Zhongguo qing nian chu ban she, 1956). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亚戏剧故事集 |
Publication / Shak173 | |
| 85 | 1956 |
[Shakespeare, William]. Yuehan wang. Shashibiya zhuan ; Yu Erchang yi. (Taibei : Shi jie chu ban she, 1956). Übersetzung von Shakespeare, William ; Marlowe, Christopher. The troublesome raigne of Iohn King of England with the discouerie of King Richard Cordelions base sonne (vulgary named, the bastard Fawconbridge) : also the death of King Iohn at Swinstead Abbey ; as it was (sundry times) publikely acted by the Queenes Maiesties players, in the honourable citie of London. (London : Imprinted for Sampson Clarke, and are to be solde at his shop, on the backe-side of the Royal Exchange, 1591). 約翰王 |
Publication / Shak220 | |
| 86 | 1957 |
[Shakespeare, William]. Aoseluo dao yan ji hua. Ying Ruocheng yi ; Wu Hanqing jiao. (Beijing : Zhongguo dian ying chu ban she, 1957). Übersetzung von Stanislavsky, Konstantin. Stanislavsky produces Othello. (London : Geoffrey Bles, 1948). 奧瑟罗导演计划 |
Publication / Shak44 | |
| 87 | 1957 |
[Shakespeare, William]. Hengli wu shi. Shashibiya zhuan ; Yu Erchang yi. (Taibei : Guo li bian yi guan chu ban, 1957). (Shashibiya xi ju). Übersetzung von Shakespeare, William. The chronicle history of Henry the fifth. (London : Printed by Thomas Creede, Tho. Millington, and John Busby, 1600). [Henry V]. 亨利五世 |
Publication / Shak77 | |
| 88 | 1957 |
[Shakespeare, William]. Licha san shi. Shashibiya zhuan ; Yu Erchang yi. (Taibei : Guo li bian yi guan chu ban, 1957). Übersetzung von Shakespeare, William. The tragedy of King Richard the third : Containing his treacherous plots against his brother Clarence: the pittiefull murther of his iunocent [sic] nephewes: his tyrannicall vsurpation: with the whole course of his detested life, and most deserued death. As it hath beene lately acted by the Right honourable the Lord Chamberlaine his seruants. (London : Printed by Valentine Simmes [and Peter Short], for Andrew Wise, dwelling in Paules Chuch-yard [sic], at the signe of the Angell, 1597). [Geschrieben um 1593]. 利查三世 |
Publication / Shak94 | |
| 89 | 1957 |
[Shakespeare, William]. Yingguo zuo jia zuo pin xuan. Shashibiya deng zhu. (Xianggang : Wen xue chu ban she, 1957). (Shi jie wen xue cong shu). [Übersetzung ausgewählter Texte von Shakespeare ; keine Erwähnung des Übersetzers]. 英國作家作品選 |
Publication / Shak217 |
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| 90 | 1958 |
[Shakespeare, William]. Aosailuo. Cao Weifeng yi. (Shanghai : Xin wen yi chu ban she, 1958). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奧賽羅 |
Publication / Shak42 | |
| 91 | 1958 |
[Shakespeare, William]. Bao feng yu. Qi ming shu ju bian yi suo bian. (Taibei : Qi ming shu ju, 1958). (Shi jie xi ju ming zhu ; 19). Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / Shak49 |
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| 92 | 1958 |
[Shakespeare, William]. Gaisa da jiang. Qi ming shu ju bian yi suo bian yi zhe. (Taibei : Qi ming shu ju, 1958). (Shi jie xi ju ming zhu ; 18). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 該撒大將 |
Publication / Shak61 |
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| 93 | 1958 |
[Shakespeare, William]. Makebai. Qi ming shu ju bian yi suo bian yi zhe. (Taibei : Qi ming shu ju, 1958). (Shi jie xi ju ming zhu ; 20). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 馬克白 |
Publication / Shak115 |
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| 94 | 1959 |
[Shakespeare, William]. Andongni yu Keliuba. Cao Weifeng yi. (Shanghai : Shanghai wen yi chu ban she, 1959). Übersetzung von Shakespeare, William. Antony and Cleopatra. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1607]. 安東尼與克柳巴 |
Publication / Shak39 | |
| 95 | 1959 |
[Shakespeare, William]. Sha weng yu cui = Best quotations from Shakespeare with Chinese translations. Shi Yilin bian. (Xianggang : Xianggang ban shan shu fang, 1959). 莎翁語粹 |
Publication / Shak127 | |
| 96 | 1960 |
[Shakespeare, William]. Ling gan de jie jing. Shashibiya ; Guo Xiangxiang bian yi. (Gaoxiong : Guang ming, 1960). [Übersetzung der Zitate und Maxime von William Shakespeare]. 靈感的結晶 |
Publication / Shak97 | |
| 97 | 1961 |
[Shakespeare, William]. Shi jie zhe ming zuo jia shi ge xuan. Shashibiya deng zhu ; Li Ruomi bian xuan. (Xianggang : Shanghai shu dian, 1961). (Shi jie zhe ming zuo jia zuo pin xuan). [Übersetzung der Lyrik von Shakespeare]. 世界著名作家詩歌選 |
Publication / Shak187 | |
| 98 | 1961 |
[Shakespeare, William]. Shi jie zhu ming zuo jia shi ge xuan. Shashibiya deng zhu ; Li Caimi bian xuan. (Xianggang : Shanghai shu ju, 1961). [Übersetzung der Lyrik von Shakespeare]. 世界著名作家詩歌選 |
Publication / Shak188 | |
| 99 | 1961 |
[Shakespeare, William]. Shi si hang shi. Yu Erchang yi. (Taibei : Shi jie shu ju, 1961). [Übersetzung der Sonnets von Shakespeare in seven-syllabic poetic form 'qi yan shi']. 十四行詩 |
Publication / Shak189 |
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| 100 | 1961 |
[Shakespeare, William]. Shu qing shi ji. Shashibiya zhuan ; Wu Shouren yi. (Taibei : Wu zhou chu ban she, 1961). [Übersetzung der Lyrik von Shakespeare]. 抒情詩集 |
Publication / Shak191 | |
| 101 | 1961 |
[Shakespeare, William]. Zhuli'ao Gaisa. Xia Yitian yi. (Taibei : Guang wen shu ju, 1961). (Shi jie wen xue ming zhu). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 朱立奧該撒 |
Publication / Shak230 | |
| 102 | 1962 |
[Shakespeare, William]. Jin yan. Shashibiya deng zhuan ; Lu Youren bian yi. (Gaoxiong : Guang ming, 1962). (Xian dai qing nian li zhi cong shu ; 3). [Übersetzung der Maxime von Shakespeare]. 金言 |
Publication / Shak83 | |
| 103 | 1962 |
[Shakespeare, William]. Wu shi sheng fei. Cao Weifeng yi. (Shanghai : Shanghai wen yi chu ban she, 1962). Übersetzung von Shakespeare, William. Much adoe about nothing : as it hath been sundrie times ublikely acted by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by V[alentine] S[ims], for Andrew Wise and William Aspley, 1600). [Geschrieben 1598-1599]. 无事生非 |
Publication / Shak201 | |
| 104 | 1962 |
[Shakespeare, William ; Bacon, Francis]. Zhi hui de hua duo. Peigen, Shashibiya deng zhu ; Yi Zhi xuan yi.. (Tainan : Jing wei chu ban she, 1962). [Übersetzung der Zitate von Shakespeare und Bacon]. 智慧的花朵 |
Publication / Shak222 | |
| 105 | 1963 |
[Shakespeare, William]. Zhuli'asi Xisa. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1963). (Wen xing cong kan ; 55). Übersetzung von Shakespeare, William. Julius Caesar. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1599]. 朱利阿斯西撒 |
Publication / LiaS79 |
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| 106 | 1963 |
[Shakespeare, William]. Gaisa da jiang. Cao Weifeng yi ; He Qian bian yi zhe. (Gaoxiong : Da zhong shu ju, 1963). Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 該撒大將 |
Publication / Shak60 | |
| 107 | 1963 |
[Shakespeare, William]. Gu dao xian zong. Shashibiya zhuan ; Xie Xinfa gai bian. (Taibei : Da Zhongguo tu shu, 1963). (Shi jie wen xue ming zuo xuan ji). [Übersetzung der Lyrik von Shakespeare]. 孤島仙蹤 |
Publication / Shak64 | |
| 108 | 1963 |
[Shakespeare, William]. Li'er wang. Cao Weifeng, He Qian bian yi zhe. (Gaoxiang : Da zhong shu ju, 1963). (Shi jie wen xue ming zhu). Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李耳王 |
Publication / Shak96 | |
| 109 | 1963 |
[Shakespeare, William]. Ming ren yu lu. Shashibiya ; Pei Gen yi. (Tainan : Li xie hua ying, 1963). [Übersetzung berühmter Zitate von Shakespeare]. 名人語錄 |
Publication / Shak118 | |
| 110 | 1963 |
[Shakespeare, William]. Zhi hui yu lu. Shashibiya deng zhuan ; Lin Yunxiang yi. (Taibei : Wen hua tu shu gong si, 1963). [Übersetzung der Zitate von Shakespeare]. 智慧語錄 |
Publication / Shak226 | |
| 111 | 1964 |
[Shakespeare, William]. Kaoli'ouleinuosi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing con kan ; 55). Übersetzung von Shakespeare, William. Julius Caesar. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 考利歐雷諾司 |
Publication / LiaS80 |
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| 112 | 1964 |
[Shakespeare, William]. Wu shi zi rao. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing cong kan ; 55). Übersetzung von Shakespeare, William. Much adoe about nothing : as it hath been sundrie times ublikely acted by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by V[alentine] S[ims], for Andrew Wise and William Aspley, 1600). [Geschrieben 1598-1599]. 無事自擾 |
Publication / LiaS85 |
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| 113 | 1964 |
[Shakespeare, William]. Weiluona er shen shi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing cong kan ; 55). Übersetzung von Shakespeare, William. The two gentlemen of Verona. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1590-1595]. 維洛那二紳士 |
Publication / LiaS86 |
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| 114 | 1964 |
[Shakespeare, William]. Dong tian di gu shi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). Übersetzung von The winter's tale. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1609]. 冬天的故事 |
Publication / LiaS97 |
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| 115 | 1964 |
[Shakespeare, William]. Hengli si shi : xia pian. Shashibya zuo zhe ; Liang Shiqiu yi. Vol. 1-2. (Taibei : Wen xing shu dian, 1964). (Wen xing con kan ; 55). Üebersetzung von Shakespeare, William. The historie of Henrie the fourth. (London : A. Wise, 1598). [Geschrieben 1595-1597 ; Henry IV]. 亨利四世 |
Publication / LiaS102 |
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| 116 | 1964 |
[Shakespeare, William]. Zhong xia ye meng. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing cong gan ; 55). Übersetzung von Shakespeare, William. A midsommer nights dreame : as hath beene sundry times publikely acted, by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by Iames Roberts, 1619). [ = A midsummer night's dream.Geschrieben 1595-1597]. 仲夏夜夢 |
Publication / LiaS103 |
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| 117 | 1964 |
[Shakespeare, William]. Tuo'ailesi yu Kelaixida. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing cong kan ; 55). Übersetzung von Shakespeare, William. The famous historie of Troylus and Cresseid : excellently expressing the beginning of their loues, with the conceited wooing of Pandarus Prince of Licia. (London : Imprinted by G. Eld for R. Bonian and H. Walley, and are to be sold at the spred Eagle in Paules Church-years, ouer against the great north doore, 1609). [Geschrieben um 1601]. 脫愛勒斯與克萊西達 |
Publication / LiaS104 |
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| 118 | 1964 |
[Shakespeare, William]. Bao feng yu. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing con kan ; 55). Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / LiaS109 |
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| 119 | 1964 |
[Shakespeare, William]. Andongni yu Keli'aopeitela. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing cong kan ; 55 ). Übersetzung von Shakespeare, William. Antony and Cleopatra. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1607]. 安東尼與克利奥佩特拉 |
Publication / LiaS106 |
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| 120 | 1964 |
[Shakespeare, William]. Aosailuo. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1964). (Wen xing con kan ; 55). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奧賽羅 |
Publication / LiaS107 |
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| 121 | 1964 |
[Shakespeare, William]. Jin yan. Shashibiya deng zhuan ; Huang Borong bian yi. (Tainan : Chen guang, 1964). [Übersetzung der Maxime von Shakespeare]. 金言 |
Publication / Shak82 | |
| 122 | 1964 |
[Shakespeare, William]. Jin yan ji. Shashibiya deng zhuan ; Cai Yougai yi. (Tainan : Taiwan zhong he, 1964). [Übersetzung der Maxime von Shakespeare]. 金言集 |
Publication / Shak84 | |
| 123 | 1964 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. [Adapted by] Huang Ruijuan. (Taipei : Dong fang chu ban she, 1964). (Shi jie shao nian wen xue xuan ji). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak106 | |
| 124 | 1964 |
[Shakespeare, William]. Shashibiya yu cui ; Shashibiya shi si xing shi ji. Hong Beijiang bian yi. (Taibei : Le tian, 1964). [Übersetzung der Sonnets von Shakespeare]. 莎士比亞語粹 ; 莎士比亞十四行詩集 |
Publication / Shak181 | |
| 125 | 1965 |
[Shakespeare, William]. Luomiou yu Zhuliye. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Wen xing shu dian, 1965). (Wen xing con kan ; 55). Übersetzung von Shakespeare, William. An excellent and conceited tragedie of Romeo and Juliet as it hath been often (with great applause) plaid publiquely, by the right Honourable the L. of Hunsdon his seruants. (London : Printed by John Danter, 1597). [Geschrieben 1595]. 羅蜜歐與朱麗葉 |
Publication / LiaS83 |
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| 126 | 1965 |
[Shakespeare, William]. Ming ren ming yan. Shashibiya deng zhuan ; Shen Qiuhe bian yi. (Gaoxiong : Bai cheng, 1965). [Üebersetzung von Zitaten von Shakespeare]. 名人名言 |
Publication / Shak117 | |
| 127 | 1965 |
[Shakespeare, William]. Zhi hui de deng. Shashibiya deng zhuan ; Bu Zhu yi zhe. (Tainan : Dong hai zong jing xiao, 1965). [Übersetzung der Zitate von Shakespeare]. 智慧的燈 |
Publication / Shak221 | |
| 128 | 1966 |
[Shakespeare, William]. Danmai wan zi Hamuleite zhi bei ju. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Taiwan shang wu yin shu guan, 1966). (Ren ren wen ku ; 38). Übersetzung von Shakespeare, William. The tragicall historie of Hamlet Prince of Denmarke : As it hath beene diuerse times acted by his Highnesse seruants in the cittie of London: as also in the two vniuersities of Cambridge and Oxford, and else-where. (London : Printed [by Valentine Simmes] for N[icholas] L[ing] and Iohn Trundell, 1603). [Geschrieben 1601]. 丹麦王子哈姆雷特的悲剧 |
Publication / LiaS100 |
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| 129 | 1966 |
[Shakespeare, William]. Hamuleite. Shashibiya ; Chen Zuwen yi. (Taibei : Yuan dong tu shu gong si, 1966). (Ying Mei wen xue cong shu). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆雷特 |
Publication / Shak68 | |
| 130 | 1966 |
[Shakespeare, William]. Jin yan ji. Shashibiya deng zhuan ; Sun Zhen xuan yi. (Taibei : Hua lian, 1966). [Übersetzung der Maxime von Shakespeare]. 金言集 |
Publication / Shak85 | |
| 131 | 1966 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya yuan zhu ; Luo Mei gai xie. (Xingzhou : xingzhou shi jie shu ju, 1966). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak107 | |
| 132 | 1966 |
[Shakespeare, William]. Shi jie ming zuo jia shi ji. Shashibiya deng zhu ; Wang Biqiong yi. (Taibei : Hai yan chu ban she, 1966). [Übersetzung der Lyrik von Shakespeare]. 世界名作家詩集 |
Publication / Shak185 | |
| 133 | 1966 |
[Shakespeare, William]. Ying shi xuan yi. Shashibiya deng zhuan ; Zhang Yinglai yi. (Taibei : Wu zhou chu ban she, 1966). [Übersetzung der Lyrik von Shakespeare]. 英詩選譯 |
Publication / Shak215 | |
| 134 | 1967 |
[Shakespeare, William]. Licha san shi. Shashibiya zuo zhe ; Fang Zhong yi. (Beijing : Ren min wen xue chu ban she, 1959). Übersetzung von Shakespeare, William. The tragedy of King Richard the third : Containing his treacherous plots against his brother Clarence: the pittiefull murther of his iunocent [sic] nephewes: his tyrannicall vsurpation: with the whole course of his detested life, and most deserued death. As it hath beene lately acted by the Right honourable the Lord Chamberlaine his seruants. (London : Printed by Valentine Simmes [and Peter Short], for Andrew Wise, dwelling in Paules Chuch-yard [sic], at the signe of the Angell, 1597). [Geschrieben um 1593]. 利查三世 |
Publication / LiaS71 |
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| 135 | 1967 |
[Shakespeare, William]. Licha san shi. Shashibiya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 23). Übersetzung von Shakespeare, William. The tragedy of King Richard the third : Containing his treacherous plots against his brother Clarence: the pittiefull murther of his iunocent [sic] nephewes: his tyrannicall vsurpation: with the whole course of his detested life, and most deserued death. As it hath beene lately acted by the Right honourable the Lord Chamberlaine his seruants. (London : Printed by Valentine Simmes [and Peter Short], for Andrew Wise, dwelling in Paules Chuch-yard [sic], at the signe of the Angell, 1597). [Geschrieben um 1593]. 利查三世 |
Publication / LiaS72 |
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| 136 | 1967 |
[Shakespeare, William]. Hengli ba shi. Shashibiya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 24). Übersetzung von Shakespeare, William. The famous history of the life of King Henry the eight ; or all is true. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1613 ; Henry VIII]. 亨利八世 |
Publication / LiaS73 |
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| 137 | 1967 |
[Shakespeare, William]. Xun han fu. Shashibiya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 11). Übersetzung von Shakespeare, William. The taming of the shrew. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1594]. 馴悍婦 |
Publication / LiaS74 |
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| 138 | 1967 |
[Shakespeare, William]. Jie da huan xi. Shashibiya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 12). Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 皆大歡喜 |
Publication / LiaS75 |
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| 139 | 1967 |
[Shakespeare, William]. Shashibya quan ji. Shashibya zuo zhe ; Liang Shiqiu yi. Vol. 1-40. (Taibei : Yuan dong tu shu gong si, 1967-1968). Übersetzung der Gesamtwerke von William Shakespeare. 莎士比亞全集 |
Publication / LiaS76 |
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| 140 | 1967 |
[Shakespeare, William]. Yadian di Taimeng. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 29). Übersetzung von Shakespeare, William. Timon of Athens. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1606]. 雅典的泰蒙 |
Publication / LiaS77 |
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| 141 | 1967 |
[Shakespeare, William]. Cuo zhong cuo. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 5). Übersetzung von Shakespeare, William. The comedy of errors. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1591]. 錯中錯 |
Publication / LiaS82 |
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| 142 | 1967 |
[Shakespeare, William]. Hengli liu shi. Shashibya zuo zhe ; Liang Shiqiu yi. Vol. 1-3. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 20-22). Übersetzung von Shakespeare, William. The true tragedie of Richard Duke of York and the death of good King Henrie the sixt ; with the whole contention betweene the two houses Lancaster and Yorke, as it was sundrie times acted by the right honourable the Earle of Pembrooke his seruants. Pt. 1-3. (London : Printed by P.S[hort] for Thomas Mulligan, and are to be sold at his shoppe vnder Saint Peters Church in Cornwal, 1595). [Geschrieben um 1590-1592]. 亨利六世上中下篇 |
Publication / LiaS84 |
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| 143 | 1967 |
[Shakespeare, William]. Xinbolin. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 36). Übersetzung von Shakespeare, William. The tragedie of Cymbeline. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1909-1910]. 辛伯林 |
Publication / LiaS87 |
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| 144 | 1967 |
[Shakespeare, William]. Hengli wu shi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 19). Übersetzung von Shakespeare, William. The chronicle history of Henry the fift ; with his battell fought at Agin Court in France ; together with Auntient Pistoll ; as it hath bene sundry times playd by the right honorable the Lord Chamberlaine his seruants. (London : Printed by Thomas Creede, for Tho. Millington, and John Busby, 1600). [Geschrieben 1599 ; Henry V]. 亨利五世 |
Publication / LiaS88 |
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| 145 | 1967 |
[Shakespeare, William]. Taitesi Anzhuangnikesi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 27). Übersetzung von Shakespeare, William. The most lamentable Romaine tragedie of Titus Andronicus : as it hath sundry times beene playde by the Earle of Pembrooke, the Earle of Darbie, and the Earle of Sussex, and the Lorde Chamberlaine theyr seruants. (London : Printed by I. R[oberts] for Edward White, 1600). [Geschrieben 1589-1592]. 泰特司安莊尼克斯 |
Publication / LiaS90 |
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| 146 | 1967 |
[Shakespeare, William]. Licha er shi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 16). Übersetzung von Shakespeare, William. The tragedie of King Richard the second. (London : Printed by Valentine Simmes for Andrew Wise and are to be sold at his shop in Paules Church-yard at the signe of the Angel, 1597). [Geschrieben um 1590-1599]. 利查二世 |
Publication / LiaS93 |
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| 147 | 1967 |
[Shakespeare, William]. Yuehan wang. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 15). Übersetzung von Shakespeare, William ; Marlowe, Christopher. The troublesome raigne of Iohn King of England with the discouerie of King Richard Cordelions base sonne (vulgary named, the bastard Fawconbridge) : also the death of King Iohn at Swinstead Abbey ; as it was (sundry times) publikely acted by the Queenes Maiesties players, in the honourable citie of London. (London : Imprinted for Sampson Clarke, and are to be solde at his shop, on the backe-side of the Royal Exchange, 1591). 約翰王 |
Publication / LiaS94 |
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| 148 | 1967 |
[Shakespeare, William]. Wensha di feng liu fu ren. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 3). Übersetzung von Shakespeare, William. A most pleasant and excellent conceited comedy, of Sir Iohn Falstaffe, and the merry wives of Windsor ; entermixed with sundrie variable and pleasing humors of Syr Hugh the Welch knight, Justice Shallow and his wife Cousin M. Slender ; with the swaggering vaine of ancient Pistoll, and Corporall Nym. (London : Printed for T.C. for Arthur Johnson, 1602). [Geschrieben 1600-1601]. 温莎的風流婦人 |
Publication / LiaS95 |
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| 149 | 1967 |
[Shakespeare, William]. Shi si hang ji. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1967). (Shashibiya quan ji ; 40). Übersetzung von Shakespeare, William. Sonnets to sundry notes of musicke. (London : Printed for W. Iaggard, and are to be sold by W. Leake, 1599). 十四行詩 |
Publication / LiaS98 |
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| 150 | 1967 |
[Shakespeare, William]. Shashibiya quan ji. Liang Shiqu yi. Vol. 1-37. (Taibei : Yuan dong tu shu gong si, 1967). [Übersetzung der Gesamtwerke von Shakespeare]. 莎士比亞全集 |
Publication / Shak27 | |
| 151 | 1967 |
[Shakespeare, William]. Zhi hui hua duo. Shashibiya deng zhuan. (Tainan : Zhuang jia, 1967). [Übersetzung der Zitate von Shakespeare ; keine Angabe des Übersetzers]. 智慧花朵 |
Publication / Shak224 |
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| 152 | 1968 |
[Shakespeare, William]. Weinosi yu Adunisi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1968). (Shashibiya quan ji ; 38). Übersetzung von Shakespeare, William. Venus and Adonis. (London : Imprinted by Richard Field, and are to be sold [By J. Harrison I] at the signe of the white Greyhound in Paules Church-yard, 1593). 維諾斯與阿都尼斯 |
Publication / LiaS78 |
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| 153 | 1968 |
[Shakespeare, William]. E you e bao. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1968). (Shashibiya quan ji ; 4). Übersetzung von Shakespeare, William. Measure for measure. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1604]. 悪有悪報 |
Publication / LiaS81 |
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| 154 | 1968 |
[Shakespeare, William]. Bolikelisi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1968). (Shashibiya quan ji ; 37). Übersetzung von Shakespeare, William. The late, and much admired play, called Pericles, Prince of Tyre : with the true relation of the whole historie, aduentures, and fortunes of the said prince : as also, the no lesse strange, and worthy accidents, in the birth and life, of his daughter Mariana ; as it hath been diuers and sundry times acted by his Maiesties seruants, at the Globe on the Banck-side. (London : Imprinted by William White and Thomas Creede for Henry Gosson, and are to be sold at the signe of the Sunne in Pater-noster Row, 1609). [Geschrieben um 1607]. 波甲克利斯 |
Publication / LiaS91 |
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| 155 | 1968 |
[Shakespeare, William]. Kong ai yi chang. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1968). (Shashibiya quan ji ; 7). Übersetzung von Shakespeare, William. A pleasant conceited comedie called Loues labors lost. (London : Printed by W.W. for Cuthbert Burby, 1598). [Geschrieben um 1593]. 空愛一場 |
Publication / LiaS92 |
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| 156 | 1968 |
[Shakespeare, William]. Lukelisi. Shashibya zuo zhe ; Liang Shiqiu yi. (Taibei : Yuan dong tu shu gong si, 1968). (Shashibiya quan ji ; 39). Übersetzung von Shakespeare, William. The rape of Lucrece. (London : Printed by Richard Field, for Iohn Harrison, 1594). 露克利斯 |
Publication / LiaS96 |
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| 157 | 1968 |
[Shakespeare, William]. Luomi'ou ji Zhuliye. Bu Zhu gai xie zhe. (Tainan : Da qian wen hua fu wu she zong jing xiao, 1968). (Shi jie wen xue xuan du). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅米歐及朱麗葉 |
Publication / Shak100 | |
| 158 | 1968 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya. (Taibei : Jiang nan, 1968). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. [Keine Angabe des Übersetzers]. 羅密歐與朱麗葉 |
Publication / Shak103 |
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| 159 | 1968 |
[Shakespeare, William]. Zhi hui de jie jing. Shashibiya deng zhuan. (Tainan : Zong he, 1968). [Übersetzung der Zitate von Shakespeare ; keine Angabe des Übersetzers]. 智慧的結晶 |
Publication / Shak223 |
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| 160 | 1969 |
[Shakespeare, William]. Kaisa da di. Shashibiya zhu ; He Jian yi. (Gaoxiong : Da zhong shu ju, 1969). Übersetzung von Shakespeare, William. Julius Caesar. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 凱撒大帝 |
Publication / Shak20 |
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| 161 | 1969 |
[Shakespeare, William]. Ling gan de jie jing. Shashibiya ; Lu Youren yi. (Gaoxiong : Guang ming, 1969). (Guang ming wen ku ; 9). [Übersetzung der Zitate und Maxime von William Shakespeare]. 靈感的結晶 |
Publication / Shak98 | |
| 162 | 1969 |
[Shakespeare, William]. Shashibiya gu shi. Lanmu ton zhuan ; Liu Yundai yi zhu. (Taibei : Hua lian chu ban she, 1969). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Lamb12 | |
| 163 | 1970 |
[Shakespeare, William ; Rolland, Romain]. Bai jia yu lu, fu Shashibiya yu cui Luomanluolan yu cui. Huang Huiming bian zhu. (Taibei : Zheng wen shu ju, 1970). [Übersetzung von Zitaten von Shakespeare und Rolland]. 百家語錄附莎士比亜語粹羅曼羅蘭語粹 |
Publication / Shak45 | |
| 164 | 1970 |
[Shakespeare, William]. Hamuleite. Shashibiya ; Zhang Yan yi. (Taibei : Wen you shu ju, 1970). (Shi jie wen xue ming zhu cong shu). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆雷特 |
Publication / Shak69 | |
| 165 | 1971 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya zhuan ; Yang Hailuo yi. (Taibei : Yi zhi, 1971). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak110 | |
| 166 | 1971 |
[Shakespeare, William]. Shashibiya gu shi. Xu Xiaomei yi. (Tainan : Xin shi ji chu ban she, 1971). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Shak142 | |
| 167 | 1971 |
[Shakespeare, William]. Shashibiya xi ju. He Qian yi. (Gaoxiong : Da zhong shu ju, 1971). 莎士比亞戲劇 [Enthält] : Luomi'ou yu Zhuliye. Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 Hamengleite. Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈孟雷特 Li'er wang. Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李 耳王 Kaisa da di. Übersetzung von Shakespeare, William. The tragedie of Julius Caesar. (London : Isaac Iaggard and Ed. Blount, 1623). 凱撒大帝 |
Publication / Shak167 | |
| 168 | 1971 |
[Shakespeare, William]. Shi jie qing shi xuan. Shashibiya deng zhu ; Zhang Zhongjiang bian xuan. (Taibei : Shi jie wen wu chu ban she, 1971). (Shi jie wen cong, 6). [Übersetzung der Lyrik von Shakespeare]. 世界情詩選 |
Publication / Shak186 | |
| 169 | 1972 |
[Shakespeare, William]. Lian ai qing shi 3 ji. Shashibiya deng zhuan ; Lu Tianming yi. (Taibei : Wu zhou chu ban she, 1972). [Übersetzung der Lyrik von Shakespeare]. 戀愛情詩3輯 |
Publication / Shak89 | |
| 170 | 1973 |
[Shakespeare, William]. Sha weng sheng lai. Shashibiya zhu ; Shi Yingzhou yi. (Taibei : Huang guan za zhi she, 1973). [Übersetzung der Sonnets von Shakespeare]. 沙翁聲籟 |
Publication / Shak135 | |
| 171 | 1973 |
[Marlowe, Christopher]. Shashibiya shi dai shu qing shi. Malou deng zhuan ; Liu Xin yi. (Taibei : Sen hai shu ju yin xing, 1973). [Selected lyrics from Shakespeare and others]. 莎士比亞時代抒情詩 |
Publication / Marl6 | |
| 172 | 1974 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya ; Chen Guiru yi. (Xianggang : Shi jie tu shu gong si, 1974). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak104 | |
| 173 | 1974 |
[Shakespeare, William]. Shashibiya de shi yu ge. Shashibiya zhuan ; Li Dasan [John J. Deeney] yi. (Taibei : Hong dao, 1974). (Yue du fu dao). [Übersetzung der Lyrik von Shakespeare]. 莎士比亞的詩與歌 |
Publication / Shak139 | |
| 174 | 1974 |
[Shakespeare, William]. Yue du fu dao : Shashibiya de shi yu ge = A study guide to Shakespeare's songs and sonnets. Li Dasan [John J. Deeney], Tan Deyi zhu bian. (Taibei : Hong dao wen hua shi ye you xian gong si, 1974). 阅讀輔導 : 莎士比亞的詩與歌 |
Publication / Shak218 | |
| 175 | 1975 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya zhuan ; Xue Yuan yi. (Taibei : Qing liu, 1975). (Shi jie wen xue ming zhu da xi ; 14). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak109 | |
| 176 | 1975 |
[Shakespeare, William]. Shashibiya de gu shi. Lanmu deng zhu ; Chen Wenrui yi. (Taibei : Zhi wen chu ban she, 1975). (Xin chao wen ku ; 127). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞的故事 |
Publication / Shak138 | |
| 177 | 1975 |
[Shakespeare, William]. Wo de zuo you ming : kai tuo zhi hui de ge yan. Shashibiya deng zhu. (Tainan : Zheng ye shu ju, 1975). (Zheng ye wen cong ; 9). [Übersetzung der Maxime von Shakespeare]. 我的座右銘 : 開拓知慧的格言 |
Publication / Shak200 |
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| 178 | 1975 |
[Shakespeare, William]. Shashibiya gu shi. Lanmu ; Dai Dai yi. (Taibei : Bian zhun, 1975). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Lamb13 | |
| 179 | 1977 |
[Shakespeare, William]. Ni xi ai de shi. Shashibiya ; Xu Zhimo, Zhu Ziqing bian zhu. (Aomen : Guang yuan chu ban she, 1977). [Übersetzung der Lyrik von Shakespeare]. 你喜愛的詩 |
Publication / Shak121 | |
| 180 | 1978 |
[Shakespeare, William]. Shi si hang shi. Shashibiya zhu ; Liang Zongdai yi. (Beijing : Ren min wen xue chu ban she, 1978). (Shashibiya quan ji ; 11). Übersetzung von Shakespeare, William. The sonnets. (London : Thomas Thorpe, 1609). 十四行诗 |
Publication / LiaZ5 |
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| 181 | 1978 |
[Shakespeare, William]. Hengli si shi. Zhu Shenghao yi ; Wu Xinghua jiao. (Beijing : Ren min wen xue chu ban she, 1978). Übersetzung von Shakespeare, William. The second part of Henrie the fourth, continuing to his death, and coronation of Henrie the fift : with the humours of Sir Ion Falstaffe, and swaggering pistoll ; as it hath been sundrie times publikely acted by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by V.S. for Andrew Wise, and William Aspley, 1600). 亨利四世 |
Publication / ZhuS10 | |
| 182 | 1978 |
[Shakespeare, William]. Licha er shi. Zhu Shenghao yi ; Wu Xinghua jiao. (Beijing : Ren min wen xue chu ban she, 1978). Übersetzung von Shakespeare, William. The tragedie of King Richard the second. (London : Printed by Valentine Simmes for Andrew Wise and are to be sold at his shop in Paules Church-yard at the signe of the Angel, 1597). [Geschrieben um 1590-1599]. 利查二世 |
Publication / ZhuS13 | |
| 183 | 1978 |
[Shakespeare, William]. Tai'er qin wang Peilikelisi. Zhu Shenghao yi ; Wu Xinghua jiao. (Beijing : Ren min wen xue chu ban she, 1978). Übersetzung von Shakespeare, William. The late, and much admired play, called Pericles, Prince of Tyre : with the true relation of the whole historie, aduentures, and fortunes of the said prince : as also, the no lesse strange, and worthy accidents, in the birth and life, of his daughter Mariana ; as it hath been diuers and sundry times acted by his Maiesties seruants, at the Globe on the Banck-side. (London : Imprinted by William White and Thomas Creede for Henry Gosson, and are to be sold at the signe of the Sunne in Pater-noster Row, 1609). [Geschrieben um 1607]. 泰尔亲王配力克里斯 |
Publication / ZhuS19 | |
| 184 | 1978 |
[Shakespeare, William]. Yuehan wang. Zhu Shenghao yi ; Wu Xinghua jiao. (Beijing : Ren min wen xue chu ban she, 1978). Übersetzung von Shakespeare, William ; Marlowe, Christopher. The troublesome raigne of Iohn King of England with the discouerie of King Richard Cordelions base sonne (vulgary named, the bastard Fawconbridge) : also the death of King Iohn at Swinstead Abbey ; as it was (sundry times) publikely acted by the Queenes Maiesties players, in the honourable citie of London. (London : Imprinted for Sampson Clarke, and are to be solde at his shop, on the backe-side of the Royal Exchange, 1591). 約翰王 |
Publication / ZhuS29 | |
| 185 | 1978 |
[Shakespeare, William]. Hengli liu shi : shang, zhong, xia pian. Zhang Yi yi. (Beijing : Ren min wen xue chu ban she, 1978). Übersetzung von Shakespeare, William. The true tragedie of Richard Duke of York and the death of good King Henrie the sixt ; with the whole contention betweene the two houses Lancaster and Yorke, as it was sundrie times acted by the right honourable the Earle of Pembrooke his seruants. Pt. 1-3. (London : Printed by P.S[hort] for Thomas Mulligan, and are to be sold at his shoppe vnder Saint Peters Church in Cornwal, 1595). [Geschrieben um 1590-1592]. [Henry VI]. 亨利六世 : 上中下篇 |
Publication / Shak74 | |
| 186 | 1978 |
[Shakespeare, William]. Hengli si shi. Shashibiya ; Wu Xinghua yi. (Beijing : Ren min wen xue chu ban she, 1978). Üebersetzung von Shakespeare, William. The historie of Henrie the fourth. (London : A. Wise, 1598). [Geschrieben 1595-1597 ; Henry IV]. 亨利四世 |
Publication / Shak75 | |
| 187 | 1978 |
[Shakespeare, William]. Hengli wu shi. Shashibiya ; Fang Ping yi. (Beijing : Ren min wen xue chu ban she, 1978.). Übersetzung von Shakespeare, William. The chronicle history of Henry the fifth. (London : Printed by Thomas Creede, Tho. Millington, and John Busby, 1600). [Henry V]. 亨利五世 |
Publication / Shak76 | |
| 188 | 1978 |
[Shakespeare, William ; Goethe, Johann Wolfgang von]. Jin yan yu lu. Shashibiya, Gede yuan zhu ; Huang Yu'e bian zhu zhe. (Tainan : Long hui chu ban she, 1978). [Übersetzung der Zitate von Goethe und Shakespeare]. 金言語錄 |
Publication / Shak86 | |
| 189 | 1978 |
[Shakespeare, William]. Qing nü yuan. Ai qing de li zan. Yue qu za yong. Feng huang he ban jiu. Huang Yushi yi. (Beijing : Ren min wen xue chu ban she, 1978). [Übersetzung der Werke von Shakespeare]. 情女怨爱情的礼贊乐曲杂咏凤凰和斑鳩 |
Publication / Shak124 | |
| 190 | 1978 |
[Shakespeare, William]. Shashibiya jin yan lu. Wang Jinghua yi zhu. (Tainan : Du xia chu ban she, 1978). (Da xia Ying yu cong shu). [Übersetzung der Zitate von Shakespeare]. 莎士比亞金言語 |
Publication / Shak149 | |
| 191 | 1978 |
[Shakespeare, William]. Shashibiya gu shi. Lanmu ; Chen Zhichang yi. (Tainan : Da fu cheng, 1978). (Da fu cheng Ying yu cong shu ; 14). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Lamb14 | |
| 192 | 1979 |
[Shakespeare, William]. Wang zi fu chou ji. Shashibiya ; He Wenhui yi. (Xianggang : Xue jin chu ban she, 1979). [Adaptation von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 王子復仇記 |
Publication / Shak194 | |
| 193 | 1980 |
[Shakespeare, William]. Aoseluo. Shashibiya zhu ; Fang Ping yi. (Shanghai : Shanghai yi wen chu ban she, 1980). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奧瑟羅 |
Publication / Shak43 | |
| 194 | 1980 |
[Shakespeare, William]. Shashibiya shi si hang shi ji. Yang Xiling yi. (Huhehuohaote : Nei Meng gu ren min chu ban she, 1980). [Übersetzung der Sonnets von Shakespeare]. 莎士比亞語粹 ; 莎士比亞十四行詩集 |
Publication / Shak161 | |
| 195 | 1981 |
[Shakespeare, William]. Shashibiya xi ju gu shi ji. Guo jia chu ban she bian shen bu bian zhu. (Taibei : Guo jia chu ban she, 1981). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亚戏剧故事集 |
Publication / Shak172 | |
| 196 | 1981 |
[Quiller-Couch, Arthur Thomas]. Shashibiya li shi ju gu shi ji. Kuile Kuqi gai xie ; Tang Zhen yi. (Bejing : Zhongguo qing nian chu ban she, 1981). Übersetzung von Quiller-Couch, Arthur Thomas. Historical tales from Shakespeare. (New York, N.Y. : Scribner, 1901). 莎 士比亚历史剧故事集 |
Publication / Shak296 | |
| 197 | 1982 |
[Shakespeare, William]. Dan mai wang zi Hamulei de bei ju. Shashibiya zhu ; Lin Tongji yi. (Beijing : Zhongguo xi ju chu ban she, 1982). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 丹麦王子哈姆雷的悲剧 |
Publication / Shak53 | |
| 198 | 1982 |
[Shakespeare, William]. Shashibiya yu lu. Shashibiya zhu ; Lü Tianming yi. (Taibei : Wu Zhou chu ban she, 1982). [Übersetzung der Zitate von Shakespeare]. 莎士比亞語錄 |
Publication / Shak182 | |
| 199 | 1982 |
[Shakespeare, William]. Wang zi fu chou ji. Shashibiya yuan zhu ; Li Baiying gai bian ; Wang Baoxing, Jiang Ronggen hui hua. (Shanghai : Shanghai ren min mei shu, 1982). (Shashibiya xi ju lian huan hua). Übersetzung von von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 王子復仇記 |
Publication / Shak195 | |
| 200 | 1982 |
Si de kuang wei. Shashibiya, Haimingwei, Fuloubei, Make Tuwen, Tuo'ersitai, Hexuli, Tang'enbi, Shitanbeike, Sandao Youjifu ; Xu Jinfu yi. (Taibei : Zhi wen chu ban she, 1982). (Xin chao wen ku ; 268). Übersetzung von We are but a moment's sunlight; understanding death. Ed. by Charles S. Adler, Gene Stanford, Sheila Morrissey Adler. (New York, N.Y. : Pocket Books, 1976). [William Shakespeare, Ernest Hemingway, Gustave Flaubert, Mark Twain, Leo Tolstoy, Aldous Huxley, Arnold Joseph Toynbee, John Steinbeck. Experience of death]. 死的況味 |
Publication / Tol124 | |
| 201 | 1983 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya ; Sun Youning pian yi. (Hong Kong : Ya Yuan chu ban she, 1983). (Shi jie ming zhu fan yi). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak108 | |
| 202 | 1983 |
[Shakespeare, William]. Shashibiya qing shi. Yang Naidong yi. (Taibei : Wen jing chu ban she you xian gong si, 1983). (Wen hua da xi ;15). [Übersetzung der Sonnets von William Shakespeare]. 莎士比亞情詩 |
Publication / Shak156 | |
| 203 | 1983 |
[Shakespeare, William]. Shashibiya xi ju gu shi. Xiao Gan, Wen Jieruo yi. (Chengdu : Sichuan shao nian er tong chu ban she, 1983). (Xiao tu shu guan cong shu). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亚戏剧故事选编 |
Publication / Shak179 | |
| 204 | 1984 |
[Shakespeare, William]. Hamulaite. With introduction and notes by Qiu Ke'an. (Beijing : Commercial Press, 1984). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆莱特 |
Publication / Shak66 | |
| 205 | 1985 |
[Shakespeare, William]. Shashibiya miao yu lu. Wen Qi yi. (Lanzhou : Gansu ren min chu ban she, 1985). [Übersetzung der Zitate von Shakespeare]. 莎士比亚妙语录 |
Publication / Shak153 | |
| 206 | 1986 |
[Shakespeare, William]. Ji = Othello. Shashibiya ru zuo zhe ; Chen Yinying dao yan ji ju ben gai bian. (Xianggang : Xianggang hua ju tuan, 1986). (Xianggang hua ju tuan ju ben ; 64). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 嫉 |
Publication / Shak79 | |
| 207 | 1986 |
[Shakespeare, William]. Shashibiya gu shi. Lin Wanjun yi. (Tainan : Da xia chu ban she, 1986). (Ying Han tui chao ; 14. Ta-shia English-Chinese library). Übersetzung von Lamb, Charles. Lamb's Tales from Shakespeare. Retold by C. Kingsley Williams. (London : Longmans, Green, 1939). 莎士比亞故事 |
Publication / Shak129 | |
| 208 | 1986 |
[Shakespeare, William ; Becanus, Martin]. Shashibiya, Beigen yu lu. Tang Yumei zhu bian. (Tainan : Wen guo shu ju, 1986). (Shi jie wen xue ming zhu ; 50). [Übersetzung der Zitate von Shakespeare und Becanus]. 莎士比亚培根語錄 |
Publication / Shak136 | |
| 209 | 1986 |
[Shakespeare, William]. Shashibiya gu shi. Shashibiya yuan zhu ; Tang Yumei zhu bian. (Tainan : Wen guo shu ju, 1986). (Shi jie wen xue ming zhu ; 43). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Shak141 | |
| 210 | 1986 |
[Shakespeare, William]. Shashibiya shi si hang shi. Shashibiya yu zhu ; Tang Yumei zhu bian. (Tainan : Wen guo shu ju, 1986). [Übersetzung der Sonnets von Shakespeare]. 莎士比亚十四行詩 |
Publication / Shak159 | |
| 211 | 1986 |
[Shakespeare, William]. Xun han ji : zhong wen jie yi ji yan chu zi liao. Yang Shipeng = Yang Daniel S.P. yi zhu. (Xianggang : Shi zheng ju, 1986). Übersetzung von Shakespeare, William. The taming of the shrew. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1594]. 驯悍记 : 中文节译及演出资料 |
Publication / Shak205 | |
| 212 | 1986 |
[Shakespeare, William ; Bacon, Francis]. Zhi hui de hua duo. Shashibiya, Peigen deng zhu ; Wen Guang yi. (Tainan : Zong he chu ban she, 1986). [Übersetzung der Zitate von Shakespeare und Bacon]. 智慧的花朶 |
Publication / Baco8 | |
| 213 | 1987 |
[Shakespeare, William]. Di shi er ye. Shashibiya ; Zhi Jinzhong yi. (Beijing : Shang wu yin shu guan, 1987). (Sha shi bi ya zhu shi cong shu). Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / Shak57 | |
| 214 | 1987 |
[Shakespeare, William]. Hengli wu shi. Shashibiya ; Zhi Jinzhong yi. (Beijing : Shang wu yin shu guan, 1987). (Sha shi bi ya zhu shi cong shu). Übersetzung von Shakespeare, William. The chronicle history of Henry the fifth. (London : Printed by Thomas Creede, Tho. Millington, and John Busby, 1600). [Henry V]. 亨利五世 |
Publication / Shak78 | |
| 215 | 1987 |
[Shakespeare, William]. Luomi'ou yu Zhuliye ; Wang zi fu chou ji. Shashibiya zhu ; Zheng Bo yi. (Xianggang : Da guang chu ban she you xian gong si, 1987). (Shi jie wen xue ming zhu you sheng ju ben). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 Übersetzung von von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 王子復仇記 |
Publication / Shak112 | |
| 216 | 1987 |
[Shakespeare, William]. Zhong xia ye zhi meng. Qiu Ke'an yi. (Beijing : Shang wu yin shu guan, 1987). (Shashibiya zhu shi cong shu ; 3). Übersetzung von Shakespeare, William. A midsommer nights dreame : as hath beene sundry times publikely acted, by the right honourable, the Lord Chamberlaine his seruants. (London : Printed by Iames Roberts, 1619). [ = A midsummer night's dream. Geschrieben 1595-1597]. 仲夏夜之 |
Publication / Shak229 | |
| 217 | 1988 |
[Rabelais, François ; Shakespeare, William ; Maupassant, Guy de]. Shi jie wen xue min zhu. (Taibei : Ji si wen hua shi ye you xian gong si, 1988). (Da lu lian huan hua cong shu). [Enthält] : Shakespeare, William. Hamuleite. Shashibiya zhu. Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆雷特 Maupassant, Guy de. Xiang lian. Mobosang zhu. [Übersetzung der Kurzgeschichten von Maupassant]. 项 链 世界文學名著 Rabelais, François. Ju ren zhuan. Labolei zhu. Rabelais, François. Ju ren zhuan. Labolei zhu. Übersetzung von Rabelais, François. [Gargantua et Pantagruel]. T. 1-5. (Lyon : F. Iuste ; P. de Tours ; Paris : C. Wechel, 1532-1549). 巨人傳 Vol. 1 : Les grandes et inestimables cronicques du grant et enorme geant Gargantua... Vol. 2 : Les croniques admirables du puissant roy Gargantua... Vol. 3 : Tiers livre des faictz et dictz héroïques du nobel Pantagruel... Vol. 4 : Le quart livre des faictz et dictz héroïques du noble Pantagruel... Vol. 5 : Le cinquiesme livre des faictz et dictz du noble Pantagruel... |
Publication / Shak37 | |
| 218 | 1988 |
[Shakespeare, William]. Nan de hu tu. Shashibiya yuan zhu ; Li Cuizhen [Jane Lai] fan yi. (Xianggang yan yi xue yuan xi ju xue yuan, 1988. (Xianggang yan yi xue yuan xi ju cong shu). Übersetzung von Shakespeare, William. The comedy of errors. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1591]. 難得糊塗 |
Publication / Shak120 | |
| 219 | 1988 |
[Shakespeare, William]. Sha ju jing xuan yi bai duan : Ying Han tui chao = 100 passages from the dramatic writings of Shakespeare : English-Chinese. Huang Zhaojie [Wong Siu-kit] bian yi. (Xianggang : Shang wu yin shu guan, 1988). (Yi bai cong shu). 莎 劇精選一百段 : 英漢對照 |
Publication / Shak134 | |
| 220 | 1988 |
[Shakespeare, William]. Shashibiya bei ju si zhong : Hamuleite, Aoseluo, Liya wang, Maikebaisi. Bian Zhilin yi. (Beijing : Ren min wen xue chu ban she, 1988). (Wai guo wen xue ming zhu cong shu). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608] 莎士比亚悲剧四种 : 哈姆雷特奥瑟罗里亚王麦克白斯 |
Publication / Shak137 | |
| 221 | 1988 |
[Shakespeare, William]. Shashibiya shu qing shi xuan. (Beijing : Ren min wen xue chu ban she, 1988). (Jia zuo cong shu ; 4). [Übersetzung der Lyrik von Shakespeare]. [Keine Angabe des Übersetzers]. 莎士比亚抒情诗选 |
Publication / Shak163 |
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| 222 | 1988 |
[Shakespeare, William]. Shashibiya xi ju jing jie. Li Mengtao, Cheng Xilin, Lin Biguo yi. (Chengdu : Sichuan da xue chu ban she, 1988). [Übersetzung der Dramen von Shakespeare]. 莎士比亞戲劇精解 |
Publication / Shak180 | |
| 223 | 1988 |
[Shakespeare, William]. Shashibiya xi ju gu shi ji. Guilin Yelin ; Chang Hao yi. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1988). Übersetzung von Lamb, Charles. Lamb's Tales from Shakespeare. Retold by C. Kingsley Williams. (London : Longmans, Green, 1939). 莎士比亚戏剧故事集 |
Publication / Lamb15 | |
| 224 | 1989 |
[Shakespeare, William]. Bao feng yu. Shashibiya zuo zhe ; Liao Meiji, Wen Liang Yongshang yi zhe. (Xianggang : Xianggang yan yi xue yuan xi jue xue yuan, 1989). (Xianggang yan yi xue yuan xi ju cong shu). [Hong Kong Academy for Performing Arts]. Übersetzung von Shakespeare, William. The tempest. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1611]. 暴風雨 |
Publication / Shak48 | |
| 225 | 1989 |
[Shakespeare, William]. Shashibiya gu shi xuan ji. Ying Han dui zhao ; Shi Jieming zhu (Taibei : Lei gu chu ban she, 1989). [Adaptationen der Tragödien und Komödien von Shakespeare]. 莎士比亞故事選集 |
Publication / Shak148 | |
| 226 | 1989 |
[Shakespeare, William]. Zhi hui jie jing. Shashibiya zhu. (Tainan : Zheng yan, 1989). [Übersetzung der Zitate von Shakespeare ; keine Angabe des Übersetzers]. 智慧結晶 |
Publication / Shak225 |
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| 227 | 1990 |
[Shakespeare, William]. Jie da huan xi. Luo Zhiye, Li Derong yi. (Beijing : Shang wu yin shu guan, 1990). (Shashibiya zhu shi cong shu ; 12). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 皆大歡喜 |
Publication / Shak81 | |
| 228 | 1991 |
[Shakespeare, William]. Hanmolaide. Shashibiya zhu ; Sun Dayu yi. (Shanghai : Shanghai yi wen chu ban she, 1991). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 罕秣莱德 |
Publication / Shak71 | |
| 229 | 1991 |
[Shakespeare, William]. Tian hou = Chun feng chui du Yumen Guan. Shashibiya zhu ; Du Guowei ; Liao Meiji, Wen Liang Yongshang yi. (Xianggang : Xianggang yan yi xue yuan xi ju xue yuan, 1991). (Xianggang yan yi xue yuan cong shu ; 14). [Hong Kong Academy for Performing Arts]. Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 天后 |
Publication / Shak193 | |
| 230 | 1991 |
Shi jie wen xue ming zhu jing cui. Zhong ying dui zhao. Vol. 1-72. (Taibei : Lu qiao, 1991). (Lu qiao er tong di san zuo tu shu guan). [Enthält] : Homer; Alexandre Dumas; Helen Keller; Mark Twain; Robert Louis Stevenson; Anthony Hope; Charles Dickens; Thomas Hardy; Edgar Allan Poe; Johanna Spyri; Arthur Conan Doyle, Sir; Jack London; Lew Wallace; Charlotte Bronte; Jules Verne; Emily Bronte; Miguel de Cervantes Saavedra; Emma Orczy; Richard Henry Dana; William Shakespeare; Rudyard Kipling; Herman Melville; Sir Walter Scott, bart.; Victor Hugo; James Fenimore Cooper; Johann David Wyss; Jane Austen; Henry James; Jonathan Swift; Stephen Crane; Anna Sewell; Nathaniel Hawthorne; Bram Stoker; Daniel Defoe; H G Wells; William Bligh; Mary Wallstonecraft Shelley; Fyodor Dostoyevsky; O. Henry [William Sydney Porter]; Joseph Conrad. 世界文學名著精粹 |
Publication / Shijie |
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| 231 | 1992 |
[Shakespeare, William ; Fletcher, John]. Liang ge gao gui de qin qi. Shashibiya ; Fu Laiche ; Sun Fali yi. (Guilin : Lijiang chu ban she, 1992). Übersetzung von Shakespeare, William ; Fletcher, John. The two noble kinsmen. Written by the memorable worthies of their time, Mr. J[ohn] F[letcher] and Mr. W[illiam] Shakespeare. (London : T. Cotes for J. Waterson, 1634). 两个高贵的亲戚 |
Publication / Shak90 | |
| 232 | 1992 |
[Shakespeare, William]. Maikebai. Shashibiya ; Qiu Ke'an zhu shi. (Beijing : Shang wu yin shu guan, 1992). (Shashibiya zhu shi cong shu). [Text in English ; with introd. and commentary in Chinese]. Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麥克白 |
Publication / Shak113 | |
| 233 | 1992 |
[Shakespeare, William]. Maikebeisi. Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2001). (Xin Shashibiya quan ji xi lie. Bei ju ; 30). Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麥克貝斯 |
Publication / Shak114 | |
| 234 | 1992 |
[Shakespeare, William]. Shashibiya gu shi xu ji. Cha'ersi Lamu, Mali Lamu bian zhu ; Jia Huosili gai xie ; Zhu Mengjia yi zhu ; Tang Zhongyan jiao ding. (Beijing : Yu wen chu ban she, 1992).( Ying Han dui zhao shi jie wen xue ming zhu jian yi du ben ; 12). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事續集 |
Publication / Shak147 | |
| 235 | 1992 |
[Shakespeare, William]. Shashibiya ming yan ji. Zhang Yunmao bian [et al.]. (Haerbin : Heilongjiang ren min chu ban she, 1992). [Übersetzung der Zitate von Shakespeare]. 莎士比亞名言集 |
Publication / Shak154 | |
| 236 | 1993 |
[Shakespeare, William]. Shashibiya miao yu. Zhao Ruogu. (Beijing : Nong cun hua qiao chu ban she, 1993). [Übersetzung der Zitate von Shakespeare]. 莎士比亚妙语 |
Publication / Shak151 | |
| 237 | 1993 |
[Shakespeare, William]. Shashibiya miao yu lu. Hua Fu yi. (Beijing : Zhongguo guang bo dian shi chu ban she, 1993). [Übersetzung der Zitate von Shakespeare]. 莎士比亚妙语录 |
Publication / Shak152 | |
| 238 | 1993 |
[Shakespeare, William]. Shashibiya shi ge jing cui. (Yanji : Dong bei chao xian min zu jiao yu chu ban she, 1993). (Shi jie ming shi bao ku). [Übersetzung der Sonnets von Shakespeare]. [Keine Angabe des Übersetzers]. 莎士比亚诗歌精萃 |
Publication / Shak158 |
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| 239 | 1993 |
[Shakespeare, William]. Shashibiya zhen yan lu. Tang Shuyun yi. (Bejing : Xue yuan chu ban she, 1993). (Wei ren zhen yan lu cong shu). [Übersetzung der Maxime von Shakespeare]. 莎士比亚箴言录 |
Publication / shak184 | |
| 240 | 1994 |
[Shakespere, William]. Li'er wang. Cai Maofeng jian xiu ; Wen Guoliang yi zhe. (Taibei : Jian hong, 1994). (Jian hong Ri yu ke wai cong shu ; 5). Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李耳王 |
Publication / Shak95 | |
| 241 | 1994 |
[Shakespeare, William]. Shashibiya gu shi ji. Yi Lin yi. (Taizhong : San jiu chu ban she, 1994). (Shi jie wen xue jing dian ku ; 1). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事集 |
Publication / Shak145 | |
| 242 | 1994-1995 |
[Shakespeare, William]. Shashibiya si da bei ju = Four tragedies by Shakespeare. Shashibiya zhu ; Sun Dayu yi. (Shanghai : Shanghai yi wen chu ban she, 1994-1995). 莎士比亚四大悲剧 [Enthält] : Hamuleite. Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆雷特 Liya wang. Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 里亚王 Aoseluo. Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奥瑟羅 Maikebaisi. Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麦克白 |
Publication / Shak165 | |
| 243 | 1995 |
[Shakespeare, William]. Andongni yu Keli'aopeitela. Shashibiya zhu ; Qiu Ke'an zhu shi. (Beijing : Shang wu yin shu guan chu ban she, 1995). (Shashibiya zhu shi cong shu). Übersetzung von Shakespeare, William. Antony and Cleopatra. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1607]. 安东尼与克莉奥佩特拉 |
Publication / Shak41 | |
| 244 | 1995 |
[Shakespeare, William]. Cuo wu de xi lu. Shashibiya ; Zhi Jinzhong yi. (Beijing : Shang wu yin shu guan, 1995). (Shashibiya zhu shi cong shu ; 18). Übersetzung von Shakespeare, William. The comedy of errors. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1591]. 错误的喜剧 |
Publication / Shak52 | |
| 245 | 1995 |
[Shakespeare, William]. Shashibiya gu shi. Shashibiya yuan zhu ; Liu Xiaoling cuo xie. (Xianggang : Xin ya wen hua, 1995). (Shi jie ming zhu zhi lü). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Shak130 | |
| 246 | 1995 |
[Shakespeare, William]. Shashibiya gu shi : zhu yin ben. Mao Zixin jian yi ; Huang Xiao, Zhou Zhengguang zhu yin. (Beijing : Yu wen chu ban she, 1995). (Shi jie wen xue ming zhu shao er du ben). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亚故事 : 注音本 |
Publication / Shak143 | |
| 247 | 1995 |
[Shakespeare, William]. Shashibiya shi si hang shi quan ji. Cao Minglun yi. (Guilin : Lijiang chu ban she, 1995). [Übersetzung der Sonnets von Shakespeare]. 莎士比亚十四行诗全集 |
Publication / Shak160 | |
| 248 | 1995 |
[Shakespeare, William]. Shashibiya xi ju gu shi : hui hua ben = The dramatic stories of Shakespeare with illustration. Ben She bian. Vol. 1-6. (Tianjin : Xin lei chu ban she, 1995). 莎士比亚戏剧故事 : 绘画本 |
Publication / Shak170 | |
| 249 | 1995 |
[Shakespeare, William]. Shashibiya yu lu. Li Daohai bian. (Taibei : Zhi hui da xue, 1995). (Zhi hui wen ku ; 42). [Übersetzung der Zitate von Shakespeare]. 莎士比亞語錄 |
Publication / Shak183 | |
| 250 | 1995 |
[Shakespeare, William]. Li'er wang. Charles Lamb wen ; Agnes Indre tu ; Xiao Qian yi xie. (Taibei : Gelin wen hua, 1995). Übersetzung von Lamb, Charles. King Lear. Embellished with three copper plates. (Verlag: London : Printed for the proprietors of the Juvenile Library, 1808). 李爾王 |
Publication / Shak361 | |
| 251 | 1996 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya zhu. (Tainan : Xiang yi chu ban she, 1996). (Shi jie wen xue ming zhu ; 39). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. [Keine Angabe des Übersetzers]. 羅密歐與朱麗葉 |
Publication / Shak111 |
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| 252 | 1996 |
[Shakespeare, William]. Shashibiya gu shi. Weiliansi zhu ; Wen Zijian zhu bian ; Li Guangyuan yi zhe. (Xianggang : Hong guang shu dian, 1996). (Ying Han dui zhao shi jie wen xue ming zhu). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Shak131 | |
| 253 | 1996 |
[Shakespeare, William]. Shashibiya gu shi. Shashibiya zhu ; Huang Yingyun yi. (Tainan : Nan tai tu shu xou xian gong si, 1996). (Yin Han dui zhao wen xue ming zhu ; 13). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事 |
Publication / Shak140 | |
| 254 | 1996 |
[Shakespeare, William]. Shashibiya jing hua. Yang Lie [et al.] yi. (Shanghai : Fudan da xue chu ban she, 1996). [Enthält] : Hanmulaite. Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 漢姆萊特 Maikebaisi. Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麦克白斯 Li'er wang. Übersetzung von Shakespeare, William. True chronicle history of the life and death of King Lear, and his three daughters : with the unfortunate life of Edgar, Sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam ; as it was plaid before the Kings Meijesty at White-Hall, vppon S. Stephens night, in Christmas hollidaies ; by his Maiesties seruants, playing vsually at the Globe on the Banck-side. (London : Printed for Nathaniel Butter by W. Jaggard, 1619). 李爾王 Aoseluo. Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奥瑟羅 Weinisi shang ren. Übersetzung von Shakespeare, William. The excellent history of the merchant of Venice : with the extreme cruelty of Shylocke the lew towards the saide merchant, in cutting a iust pound of his flesh ; and the obtaining of Portia, by the choyse of three caskets. (London : Printed by J. Roberts, 1600). [Geschrieben 1596]. 威尼斯商人 Luomiou yu Zhuliye. Übersetzung von Shakespeare, William. An excellent and conceited tragedie of Romeo and Juliet as it hath been often (with great applause) plaid publiquely, by the right Honourable the L. of Hunsdon his seruants. (London : Printed by John Danter, 1597). [Geschrieben 1595]. 羅蜜歐與朱麗葉 莎士比亚精华 |
Publication / Shak150 | |
| 255 | 1996 |
[Shakespeare, William]. Shashibiya shu qing shi xuan. Liang Zongdai yi. (Changsha : Hunan wen yi chu ban she, 1996). [Übersetzung ausgewählter Lyrik von Shakespeare]. 莎士比亚抒情诗选 |
Publication / Shak164 | |
| 256 | 1996 |
[Shakespeare, William]. Shashibiya xi ju gu shi. Chen Qiongyao yi zhu. (Tainan : Da xia chu ban she, 1996). (Ta-shia English-Chinese Library ; 41). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). [Text in Chinesisch und Englisch]. 莎士比亞戲劇故事 |
Publication / Shak168 | |
| 257 | 1997 |
[Laroque, François]. Shashibiya : ren jian da wu tai. Shi Kangqiang yi zhe. (Taibei : Shi bao swen hua chu ban qi ye you xian gong si, 1997). (Fa xian zhi lü ; 37). Übersetzung von Laroque, François. Shakespeare : comme il vous plaira. (Paris : Gallimard, 1991). 莎士比亞 : 人間大舞台 |
Publication / Shak268 | |
| 258 | 1998 |
[Shakespeare, William]. Shashibiya gu shi ji. Bulai'en Xidun [Brian Heaton], Weisite [Michael West] gai xie ; Wang Lei yi. (Shanghai : Shanghai yi wen chu ban she, 1998). (Lang wen ying han dui zhao jie ti yue du cong shu). Übersetzung von Shakespeare, William. Stories from Shakespeare. Written by Brian Heaton and Michael West ; ill. by Whitear. (London : Longman, 1974). 莎士比亚故事集 |
Publication / Shak144 | |
| 259 | 1998 |
[Shakespeare, William]. Shashibiya xi ju gu shi quan ji : bei ju juan. He Xiaoqi yi. (Chongqing : Chongqing chu ban she, 1998). [Übersetzung der Gesamtwerke von Shakespeare : Komödien]. 莎士比亚戏剧故事全集喜剧卷 |
Publication / Shak174 | |
| 260 | 1998 |
[Shakespeare, William]. Ying Han dui zhao Shashibiya shi si hang shi ji. Xing Zhengkun yi. (Beijing : Beijing da xue chu ban she, 1998). [Übersetzung der Sonnets von Shakespeare]. 英汉对照莎士比亚十四行诗集 |
Publication / Shak208 | |
| 261 | 1998 |
Bu pei de ling xu : qi ye ling dao li de qi shi : Bolatu, Shashibiya, Jinen, Kelaosaiweizi, Qiujier, Gandi. = The timeless leader : lessons on leadership from : Plato, Shakespeare, Antigone, Melville, Robert Penn Warren, Cleopatra, Churchill, Martin Luther King, von Clausewitz, Castiglione, Gandhi. Yuehan Kelimen [John Clemens] ; Shitifu Aibohete ; Li Wanrong yi.(Taibei : Mai tian chu ban gong si,1998). (Qi hua cong shu ; FP2013). 不朽的领袖 : 企业领导力的启示柏拉图莎士比亚金恩克劳塞维兹邱吉尔甘地 |
Publication / WarR4 | |
| 262 | 1998 |
Mei te shu : wei da li zhi gu shi de bao zang. William J. Bennett bian zhu ; Wu Meizhen yi. (Taibei : Yuan shen chu ban she, 1998). (Li zhi shu xi ; 27). Übersetzung von The book of virtues : a treasury of great moral stories. Ed., with commentary by William J. Bennett. (New York, N.Y. : Simon & Schuster, 1993). 美德書 : 偉大勵志故事的寶藏 [Enthält Texte von] : Aesop, Charles Dickens, Leo Tolstoy, William Shakespeare, James Baldwin. |
Publication / Tol227 | |
| 263 | 1999 |
[Shakespeare, William]. Qing jun ru weng. Weilian Shashibya zhu ; Ying Ruocheng yi. (Beijing : Zhongguo dui wai fan yi chu ban gong si, 1999). Übersetzung von Shakespeare, William. Measure for measure. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1604]. 请君入翁 |
Publication / Shak123 | |
| 264 | 1999 |
[Shakespeare, William]. Shashibiya ming yan jing xuan. Zhu Shenghao yi ; Lin Peixuan xuan ji. (Taibei : Guo jia chu ban she, 1999). [Übersetzung der Zitate von Shakespeare]. 莎士比亞名言精選 |
Publication / Shak155 | |
| 265 | 1999 |
[Shakespeare, William]. Shashibiya si da bei ju. Ka Zhilin yi. Vol. 1-2. (Taibei : Mao tou ying chu ban gong si, 1999). (Jing dian wen xue xi lie ; 1-2). 莎士比亚四大悲剧 [Enthält] : Hamuleite. Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈 姆雷特 Aosailuo. Übersetzung von Shakespeare, William. The tragedie of Othello, the Moore of Venice. (London : Printed by N.O. for Thomas Walkley, and are to be sold at his shop at the Eagle and Child, in Brittans Bursse, 1622). [Geschrieben um 1604]. 奥赛罗 Maikebaisi. Übersetzung von Shakespeare, William. The tragedie of Macbeth. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1608]. 麦克白 |
Publication / Shak166 | |
| 266 | 1999 |
[Shakespeare, William]. Shashibiya xi ju gu shi quan ji : bei ju juan. Cai Mingcun, Ji Deshun yi. (Wuhan : Hubei shao nian er tong chu ban she, 1999). (Shi jie ming zhu gu shi hua ku). [Übersetzung der Gesamtwerke von Shakespeare : Komödien]. 莎士比亚戏剧故事全集, 悲剧卷 |
Publication / Shak175 | |
| 267 | 1999 |
[Shakespeare, William]. Shashibiya xi ju gu shi quan ji : li shi ju juan. Li Zhu, Li Huayou yi. (Wuhan : Hubei shao nian er tong chu ban she, 1999). (Shi jie ming zhu gu shi hua ku). [Übersetzung der Gesamtwerke von Shakespeare : Historische Dramen]. 莎士比亚戏剧故事全集历史剧卷 |
Publication / Shak176 | |
| 268 | 1999 |
[Shakespeare, William]. Shashibiya xi ju gu shi quan ji : chuan qi ju juan. Chu Feng, Ye Jiabin yi. (Wuhan : Hubei shao nian er tong chu ban she, 1999). (Shi jie ming zhu gu shi hua ku). [Übersetzung der Gesamtwerke von Shakespeare : Dramen]. 莎士比亚戏剧故事全集, 传奇剧卷 |
Publication / Shak177 | |
| 269 | 1999 |
[Shakespeare, William]. Shashibiya xi ju gu shi quan ji : xi ju juan. Xiong Fangzhi ; Wang Fuwen yi. (Wuhan : Hubei shao nian er tong chu ban she, 1999). (Shi jie ming zhu gu shi hua ku). [Übersetzung der Gesamtwerke von Shakespeare : Komödien]. 莎士比亚戏剧故事全集, 喜剧卷 |
Publication / Shak178 | |
| 270 | 1999 |
[Shakespeare, William]. Shashibiya xi ju gu shi ji = Shakespeare's famous plays retold. Lanmu, Guo jia chu ban she bian yi zu bian. (Taibei : Guo jia chu ban she, 1999). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞戲劇故事集 |
Publication / Lamb17 | |
| 271 | 2000 |
[Shakespeare, William]. Lang man qing shi xuan = Romantic love poems. Shashibiya deng zhu ; Li Shuzhen bian yi. (Taibei : Jiu yi chu ban she, 2000). (Zhen cang wen ku ; 45). [Text in Englisch und Chinesisch]. 浪漫情詩選 |
Publication / Shak87 | |
| 272 | 2000 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Lai Shixiong bian zhu. (Taibei : Chang si teng chu ban she, 2000). (Chang chun teng chu ji ying wen du ben shi jie ming zhu jing xuan ; 10). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 罗密欧与朱丽叶 |
Publication / Shak102 | |
| 273 | 2000 |
[Shakespeare, William]. Shashibiya gu shi ji jing xuan. Weilian Shashibiya yuan zhu ; Chali Lanmu gai xie ; Liu Xuezhen yi. (Taibei : Zong jing xiao zhao ri wen hua shi ye you xian gong si, 2000). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亞故事集精選 |
Publication / Shak146 | |
| 274 | 2000 |
[Shakespeare, William]. Shashibiya xi ju gu shi. Liu Fangbing yi. (Hefei : Anhui shao nian er tong chu ban she, 2000). (Wai guo wen xue ming zhu shao nian du ben., Tai yang hua juan; Xiao mi feng shu wu). Übersetzung von Lamb, Charles. Tales from Shakespeare : designed for the use of young persons. Vol. 1-2. (London : Printed for Thomas Hodgkins at the Juvenile Library, 1807). 莎士比亚喜剧故事 |
Publication / Shak169 | |
| 275 | 2000 |
[Shakespeare, William]. Xin Shashibiya quan ji. Fang Ping, Zhang Chong yi. Vol. 1-12. (Shijiazhuang : Hebei jiao yu chu ban she ; Taibei : Mao tou ying chu ban, 2000). [Übersetzung der Gesamtwerke von Shakespeare]. 新莎士比亚全集 |
Publication / Shak203 | |
| 276 | 2001 |
[Shakespeare, William]. Ai de tu lao. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2001). (Xin Shashibiya quan ji xi lie, xi ju ; 8). Übersetzung von Shakespeare, William. A pleasant conceited comedie called Loves labors lost. (London : Imprinted at London by W.W. for Cutbert Burby, 1598). (Three centuries of drama). 愛的徒勞 |
Publication / Shak38 | |
| 277 | 2001 |
[Shakespeare, William]. Hamulaite. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2001). (Xin Shashibiya quan ji xi lie. Bei ju ; 24). Übersetzung von Shakespeare, William. The tragedy of Hamlet, Prince of Denmark. (London : Nicholas Ling and John Trundell, 1603). 哈姆莱特 |
Publication / Shak67 | |
| 278 | 2001 |
[Shakespeare, William]. Luomi'ou yu Zhuliye. Shashibiya ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2001). (Xin Shashibiya quan ji xi lie. Bei ju ; 12). Übersetzung von Shakespeare, William. An excellent conceited tragedie of Romeo and Juliet. (London : John Danter, 1597). = The most excellent and lamentable tragedie of Romeo and Juliet. Newly corrected, augmented, and amended. (London : Thomas Creede, 1599). [Uraufführung 1595 in London]. 羅密歐與朱麗葉 |
Publication / Shak105 | |
| 279 | 2001 |
[Shakespeare, William]. Xun han ji. Shashibiya ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2001). (Xin Shashibiya quan ji xi lie. Xi ju ; 14). Übersetzung von Shakespeare, William. The taming of the shrew. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1594]. 馴悍記 |
Publication / Shak204 | |
| 280 | 2001 |
[Shakespeare, William]. Ying Ruocheng yi ming ju wu zhong. Shashibiya deng zhu ; Ying Ruocheng yi. (Shenyang : Liaoning jiao yu chu ban she, 2001). 英若诚译名剧五种 [Enthält] : Shakespeare, William. Qing jun ru weng. Übersetzung von Shakespeare, William. Measure for measure. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1604]. 请 君入瓮 Shaw, Bernard. Babala shao xiao. Übersetzung von Shaw, Bernard. Major Barbara. In : Shaw, George Bernard. John Bull's other island and Major Barbara ; also How he lied to her husband. (London : A. Constable, 1907). [Erstaufführung Royal Court Theatre, London, Nov. 28, 1905]. 芭芭拉少校 Miller, Arthur. Tui xiao yuan zhi si. Übersetzung von Miller, Arthur. Death of a salesman. (New York, N.Y. : Viking Press, 1949). [Erstaufführung Morosco Theatre, Broadway, Febr. 10, 1949]. 推銷員之死 Wouk, Herman. Hua bian. Übersetzung von Wouk, Herman. The Caine mutiny and court-martial : a play by Herman Wouk based on his novel The Caine mutiny. (Garden City, N.Y. : Doubleday, 1954). [Erstaufführung Plymouth Theatre, New York, Jan. 20, 1954]. 芭芭拉少校 Shaffer, Peter. Mochate zhi si. Übersetzung von Shaffer, Peter. Amadeus : a play. (London : Deutsch, 1980). [Erstaufführung National Theatre London, 1979]. 莫差特 |
Publication / Shak209 | |
| 281 | 2001 |
[Shakespeare, William]. Yuehan wang. Shashibiya ; Zhi Jinzhong yi. (Beijing : Shang wu yin shu guan, 2001). (Shashibiya zhu shi cong shu ; 22). Übersetzung von Shakespeare, William ; Marlowe, Christopher. The troublesome raigne of Iohn King of England with the discouerie of King Richard Cordelions base sonne (vulgary named, the bastard Fawconbridge) : also the death of King Iohn at Swinstead Abbey ; as it was (sundry times) publikely acted by the Queenes Maiesties players, in the honourable citie of London. (London : Imprinted for Sampson Clarke, and are to be solde at his shop, on the backe-side of the Royal Exchange, 1591). 約翰王 |
Publication / Shak219 | |
| 282 | 2002 |
[Shakespeare, William]. Di shi er ye. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2002). (Xin Shashibiya quan ji xi lie. xi ju ; 23).Übersetzung von Shakespeare, William. Twelfth night or what you will. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1601]. 第十二夜 |
Publication / Shak55 | |
| 283 | 2002 |
[Shakespeare, William]. Dong tian de gu shi. Shashibiya zhu ; Fang Ping, Zhang Chong yi. (Taibei : Mu ma wen hua chu ban, 2002). (Xin Shashibiya quan ji. Xi lie ; 37). Übersetzung von Shakespeare, William. The winter's tale. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben 1609]. 冬天的故事 |
Publication / Shak58 | |
| 284 | 2002 |
[Shakespeare, William]. Jie da huan xi. Weilian Shashibiya ; Fang Ping yi. (Taibei : Mu ma wen hua, 2002). (Xin Shashibiya quan ji xi lie. Xi ju ; 20). Übersetzung von Shakespeare, William. As you like it. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1599]. 皆大歡喜 |
Publication / Shak80 | |
| 285 | 2002 |
[Shakespeare, William]. Licha er shi. Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua, 2002). Übersetzung von Shakespeare, William. The tragedie of King Richard the second. (London : Printed by Valentine Simmes for Andrew Wise and are to be sold at his shop in Paules Church-yard at the signe of the Angel, 1597). [Geschrieben um 1590-1599]. 理查二世 |
Publication / Shak91 | |
| 286 | 2003 |
[Shakespeare, William]. Andongni yu Keliaopeitela. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2003). Übersetzung von Shakespeare, William. Antony and Cleopatra. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1607]. 安東尼與克莉奧佩特拉 |
Publication / Shak40 | |
| 287 | 2003 |
[Shakespeare, William]. Cuo jin cuo jue. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2003). Xin Shashibiya quan ji xi lie. Xi ju ; 4). Übersetzung von Shakespeare, William. The comedy of errors. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1591]. 錯盡錯絶 |
Publication / Shak51 | |
| 288 | 2003 |
[Shakespeare, William]. Licha san shi. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2003). (Xin Shashibiya quan ji xi lie. Li shi ju ; 7). Übersetzung von Shakespeare, William. The tragedy of King Richard the third : Containing his treacherous plots against his brother Clarence: the pittiefull murther of his iunocent [sic] nephewes: his tyrannicall vsurpation: with the whole course of his detested life, and most deserued death. As it hath beene lately acted by the Right honourable the Lord Chamberlaine his seruants. (London : Printed by Valentine Simmes [and Peter Short], for Andrew Wise, dwelling in Paules Chuch-yard [sic], at the signe of the Angell, 1597). [Geschrieben um 1593]. 利查三世 |
Publication / Shak93 | |
| 289 | 2003 |
[Shakespeare, William]. Lukelisi shi zhen ji ji qi ta. Weilian Shashibiya zhu ; Fang Ping, Tu An, Tu Di yi. (Taibei : Mu ma wen hua chu ban, 2003). (Xin Shashibiya quan ji. Xi lie ; 40). Übersetzung von Shakespeare, William. Lucrece = The rape of Lucrece. (London : Printed by Richard Field, for Iohn Harrison, and are to be sold at the signe of the white Greyhound in Paules Churh-yard [sic], 1594). 魯克麗絲失貞記及其他 |
Publication / Shak99 | |
| 290 | 2003 |
[Shakespeare, William]. Peilikelisi. Weilian Shashibiya zhu ; Fang Ping, Zhang Chong yi. (Taibei : Mu ma wen hua chu ban, 2003). Übersetzung von Shakespeare, William. The late, and much admired play, called Pericles, Prince of Tyre : with the true relation of the whole historie, aduentures, and fortunes of the said prince : as also, the no lesse strange, and worthy accidents, in the birth and life, of his daughter Mariana ; as it hath been diuers and sundry times acted by his Maiesties seruants, at the Globe on the Banck-side. (London : Imprinted by William White and Thomas Creede for Henry Gosson, and are to be sold at the signe of the Sunne in Pater-noster Row, 1609). [Geschrieben um 1607]. 佩里克利斯 |
Publication / Shak122 | |
| 291 | 2003 |
[Shakespeare, William]. Xin bai lin. Weilian Shashibiya zhu ; Fang Ping, Zhang Chong yi. (Taibei : Mu ma wen hua chu ban, 2003). (Xin Shashibiya quan ji xi lie. Chuan qi ju ; 35). Übersetzung von Hawkins, William. Cymbeline : a tragedy, altered from Shakespeare. As it is perform'd at the Theatre-Royal in Covent-Garden. (London : Printed for James Rivington and James Fletcher, 1859). 辛白林 |
Publication / Shak202 | |
| 292 | 2003 |
[Shakespeare, William]. Yadian ren Taimen. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua chu ban, 2003). (Xin Shashibiya quan ji xi lie. She hui wen ti ju ; 31). Übersetzung von Shakespeare, William. Timon of Athens. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1606]. 雅典人泰門 |
Publication / Shak206 | |
| 293 | 2003 |
[Shakespeare, William]. Zi zuo zi shou. Weilian Shashibiya zhu ; Fang Ping yi. (Taibei : Mu ma wen hua, 2003). Übersetzung von Shakespeare, William. Measure for measure. In : Shakespeare, William. Comedies, histories, & tragedies. Published according to the true originall copies. (London : Printed by Isaac Jaggard, and Ed. Blount, 1623). [Geschrieben um 1604]. 自作自受 |
Publication / Shak231 |
Secondary Literature (170)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1913 |
Sun, Yuxiu. Ou mei xiao shuo cong tan. In : Xiao shuo yue bao ; vol. 4, no 5 (1913). [Talks on European and American fiction ; enthält Henry Fielding, Samuel Richardson, Washington Irving, James Fenimore Cooper and Shakespeare]. 歐美小說叢談 |
Publication / HawN64 |
|
| 2 | 1916 |
Sun, Yuxiu. Ou mei xiao shuo cong tan. (Shanghai : Shang wu yin chu guan, 1916). (Wen yi cong ke. Jia ji). [Abhandlung über europäische und amerikanische Erzählungen]. [Erwähnt werden : William Shakespeare, Giovanni Francesco Straparola, Baronne Marie-Catherine d'Aulnoy, Charles Perrault, Jacob und Wilhelm Grimm, Hans Christian Andersen]. 歐美小說叢談 |
Publication / Grim1 | |
| 3 | 1926 |
Liang, Shiqiu. Wen xue pi ping bian. In : Chen bao fu juan ; Oct. 27-28 (1926). In : Lu Xun Liang Shiqiu lun zhan shi lu [ID D28834]. [On literary criticism]. [Erwähnung von William Shakespeare]. 文学批评辩 |
Publication / Babb43 |
|
| 4 | 1928 |
Lu, Xun. Wen xue de jie ji xing. In : Yu si ; Aug. 20 (1928). In : Lu Xun Liang Shiqiu lun zhan shi lu [ID D28834]. [Literature and class nature]. [Erwähnung von William Shakespeare]. 文学的阶级性 |
Publication / Babb44 |
|
| 5 | 1929 |
Zhou, Yueran. Shashibiya. (Shanghai : Shang wu yin shu guan, 1929). (Bai ke xiao cong shu. Wan you wen ku ; 943). [Abhandlung über William Shakespeare]. 莎士比亚 |
Publication / Shak7 | |
| 6 | 1929 | Tian, Han. Shashibiya ju yan chu zhi bian qian. In : Nan guo yue kan ; no 3 (July 1929). [Changes in staging Shakespeare]. | Publication / Shak325 | |
| 7 | 1929 | Tian, Han. [The evolution of Shakespearean theatre in the West]. In : Nan guo yue kan ; vol. 4 (1929). | Publication / Shak326 | |
| 8 | 1931 |
Tolstoy, Leo. Shakespeare and the drama. Dong Sheng yi. In : Wen yi yue kan (1931). In : The fortnightly review ; Dec. 1, 1906-Jan. 1907). = (London : Free Age Press, 1907). [Geschrieben 1903]. http://www.shakespearesallskapet.se/tolstoy.htm. |
Publication / Shak210 | |
| 9 | 1932-1936 |
Wen xue lun wen suo yin. Chen Biru, Zhang Chenqing, Li Weixu bian ji. (Beijing : Zhonghua tu shu guan xie hui, 1932-1936). Vol. 1-3 (Zhonghua tu shu guan xie hui cong shu ; 5). (Eur). [Bibliographie. Darin enthalten sind 36 Aufsätze über Johann Wolfgang von Goethe, 16 über Henrik Ibsen, 16 über Tagore Rabindrananth, 11 über Hans Christian Andersen, 8 über Honoré de Balzac, 7 über Leo Tolstoy, 3 über William Shakespeare und 1 über Dante Alighieri]. 文學論文索引 |
Publication / Goe37 | |
| 10 | 1933 |
Liang, Shiqiu. Wen xue yi chan. In : Yi shi bao, wen xue zhou kan ; no 51, Nov. 18 (Tianjin 1933). In : Lu Xun Liang Shiqiu lun zhan shi lu [ID D28834]. [The heritage of literature]. [Erwähnung von William Shakespeare]. 文学遗产 |
Publication / Babb45 |
|
| 11 | 1934 | Mao, Dun. Shashibiya yu xian shi zhu yi. In : Wen shi ; vol. 1, no 3 (1934). [Shakespeare and realism]. | Publication / Shak211 | |
| 12 | 1934 |
Liang, Shiqiu. Hamuleite wen ti. In : Wen yi yu kan ; vol. 5, no 1 (1934). [The problems of Hamlet]. 哈 姆雷特问题 |
Publication / Shak212 |
|
| 13 | 1935 | Mao, Dun. "Shakespeare's Hamlet" Hamulaite Shashibiya zhu 哈姆莱特莎士比亚著 [ev. In : Mao, Dun. Han yi xi yang wen xue ming zhu. (Shanghai : Ya xi ya shu ju, 1935). (Ji ben zhi shi cong shu ; 1). 漢 譯西洋文學名著 | Publication / Shak213 |
|
| 14 | 1947 |
Xu, Banmei. Hua ju chang shi qi hui yi lu. (Beijing : Zhongguo xi ju chu ban she, 1957). [Reminiscences of spoken drama in its initial period. Enthält Shakespeare]. 話劇創始期回憶錄 |
Publication / Shak261 |
|
| 15 | 1950 | Huang, Zuolin. Producing Shakespeare in China. In : Beijing review ; vol. 28, no 27 (1985). [Geschrieben 1950]. | Publication / Shak30 |
|
| 16 | 1953 |
[Morozov, Mikhail Mikhailovich]. Shashibiya zai Sulian. Mage'erxiake ying yi ; Wu Ningkun han yi. (Shanghai : Ping ming chu ban she, 1953). (Jin dai wen xue yi cong). Übersetzung von Morozov, Mikhail Mikahilovich. Shakespeare on the Soviet stage. Trad. by David Magarshack with an introd. by J. Dover Wilson. (London : "Soviet News“, 1947). 莎士比亞在蘇聯 |
Publication / Shak289 | |
| 17 | 1953 |
[Morozov, Mikhail Mikhailovich]. Shashibiya zai Sulian wu tai shang. Wu Yishan yi. (Shanghai : Shanghai za zhi chu ban she, 1953). Übersetzung von Morozov, Mikhail Mikhailovich. Shakespeare on the Soviet stage. Trad. by David Magarshack with an introd. by J. Dover Wilson. (London : "Soviet News“, 1947). 莎 士比亞在蘇聯舞台上 |
Publication / Shak290 | |
| 18 | 1954 |
[Wyatt, Horace Graham ; Fullerton, David]. Shashibiya di xi ju gu shi. Liang Shiqiu yi zhu. (Taibei : Ming hua shu ju, 1954). (Niu jin da xue Ying wen ming zhu qian shu cong kan). Übersetzung von Wyatt, H[orace] G[raham]. Stories from Shakespeare. (Oxford : Oxford University Press, 1932). 莎士比亞的戲劇故事 |
Publication / LiaS67 |
|
| 19 | 1955 | Xu, Shulun. Qing chu Shashibiya jie shao zhong de zi chan jie ji si xiang. In : Xi ju bao ; no 4 (1955). [Eliminate bourgeois thoughts in the introduction of Shakespeare]. | Publication / Shak246 |
|
| 20 | 1956 |
Feng, Yuning ; Rong, Ying. Zi xue cheng gong de wen xue jia. (Xianggang : Jiulong zi xue chu ban she, 1956). [Abhandlung über Maxim Gorky, A. Nikolai Ostrovsky, Jack London, Honoré de Balzac, William Shakespeare]. 自學成功的文學家 |
Publication / BalH83 | |
| 21 | 1956 |
[Anikst, Aleksandr Abramovich]. Shashibiya bei ju "Hanmulaituo". Anikesite ; Liu Danqing yi. (Shanghai : Xin wen yi chu ban she, 1956). Übersetzung von [Anikst, Aleksandr Abramovich]. Tragediia Shekspira "Gamlet". (Moskva : Prosveshchenie, 1986). [Abhandlung über Hamlet von William Shakespeare]. 莎士比亚悲剧"汉姆莱脫" |
Publication / Shak233 | |
| 22 | 1956 |
Chen, Jia. Shashibiya zai li shi yu ju zhong suo liu lu de zheng zhi jian jie. In : Meng, Xianqian. Zhongguo Shashibiya pinglun. (Changchun: Jilin Jiaoyu Chubanshe, 1991). [Shakespeare's political views revealed in his historical plays]. 莎士比亚在历史剧中所流露的政治见解 |
Publication / Shak247 | |
| 23 | 1957 |
Bian, Zhilin. Shashibiya de bei ju "Hamuleite". In : Wen xue yan jiu ji kan ; no 2 (Dec. 1957). 莎 士比亞 大悲剧 哈姆雷特 |
Publication / Shak260 |
|
| 24 | 1960 |
Shashibiya. [Shanghai shu ju you xian gong si bian]. (Xianggang : Shanghai shu ju, 1960). (Zuo jia yu zuo pin cong shu). [Abhandlung über William Shakespeare]. 莎士比亞 |
Publication / Shak300 |
|
| 25 | 1963 |
Liang, Shih-ch'iu [Liang, Shiqiu]. Guan yu Shashibiya de fan yi. Transl. by Chau Sui-cheong and Derek Herforth. In : Renditions ; no 3 (1974). [On translating Shakespeare]. 關於莎士比亞的翻譯 |
Publication / Shak29 | |
| 26 | 1963 | Zhu, Hong. Xi fang guan yu Hamuleite dian xing de yi xie pin lun. In : Wen xue ping lun ; no 4 (1963). [Western commentaries on typical character of Hamlet]. | Publication / Shak264 |
|
| 27 | 1963 |
Wu, Xinghua. Weinishi shang ren : chong tu yu jie jue. In : Wen xue ping lun ; no 3 (1963). [The merchant of Venice : conflicts and their solutions]. 威 尼斯商人 |
Publication / Shak335 | |
| 28 | 1964 | Zhao, Shouyin ; Long Wenpei. Du Weinisi shang ren : chong tu yu jie jue hou de ji dian yi jian. In : Wen xue ping lun ; no 4 (1964). [A few thoughts after reading 'The merchant of Venice']. | Publication / Shak265 | |
| 29 | 1964 |
Wu, Qingping. Shashibiya yan jiu. (Taibei : Yuan dong fu shu gong si, 1964). [Abhandlung über William Shakespeare]. 莎士比亚研究 |
Publication / Shak334 | |
| 30 | 1965 |
Zhao, Zhongyuan. Shashibiya. (Beijing : Shang wu yin shu guan, 1965). (Wai guo li shi xiao cong shu). [Abhandlung über William Shakespeare]. 莎士比亞 |
Publication / Shak351 | |
| 31 | 1965 |
Zhu, Yaolong. Shashibiya deng ming ren zhuan ji = The biography of famous men with Shakespeare and others. Zhu Yaolong bian yi. (Tainan : Dong hai chu ban she, 1965). 莎士比亞等名人傳記 |
Publication / Shak358 | |
| 32 | 1966 |
[Emerson, Ralph Waldo]. Dai biao xing ren wu. Aimosen zhu ; He Xin yi. (Taibei : Guo li bian yi guan, 1966). Übersetzung von Emerson, Ralph Waldo. Representative men : seven lectures on the uses of great men : Plato, Swedenborg, Montaigne, Shakespeare, Napoleon and Goethe. (Leipzig : B. Tauchnitz, 1907). [Platon, Emanuel Swedenborg, Michel de Montaigne, William Shakespeare, Napoleon, Johann Wolfgang von Goethe]. 代 表性人物 |
Publication / Shak250 | |
| 33 | 1969 |
Shashibiya sheng ping ji qi dai biao zuo. Lin Zhiping yi. (Taibei : Wu zhou chu ban she, 1969). (Ming zuo jia yu ming zuo pin wen ku ; 14). [Abhandlung über William Shakespeare]. 莎 士比亞生平及其代表作 |
Publication / Shak305 | |
| 34 | 1970 | Chu, Rudolph J. Shakespeare in China : translations and translators. In : Tamkang review ; vol. 1, no 2 (1970). | Publication / Shak25 |
|
| 35 | 2010 |
Gu, Zuyi. Hamuleite zhi yan jiu. (Taibei : Zhongguo xi ju yi shu zhong xing, 1975). [Abhandlung über Hamlet von William Shakespeare]. 哈姆雷特之硏究 |
Publication / Shak254 | |
| 36 | 1976 |
Chau, Simon S.C. = Zhou, Zhaoxiang. A critical study of the Chinese translations of Hamlet = Han yi Hamuleite yan jiu. (Hong Kong : University of Hong Kong, 1976). Diss. Univ. of Hong Kong, 1976. 漢譯哈姆雷特 |
Publication / Shak241 | |
| 37 | 1976 |
Zhou, Zhaoxiang [Chau, Simon S.C.]. Zhong yi Shashibiya yan jiu. (Xianggang : Wei ming shu wu, 1976). [Abhandlung über William Shakespeare]. 中譯莎士比亞硏究 |
Publication / Shak243 | |
| 38 | 1976 |
Lin, Zhiping. Shashibiya sheng ping ji qi dai biao zuo. (Taibei : Wu zhou chu ban she, 1976). [Abhandlung über William Shakespeare]. 莎士比亚生平及其代表作 |
Publication / Shak277 | |
| 39 | 1977 |
[Wells, Stanley W.]. Xi ju yu wen xue. Li Yuehan yi. (Taibei : Cheng wen chu ban she, 1977). (Cheng wen jing wei cong shu ; 27. Wen xue lei ; 10). Übersetzung von Wells, Stanley W. Literature and drama with special reference to Shakespeare and his contemporaries. (London : Routledge and Kegan Paul, 1970). (Concepts of literature) 戲 劇與文學 |
Publication / Shak333 | |
| 40 | 1979 |
[Stendhal]. Laxin yu Shashibiya. Sitangda zhu ; Wang Daoqian yi. (Shanghai : Shanghai yi wen chu ban she, 1979). Übersetzung von Stendhal. Racine et Shakespeare. Vol. 1-2. (Paris, Bossange, 1823-1825). 拉辛与莎士比亚 |
Publication / Sten57 | |
| 41 | 1979 |
[Lee, Sidney]. Shashibiya zhuan. Xideni Li zhu ; Du Ruozhou yi. (Taibei : Zhong hua ri bao, 1979). Übersetzung von Lee, Sidney. A life of William Shakespeare. (New York, N.Y. : Macmillan, 1898). 莎士比亞傳 |
Publication / Shak269 | |
| 42 | 1979-1981 |
Shashibiya ping lun hui bian. Zhongguo she hui ke xue yuan wai guo wen xue yan jiu suo wai guo wen xue yan jiu zi liao cong kan bian ji wei yuan hui bian ; Yang Zhouhan bian xuan. Vol. 1-2. (Beijing : Zhongguo she hui ke xue chu ban she, 1979-1981). (Wai guo wen xue yan jiu zi liao cong kan). [Abhandlung über William Shakespeare]. 沙 士比亚评论汇编 |
Publication / Shak304 |
|
| 43 | 1980 | Bian, Zhilin. Guan yu wo yi de Shashibiya 'Hamuleite' : wu shu you xu. In : Wai guo wen xue yan jiu ; no 1 (1980). [Re-introducing Shakespeare's Hamlet : an old preface with a new note]. | Publication / Shak291 |
|
| 44 | 1981 |
[Heine, Heinrich]. Shashibiya bi xia di nü jiao. (Shanghai : Yi wen chu ban she, 1981). Übersetzung von Heine, Heinrich. Shakespeares Mädchen und Frauen : mit Erläuterungen. (Paris : H. Delloye, Brockhaus und Avenarius ; Leipzig : Brockhaus und Avenarius, 1839). 莎士比亚笔下的女角 |
Publication / Hei25 |
|
| 45 | 1981-1983 | Shakespeare bibliography [of magazine and newspaper articles in the library collections] 1903-1983. Vol. 1-2. (Beijing : Central Academy of Drama, Library, 1981-1983). | Publication / Shak299 |
|
| 46 | 1981 |
Shi, Xianrong. Shashibiya he ta de xi ju. (Beijing : Beijing chu ban she, 1981). (Wai guo wen xue zhi shi cong shu). [Biographie von William Shakespeare]. 莎 士比亚和他的戏剧 |
Publication / Shak313 | |
| 47 | 1981 |
Sun, Jiaxiu. Makesi, En'gesi he Shashibiya xi ju. (Beijing : Zhongguo xi ju chu ban she, 1981). (Sun, Jiaxiu. Makesi, En'gesi he Shashibiya xi ju). [Abhandlung über William Shakespeare, Karl Marx und Friedrich Engels]. 马 克思, 恩格斯和莎士比亚戏剧 / 孫家琇编 |
Publication / Shak319 | |
| 48 | 1981 |
Zhang, Yuechao. Ou zhou wen xue lun ji ; Zhang yue chao. (Nanjing : Jiangsu ren min chu ban she, 1981). [Abhandlung über Homer, Alighieri Dante, François Rabelais, William Shakespeare, Jonathan Swift, Henry Fielding, George Gordon Byron, Johann Wolfgang von Goethe, Alexandr Sergeevich Pushkin, Nikolai Vasili'evich Gogol, Ivan Aleksandrovich Goncharov, Aleksandr Nikolaevich Ostrovsky, Mikhail Saltykov-Shchedrin]. 欧洲文学论集/张月超 |
Publication / RabF6 |
|
| 49 | 1982 |
[Chute, Marchette Gaylord]. Shashibiya. Liang Shiqiu zhu bian ; Maqueti Qiaodi zuo zhe ; Liang Shimei yi zhe. (Taibei : Ming ren chu ban shi ye gu fen you xian gong si, 1982). (Ming ren wei ren zhuan ji quan ji ; 55). Übersetzung von Chute, Marchette Gaylord. Shakespeare of London. With a preface by Ralph Richardson. (New York, N.Y. : Dutton, 1949). 莎士比亞 |
Publication / LiaS24 |
|
| 50 | 1982 |
He, Xianglin. Shashibiya yan jiu wen ji. (Xi'an : Shanxi ren min chu ban she, 1982). [Biographie von William Shakespeare]. 莎 士比亚研究文集 |
Publication / Shak258 | |
| 51 | 1982 |
Zhang, Ke. Shashibiya yan jiu. (Shanghai : Shanghai yi wen chu ban she, 1982). [Abhandlung über William Shakespeare]. 莎士比亚硏究 |
Publication / Shak344 | |
| 52 | 1982 |
Zheng, Min. Ying Mei shi ge xi ju yan jiu. (Beijing : Beijing shi fan da xue chu ban she, 1982). [Abhandlung über englische und amerikanische Lyrik und im Anhang über Qiulisi Kaisa = Caesar und Li'er wang = King Lear von William Shakespeare]. 英美诗歌戏剧研究 |
Publication / Shak352 | |
| 53 | 1982 | Fang, Ping. Huan ying ni, Li'erwang. In : Shanghai xi ju ; no 5 (1982). [Welcome you, King Lear]. | Publication / Shak359 | |
| 54 | 1983- |
Shashibiya yan jiu = Shakespeare studies. Zhongguo Shashibiya yan jiu hui. Vol. 1 (1983-). (Hangzhou : Zhejiang wen yi chu ban she, 1983-). 莎士比亚硏究 |
Publication / Shak4 |
|
| 55 | 1983 |
Fang, Ping. He Shashibiya jiao ge peng you ba. (Chengdu : Sichuan ren min chu ban she, 1983). [Abhandlung über William Shakespeare]. 和莎士比亚交个朋友吧 |
Publication / Shak252 | |
| 56 | 1983 |
[Halliday, Franck E.]. Shashibiya. Halitai zhu ; Zhao Li yi. (Hangzhou : Zhejiang wen yi chu ban she, 1983). Übersetzung von Halliday, Franck E. Shakespeare : a pictorial biography. (London : Thames and Hudson, 1956). 莎士比亞 |
Publication / Shak255 | |
| 57 | 1983 | Zhang, Qihong. Zai shi jian he tan suo zhong de ji dian ti hui shi tan 'Weinisi Shangren' de dao yan chu li. In : Shashibiya yan jiu ; vol. 1 (1983). [Ideas from practice and exploration-rehearsal of The merchant of Venice]. | Publication / Shak292 | |
| 58 | 1983-1984 |
Shashibiya ya yan jiu. Zhongguo Shashibiya yan jiu hui. (Hangzhou : Zhejiang ren min chu ban she, 1983-1984). [Abhandlung über William Shakespeare]. 莎 士比亚研究 |
Publication / shak307 |
|
| 59 | 1983 |
[Sisson, Rosemary Anne]. Nian qing de Shashibiya. R. Xisen zhu ; N.L. Wuqiefusikaya gai xie ; Cheng Hong yi ; Cheng Daixi jiao. (Beijing : Zhongguo xi ju chu ban she, 1983). Übersetzung von Sisson, Rosemary Anne. The young Shakespeare. (New York, N.Y. : Roy Publishers, 1959). 年 青的莎士比亚 |
Publication / Shak315 | |
| 60 | 1984 |
[Anikst, Aleksandr Abramovich]. Shashibiya zhuan. Anikesite zhu ; An Guoliang yi. (Beijing : Zhongguo xi ju chu ban she, 1984). (Shi jie xi ju ming ren zhuan ji cong shu). [Abhandlung über William Shakespeare]. 莎 士比亚传 |
Publication / Shak232 | |
| 61 | 1984 |
He, Xianglin. Shashibiya, 1564-1616. (Shenyang : Liaoning ren min chu ban she, 1984). (Wai guo wen xue ping jie cong shu). [Abhandlung über William Shakespeare]. 莎士比亞 |
Publication / Shak257 | |
| 62 | 1984 |
Lu, Gusun. Shashibiya zhuan ji. (Shanghai : Fudan da xue chu ban she, 1984). (Wai guo wen xue). [Abhandlung über William Shakespeare]. 莎士比亚专辑 |
Publication / Shak282 | |
| 63 | 1984 |
[Manvell, Roger]. Shashibiya yu dian ying. Manweier ; Zheng Shi yi. (Beijing : Zhongguo tian ying chu ban she, 1984). Übersetzung von Manvell, Roger. Shakespeare and the film. (London : J.M. Dent & Sons 1971). 莎 士比亚与电影 |
Publication / Shak285 | |
| 64 | 1984 |
[Morozov, M[ikhail] M[ikhailovich]. Shashibiya zhuan. Moluozuofu ; Xu Haiyan, Wu Junzhong yi. (Changsha : Hunan ren min chu ban she, 1984). (Shi jie ming ren wen xue chuan ji cong shu). Übersetzung von Morozov, Mikhail Mikhailovich. Shekspir, 1564-1616. (Moskva : Molodaia gvardiia, 1956). [Abhandlung über William Shakespeare]. 莎 士比亚传 |
Publication / Shak288 | |
| 65 | 1985 |
[Anikst, Aleksandr Abramovich]. Shashibiya de chuang zuo. Anikesite zhu ; Xu Keqin yi ; Hu Delin jiao. (Jinan : Shandong jiao yu chu ban she, 1985). Übersetzung von Anikst, Aleksandr Abramovich. Tvorchestvo Shekspira. (Moskva : Izd. Akademii Nauk, 1963). [Abhandlung über William Shakespeare]. 莎士比亜的创作 |
Publication / Shak234 | |
| 66 | 1985 |
[Burgess, Anthony]. Shashibiya zhuan. Bojisi ; Wang Jialing, Wang Zhanmei yi. (Tianjin : Tianjin ren min chu ban she, 1985). Übersetzung von Burgess, Anthony. Shakespeare. (New York, N.Y. : Knopf, 1970). 莎 士比亚传 |
Publication / Shak239 | |
| 67 | 1985 | Zhang, Qihong. Rang shang di jiang lin ren jian : zai Zhongguo Shashibiya yan jiu hui cheng li da hui shang de fa yan. In : Qing nian yi shu ; no 1 (1985). [Let god descend to the human world : a speech to the first convention of the Chinese Society for Shakespearean Research]. | Publication / Shak303 | |
| 68 | 1986-1999 | Wai guo ming ren xiao gu shi. [Editorial staff of Xin Ya wen hua shi ye you xian gong si]. Vol. 1-9. (Xianggang : Xin ya wen hua shi ye you xian gong si, 1986-1999). [Enthält Biographien von Benjamin Franklin, Marie Curie, Thomas A. Edison, William Shakespeare, Florence Nightingale, Napoleon I., Pablo Picasso, James Watt, Jacob Grimm, Wilhelm Grimm]. | Publication / Wai1 | |
| 69 | 1986 | He, Qixin. China's Shakespeare. In : Shakespeare quarterly ; vol. 37, no 2 (1986). | Publication / Shak31 |
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| 70 | 1986 | Song, Qingru. Guan yu Zhu Shenghao yi shu Shashibiya hui gu. In : Shanghai "Gu dao shi qi" hui yi lu. Zhongguo she hui ke xue yuan, Wen xue yan jiu suo. (Beijing : Ren min wen xue chu ban she, 1986). [Recollection on Zhu Shenghao's translation of Shakespeare]. | Publication / Shak316 | |
| 71 | 1986 |
Suo, Tianzhang. Shashibiya : ta de zuo pin ji qi shi dai. (Shanghai : Fudan da xue chu ban she, 1986). [Abhandlung über William Shakespeare]. 莎 士比亚 : 他的作品及其时代 |
Publication / Shak322 | |
| 72 | 1987 |
Huang, Long. Shashibiya xin zhuan = A new biography of Shakespeare. (Nanjing : Jiangsu shao nian er ton chu ban she, 1987). 莎 士比亚新传 |
Publication / Shak259 | |
| 73 | 1987 |
Shashibiya zai Zhongguo = Shakespeare in China. Zhongguo Shashibiya yan jiu hui. (Shanghai : Shanghai wen yi chu ban she, 1987). 莎士比亞在中國 [Enthält] : Huang, Zuolin. Shashibiya ju zuo zai Zhongguo wu tai yan chu de zhan wang. [The prospects of the Shakespeare's plays on the Chinese stage]. 莎士比亚剧作在中国舞台演出的展望 Ding, Jiasheng. Zhuang ji hou se si suo. [Thought inspired by the collision of the two cultures]. 撞击后的思索 |
Publication / Shak309 | |
| 74 | 1987 |
Shashibiya zi liao suo yin. Fudan da xue wai wen xi zi liao shi. (Shanghai : Fudan da xue wai wen xi zi liao shi, 1987). [Index zu William Shakespeare]. 莎 士比亚资料索引 |
Publication / Shak310 |
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| 75 | 1987 |
Wang, Yasheng. Shashibiya zuo pin shu ping. (Talian : Talian li gon xue yuan chu ban she, 1987). [Abhandlung über William Shakespeare]. 莎士比亚作品述评 |
Publication / Shak331 | |
| 76 | 1987 |
[Burgess, Anthony]. Shashibiya zhuan. Andongni Bojisi zhu ; Liu Guoyun yi. (Beijing : Beijing chu ban she, 1987). Übersetzung von Burgess, Anthony. Shakespeare. (New York, N.Y. : Knopf, 1970). 莎士比亚传 |
Publication / BurA2 | |
| 77 | 1988 | Li, Ruru. Chinese traditional theatre and Shakespeare. In : Asian theatre journal ; vol. 5, no 1 (1988). | Publication / Shak18 |
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| 78 | 1988 | Zha, Peide ; Tian Jia. Shakespeare in traditional Chinese operas. In : Shakespeare quarterly ; vol. 39, no 2 (1988). | Publication / Shak32 |
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| 79 | 1988 | Shen, Fan. Shakespeare in China : The merchant of Venice. In : Asian theatre journal ; vol. 5, no 1 (1988). | Publication / Shak34 |
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| 80 | 1988 |
Li, Mengtao. Shashibiya xi ju jing jie. (Chengdu : Sichuan da xue chu ban she, 1988). [Abhandlung über William Shakespeare]. 莎 士比亚戏剧精解 |
Publication / Shak274 | |
| 81 | 1988 |
Li, Mubai. Shashibiya ru men. (Taibei : Taiwan shang wu xin shu guan, 1988). (Ren ren wen ku ; 775). [Abhandlung über William Shakespeare]. 莎 士比亞入門 |
Publication / Shak275 | |
| 82 | 1988 |
Qiu, Ke'an. Shashibiya nian pu. (Beijing : Shang wu yin shu guan, 1988). [Chronologie von William Shakespeare]. 莎士比亚年谱 |
Publication / Shak295 | |
| 83 | 1988 |
Shashibiya de san chong xi ju : yan jiu, yan chu, jiao xue. Zhang Siyang zhu bian ; Meng Xianqiang, Xu Bin fu zhu bian. (Changchun : Dongbei shi fan da xue chu ban she, 1988). [Abhandlung über William Shakespeare]. 莎士比亚的三重戏剧 硏究演出教学 |
Publication / Shak302 | |
| 84 | 1988 |
Sun, Jiaxiu. Lun Shashibiya si da bei ju. (Beijing : Zhongguo xi ju chu ban she, 1988). [Abhandlung über die Tragödien von William Shakespeare]. 论 莎士比亚四大悲剧 |
Publication / Shak318 | |
| 85 | 1988 |
Zhang, Siyang. Shashibiya de san zhong xi ju. (Changchun : Dong bei shi fan da xue chu ban she, 1988). [Abhandlung über William Shakespeare]. 莎士比亚的三重戏剧 |
Publication / Shak347 | |
| 86 | 1989 |
Bian, Zhilin. Shashibiya bei ju lun hen. (Beijing : Sheng huo, du shu, xin zhi san lian shu dian, 1989). [Abhandlung über William Shakespeare]. 莎 士比亚悲剧论痕 |
Publication / Shak237 | |
| 87 | 1989 |
Cao, Shujun ; Sun, Fuliang. Shashibiya zai Zhongguo wu tai shang. (Ha'erbin : Ha’erbin chu ban she, 1989). [Abhandlung über William Shakespeare]. 莎 士比亚 在中国舞台上 |
Publication / Shak240 | |
| 88 | 1989 |
[Leichtman, Robert R. ; Johnson, David Kendrick]. Shashibiya xian ling ji. Luobote Laiximan zhu ; Qiu Liling fan yi zhe. (Taibei : Han guang wen hua shi ye gu fen you xian gong si, 1989). (Yu ming tui hua lu ; 1). Übersetzung von Leichtman, Robert R. ; Johnson, David Kendrick. Shakespeare returns. (Columbus, Ohio : Ariel Press, 1978). [Spiritualismus bei Shakespeare]. 莎士比亞顯靈記 |
Publication / Shak270 | |
| 89 | 1989 |
Xu, Keqin. Shashibiya ming ju chuang zuo xin shang cong shu : Maikebai. (Xi'an : Shanxi ren min jiao yu chu ban she, 1989). [Abhandlung über Macbeth von William Shakespeare]. 莎士比亚名剧创作欣赏丛书麦克白 |
Publication / Shak336 | |
| 90 | 1989 |
Xu, Keqin. Shashibiya ming ju chuang zuo xin shang cong shu : Weinisi shang ren di shi er ye. (Xi'an : Shanxi ren min jiao yu chu ban she, 1989). [Abhandlung über The merchant of Venice von William Shakespeare]. 莎士比亚名剧创作欣赏丛书,威尼斯商人第十二夜 |
Publication / Shak337 | |
| 91 | 1989 |
Xu, Keqin. Shashibiya ming ju chuang zuo xin shang cong shu : Luomi'ou yu Zhuliye, Li'er wang. (Xi'an : Shanxi ren min jiao yu chu ban she, 1989). [Abhandlung über Romeo and Juliet und King Lear von William Shakespeare]. 莎士比亚名剧创作欣赏丛书罗密欧与朱丽叶李尔王 |
Publication / Shak338 | |
| 92 | 1989 |
Yao, Chunshu. Shashibiya si da bei ju gu shi. Yao Chunshu, Yao Chunfu gai xie. (Xianggang : Xue lin shu dian, 1989). (Qi ming wen ku; Wai guo wen xue cong shu). [Enthält die Übersetzung von Adaptatonen von Hamulaite, Aoseluo, Li'er wang, Maikebai als Kurzgeschichten von William Shakespeare]. 莎士比亞四大悲劇故事 |
Publication / Shak341 | |
| 93 | 1989 |
Yao, Chunshu. Shashibiya si da xi ju gu shi. Yao Chunshu, Liu Fengying gai xie. (Xianggang : Xue lin shu dian, 1989). (Qi ming wen ku; Wai guo wen xue cong shu). [Enthält die Übersetzung von Adaptationen von Weinisi shang ren, Wu shi sheng fei, Jie da huan xi, Di shi er ye als Kurzgeschichten von William Shakespeare]. 莎士比亞四大喜劇故事 |
Publication / Shak342 | |
| 94 | 1989 |
Zhang, Siyang ; Xu, Bin ; Zhang, Xiaoyang. Shashibiya yin lun. (Beijing : Zhongguo xi qu chu ban she, 1989). [Abhandlung über William Shakespeare]. 莎士比亚引论 |
Publication / Shak348 | |
| 95 | 1990 |
Li, Daohai. Shashibiya zhen yan lu. (Changchun : Jilin jiao yu chu ban she, 1990). (Shi jie nin zhe zhen yan ji cui). [Abhandlung über William Shakespeare]. 莎士比亚箴言录 |
Publication / Shak271 | |
| 96 | 1990 |
Tu, Ganhe. Jian ming Shashibiya ci dian. (Beijing : Nong cun du wu chu ban she, 1990). [William Shakespeare Wörterbuch]. 简明莎士比亚辞典 |
Publication / Shak323 | |
| 97 | 1991 | Li, Ruru. Shakespeare translation in China. In : Leeds East Asia papers ; no 4 (1991). | Publication / Shak17 |
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| 98 | 1991 |
[Greer, Germaine]. Shashibiya zhuan. Jieman Gebier zhu ; Sun Naixiu yi. (Taibei : Ye qiang chu ban she, 1991). (Wai guo wen hua ming ren zhuan ji ; 1). Übersetzung von Greer, Germaine. Shakespeare. (Oxford : Oxford University Press, 1986). 莎士比亞傳 |
Publication / Shak253 | |
| 99 | 1991 |
Meng, Xianqiang. Zhongguo Shashibiya ping lun. (Changchun : Jilin jiao yu chu ban she, 1991). [Abhandlung über William Shakespeare]. 中国莎士比亚评论 |
Publication / Shak286 | |
| 100 | 1991 |
Wang, Zuoliang. Shashibiya xu lun jian ji Zhongguo sha xue. (Chongqing : Chongqing chu ban she, 1991). [Abhandlung über William Shakespeare]. 莎士比亚绪论兼及中国莎学 |
Publication / Shak332 | |
| 101 | 1991 |
Zhang, Siyang ; Xu, Bin ; Zhang, Xiaoyang. Shashibiya xi ju yan jiu. (Changchun : Shi dai wen yi chu ban she, 1991). [Abhandlung über William Shakespeare]. 莎士比亚戏剧研究 |
Publication / Shak345 | |
| 102 | 1991 |
Zhang, Siyang ; Meng Xianqiang. Shashibiya zai wo men de shi dai. (Changcun : Jilin da xue chu ban she, 1991). [Abhandlung über William Shakespeare]. 莎士比亞在我們的時代 |
Publication / Shak349 | |
| 103 | 1991 |
Zhao, Li. Shashibiya zhuan lun. (Beijing : Zhongguo ren min da xue chu ban she, 1991). [Biographie von William Shakespeare]. 莎士比亚传论 |
Publication / Shak350 | |
| 104 | 1992 |
[Bradley, Andrew Cecil]. Shashibiya bei ju. Buleideli ; Zhang Guoqiang. (Shanghai : Shanghai yi wen chu ban she, 1992). Übersetzung von Bradley, Andrew Cecil. Shakespearian tragedy : lectures on Hamlet, Othello, King Lear, Macbeth. (London : Macmillan, 1906). 莎 士比亚悲剧 |
Publication / Shak238 | |
| 105 | 1992 |
Kang, Ximin. Shashibiya xi ju shang xi ci dian. Xue Dizhi, Chen Fan, Zhang Caiming fu zhu bian. (Taiyuan : Shanxi jiao yu chu ban she, 1992). [Wörterbuch von William Shakespeare]. 莎士比亚戏剧赏析辞典 |
Publication / Shak267 | |
| 106 | 1992 |
Li, Guowen. Shashibiya. (Nanjing : Jiangsu jiao yu chu ban she, 1992). (Shi jie li shi ming ren hua zhuan). [Biographie von William Shakespeare]. 莎士比亞 |
Publication / Shak272 | |
| 107 | 1992 |
Li, Guoxiu. Shamuleite. (Taibei : Shu lin chu ban you xian gong si, 1992). [Abhandlung über William Shakespeare]. 莎 姆雷特 |
Publication / Shak273 | |
| 108 | 1992 |
Shashibiya ci dian. Sun Jiaxiu zhu bian ; Zhou Peitong, Shi Zongshan, Zheng Tusheng fu zhu bian. (Shijiazhuang : Hebei ren min chu ban she, 1992). [William Shakespeare Wörterbuch]. 沙士比亚辞 |
Publication / Shak301 | |
| 109 | 1992 |
Sun, Jiaxiu. Shashibiya ci dian. Zhou Peitong, Shi Zongshan, Zheng Tusheng fu zhu bian. (Shijiazhuang : Hebei ren min chu ban she, 1992) [Wörterbuch von William Shakespeare]. 沙士比亚辞典 |
Publication / Shak320 | |
| 110 | 1992 |
Zhong, Zheng. Wen xue shi shang zui da yi an : Shashibiya zuo bin zhen xiang. (Taibei : Tai yang chu ban she, 1992). (Tai yang wen ku ; 3). [Abhandlung über William Shakespeare]. 文學史上最大疑案 : 莎士比亞作品眞象 |
Publication / Shak353 | |
| 111 | 1992 |
Zhu, Wen ; Zhang, Junchua. Shashibiya ci dian. (Hefei : Anhui wen yi chu ban she, 1992). [Wörterbuch von William Shakespeare]. 莎士比亚辞典 |
Publication / Shak357 | |
| 112 | 1993 |
Ding, Weiting. Wen xue zhi wang : Shashibiya. (Taibei : Xian jian chu ban she, 1993). (Feng yun ren wu xi lie ; 5). [Abhandlung über William Shakespeare]. 文学之王 : 莎士比亚 |
Publication / Shak248 | |
| 113 | 1993 |
Qian, Liqun. Feng fu di tong ku : "Tang Jihede" yu "Hamuleite" di dong yi. (Changchun : Shi dai wen yi chu ban she, 1993). (Er shi shi ji Zhongguo wen xue cong shu). [Einfluss von Miguel de Cervantes Saavedra und William Shakespeare auf die chinesische Literatur]. 丰富的痛苦 : 堂吉诃德与哈姆雷特的东移 |
Publication / Shak294 | |
| 114 | 1993 |
Wan, Qiao ; Li, Jin ; Li, Han. Shashibiya quan ji jing cai dui bai yu shang xi. (Beijing : Zhongguo hua qiao chu ban she, 1993). [Abhandlung über William Shakespeare]. 莎士比亞全集精彩對白與賞析 |
Publication / Shak324 | |
| 115 | 1993 |
Zhang, Shuli. Shashibiya xi ju lun. (Ha'erbin : Heilongjiang jiao yu chu ban she, 1993). [Abhandlung über William Shakespeare]. 莎士比亚戏剧论 |
Publication / Shak346 | |
| 116 | 1993 |
Zhu, Limin. Ai qing, chou hen, zheng zhi : Hanmuleite zhuan lun ji qi ta. (Taibei : San min shu ju gu fen you xian gong si, 1993). (San min cong kann ; 59). [Abhandlung über Hamlet von William Shakespeare]. 愛情仇恨政治 : 漢姆雷特專論及其他 |
Publication / Shak356 | |
| 117 | 1994 |
Meng, Xianqiang. Zhongguo sha xue jian shi = Shakespeare in China : a brief history. (Changchun : Dong bei shi fan da xue chu ban she, 1994). 中国莎学简史 |
Publication / Shak287 | |
| 118 | 1994 |
Ruan, Shen. Shashibiya xin lun. (Wuhan : Wuhan da xue she, 1994). [Biographie von William Shakespeare]. 莎 士比亚新论 |
Publication / Shak297 | |
| 119 | 1994 |
[Shvedov, Urii Filippovich]. Shashibiya li shi ju. Zhu Fuyang yi. (Shanghai : Shanghai yi wen chu ban she, 1994). Übersetzung von [Shvedov, Urii Filippovich]. Istoricheskie khroniki Shekspira. (Moskva : Izd. Moskovskogo Universiteta, 1964). [Biographie von William Shakespeare]. 莎士比亚历史剧 |
Publication / Shak314 | |
| 120 | 1994 |
Sun, Jiaxiu. Shashibiya yu xian dai xi fang xi ju. (Chengdu : Sichuan jiao yu chu ban she, 1994). [Abhandlung über William Shakespeare]. 莎 士比亚与现代西方戏剧 |
Publication / Shak321 | |
| 121 | 1994 |
Xue, Dizhi. Sha ju lun gang. (Xi'an : Xi bei ta xue she, 1994). [Abhandlung über William Shakespeare]. 莎剧论纲 |
Publication / Shak339 | |
| 122 | 1995 | Chen, Xiaomei. Occidentalism : a theory of counter-discourse in post-Mao China. (New York, N.Y. : Oxford University Press, 1995). [2nd rev. and expanded ed. (Lanham, Md. : Rowman and Littlefield, 2002)]. | Publication / CheX5 |
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| 123 | 1995 | Li, Ruru. The bard in the Middle kingdom. In : Asian theatre journal ; vol. 12, no 1 (1995). [Betr. William Shakespeare]. | Publication / Shak15 |
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| 124 | 1995 |
Yang, Meihui. Wen xue jia zhi ai. (Taibei : Shi bao wen hua chu ban qi ye you xian gong si, 1995). (Ren jian cong shu ; 225). [Biographie von Stendhal und William Shakespeare]. 文學家之愛 |
Publication / Sten87 | |
| 125 | 1995 |
Shashibiya wen hua yi shu lun. Tong Li, Han Zhidong zhu bian. (Tianjin : Bai hua wen yi chu ban she, 1995). [Abhandlung über William Shakespeare]. 莎士比亞文化藝術論 |
Publication / Shak306 | |
| 126 | 1995 |
Yan, Yuanshu. Shashibiya tong lun : li shi ju. (Taibei : Shu lin chu ban yu xian gong si, 1995). [Abhandlung über William Shakespeare]. 莎士比亞通論 : 歷史劇 |
Publication / Shak340 | |
| 127 | 1995 |
Zhongguo sha xue nian ji na = Chinese Shakespeare yearbook. Meng Xianqian zhu bian. 1995-. (Changchun : Dongbei shi fan da xue chu ban she, 1995-). 中国莎学年鉴 |
Publication / Shak354 | |
| 128 | 1996 | Zhang, Xiao Yang. Shakepseare in China : a comparative study of two traditions and cultures. (Newark : University of Delaware Press, 1996). | Publication / Shak16 | |
| 129 | 1996 | Li, Ruru. Shakespeare adaptation in China. In : Papers of the British Association for Korean Studies ; vol. 6 (1996). | Publication / Shak24 |
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| 130 | 1996 |
[Basset, Jennifer]. Weilian Shashibiya. Xie Pingping yi. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1996). (Shu chong, Niujin Ying Han dui zhao du wu). Übersetzung von Basset, Jennifer. William Shakespeare. (Oxford : Oxford University Press, 1993). (Oxford bookworms). 威廉莎士比亚 |
Publication / Shak235 | |
| 131 | 1996 |
Chen, Yin. Shashibiya. (Beijing : Zhongguo he ping chu ban she, 1996). [Biographie von William Shakespeare]. 莎士比亚 |
Publication / Shak245 | |
| 132 | 1996 |
Huang, Qiaosheng. Shashibiya. (Beijing : Guo ji wen hua chu ban gong si, 1996). [Abhandlung über William Shakespeare]. 莎 士比亚 |
Publication / Shak262 | |
| 133 | 1996 |
[Jenkin, Leonard]. Weilian Shashibiya de Luomi’ou yu Zhuliye = William Shakespeare's Romeo and Juliet. Wang Lan yi. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1996). (Shi jie jing dian wen xue zuo pin shang xi.). Übersetzung von Jenkin, Leonard. Shakespeare's Romeo and Juliet. (New York, N.Y. : Monarch Press, 1964). [Text in Chinesisch und English]. 威廉莎士比亞的羅密歐與朱麗葉 |
Publication / Shak266 | |
| 134 | 1996 |
Ma, Dingni. Sha ju chong tan : li shi ju ji qi feng ge hua yan chu. (Taibei : Wen he chu ban you xian gong si, 1996). (Wen he wen xue cong shu ; 6). [Abhandlung über Henry IV von William Shakespeare]. 莎劇重探 : 歴史劇及其風格化演出 |
Publication / Shak283 | |
| 135 | 1996 |
Shanghai guo ji Shashibiya xi ju jie lun wen ji : '94. Zhongguo Shashibiya yan jiu hui bian ; Sun Fuliang zhu bian ; Cao Shujun, Liu Minghou fu zhu bian. (Shanghai : Shanghai wen yi chu ban she, 1996). [Tagungsband Shakespeare Kongress Shanghai]. '94 上海国際沙士比亚戏剧节论文集 |
Publication / Shak317 | |
| 136 | 1996 | Jiang, Tao. Lun Zhongguo sha ju wu tai shang de dao yan yi shu. In : Xi ju ; no 3 (1996). [Directing arts of Shakespeare performance on the Chinese stage]. | Publication / Shak360 | |
| 137 | 1997 | Li, Ruru ; Jiang, David. The 1994 Shanghai International Shakespeare Festival : an update on the bard in Cathay. In : Asian thatre journal ; vol. 14, no 1 (1997). | Publication / Shak19 |
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| 138 | 1997 |
Chen, Botong. Shashibya. (Shenzhen : Hai tian chu ban she, 1997). (Shi jie ju ren chuan ji cong shu, wen xue jia juan). [Biographie von William Shakespeare]. 莎士比亚 |
Publication / Shak242 | |
| 139 | 1997 |
Li, Zhimin. Shashibiya zuo pin shang xi. (Wuhan : Wuhan ce hui ke ji da xue chu ban she, 1997). (Ying han dui zhao shi jie ming jia zuo pin jing xuan). [Appreciations on Shakespeare's works]. 莎士比亚作品赏析 |
Publication / Shak276 | |
| 140 | 1997 |
[Lippman, Laura]. Weilian Shashibiya de Weinisi shang ren. Peng Zhuorui yi. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1997). (Shi jie jing dian wen xue zuo pin shang xi). Übersetzung von Lippman, Laura. Shakespeare's The Merchant of Venice. (New York, N.Y. : Monarch Press, 1964). [Text in Chinesisch und Englisch]. 威廉莎士比亞的威尼斯商人 |
Publication / Shak280 | |
| 141 | 1997 |
[Paris, Bernard J.]. Yu ming yun de jiao yi. Bonade Pailisi zhu ; Ye Xingguo yi. (Shanghai : Shanghai wen yi chu ban she, 1997). (Dang dai jing shen fen xi jing dian yi cong). Übersetzung von Paris, Bernard J. Bargains with fate : psychological crises and conflicts in Shakespeare and his play. (New York, N.Y. : Plenum Press, 1991). 與命運的交易 |
Publication / Shak293 | |
| 142 | 1997 |
Zhang, Jianan. Shashibiya zhuan. (Shenyang : Shenyang chu ban she, 1997). (Shi jie feng yun ren wu cong shu). [Biographie von William Shakespeare]. 莎士比亚传 |
Publication / Shak343 | |
| 143 | 1997 |
[Marx, Karl]. Shashibiya lun jin qian. Liang Shiqiu yi. In : Lu Xun Liang Shiqiu lun zhan shi lu [ID D28834]. [Shakespeare on money]. 莎士比亚论金钱 |
Publication / Babb46 |
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| 144 | 1997 |
[Leichtman, Robert R.]. Sheng zhe yu si zhe de dui hua : yi wen lei. (Beijing : Shi shi chu ban she, 1997). 生者与死者的对话艺文类 [Enthält] : [Leichtman, Robert R.]. Shashibiya xian xing ji. Übersetzung von Leichtman, Robert R. ; Johnson, David Kendrick. Shakespeare returns. (Columbus, Ohio : Ariel Press, 1978). [Leichtman, Robert R.]. Make Tuwen xian xing ji. Übersetzung von Leichtman, Robert R. Mark Twain returns. (Columbus, Ohio : Ariel Press, 1982). [Leichtman, Robert R.]. Lunbolang xian xing ji. Übersetzung von Leichtman, Robert R. Rembrandt returns. (Columbus, Ohio : Ariel Press, 1981). [Leichtman, Robert R.]. Wagena xian xing ji. Übersetzung von Leichtman, Robert R. Wagner returns. (Columbus, Ohio : Ariel Press, 1983). |
Publication / Twa282 | |
| 145 | 1998 | Levith, Murray J. The paradox of Shakespeare in China. In : The Shakespeare newsletter ; 48 (1998). | Publication / Shak35 |
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| 146 | 1998 |
Chen, Guanxue. Shashibiya shi zi bu duo ? (Taibei : San min shu ju, 1998). (San min cong kann ; 166). [Abhandlung über William Shakespeare]. 莎士比亞識字不多? |
Publication / Shak244 | |
| 147 | 1998 |
[Emerson, Ralph Waldo]. Dai biao ren wu. R. W. Aimosheng zhu ; Pu Long yi. (Beijing : Sheng huo, du shu, xin zhi san lian shu dian, 1998). (San lian jing xuan ; 2). Übersetzung von Emerson, Ralph Waldo. Representative men : seven lectures on the uses of great men : Plato, Swedenborg, Montaigne, Shakespeare, Napoleon and Goethe. (Leipzig : B. Tauchnitz, 1907). [Platon, Emanuel Swedenborg, Michel de Montaigne, William Shakespeare, Napoleon, Johann Wolfgang von Goethe]. 代表人物 |
Publication / Shak249 | |
| 148 | 1998 |
Fang, Ping. Qian xun di zhen li. (Shenyang : Liaoning jiao yu chu ban she, 1998). [Abhandlung über Literatur und William Shakespeare]. 谦逊的真理 |
Publication / Shak251 | |
| 149 | 1998 |
Xu, Haiyan. Shashibiya. (Shenyang : Liao hai chu ban she, 1998). (Bu lao hu chuan ji wen ku, ju ren bai chuan cong shu). [Biographie von William Shakespeare]. 莎士比亚传 |
Publication / Shak263 | |
| 150 | 1998 |
[Rubinstein, Annette T.]. Yingguo wen xue de wei da chuan tong. Annite T. Lubinsitan zhu ; Chen Anquan [et al.] yi. Vol. 1-3. (Shanghai : Shanghai yi wen chu ban she, 1998). Vol. 1 : Con Shashibiya dao Aosiding. Vol. 2 : Cong Pengsi dao Lanmu. Vol. 3 : Cong Sigete dao Xiao Bona. Übersetzung von Rubinstein, Annette T. Great tradition in English literature from Shakespeare to Shaw. (New York, Citadel Press, 1953). 英国文学的伟大传统 |
Publication / Shak298 | |
| 151 | 1998 |
Wang, Dunyong. Shashibiya. (Beijing : Zhongguo ren shi chu ban she, 1998). [Biographie von William Shakespeare]. 莎士比亚 |
Publication / Shak328 | |
| 152 | 1999 | Chinese theories of theater and performance from Confucius to the present. Ed. and transl. by Faye Chunfang Fei ; foreword by Richard Schechner. (Ann Arbor, Mich. : University of Michigan Press, 1999). [Enthält] : Lin, Shu. Preface to "Tales from Shakespeare". | Publication / Shak5 | |
| 153 | 1999 | Li, Ruru. Shakespeare on the Chinese stage in the 1990s. In : Shakespeare quarterly ; vol. 50, no 3 (1999). | Publication / Shak23 |
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| 154 | 1999 |
Liu, Lixia. Aiwen he pan de tian'e = Shashibiya zhuan. (Shijiazhuang : Hebei ren min chu ban she, 1999). (Shi jie shi ta wen xue jia). [Biographie von William Shakespeare]. 艾汶河畔的天鹅 |
Publication / Shak281 | |
| 155 | 1999 |
[Macrone, Michael]. Yin jing ju dian shuo Ying wen : Shashibiya pian. Lin Weizheng yi ; Tom Lulevitch cha tu. (Taibei : Shu lin chu ban you xian gong si, 1999). (Ying yu cong shu ; 51). Übersetzung von Macrone, Michael. Brush up your Shakespeare. (New York, N.Y. : Harper & Row, 1990). [Übersetzung der Zitate von Shakespeare ; englische Linguistik]. 引經據典說英文 : 莎士比亞篇 |
Publication / Shak284 | |
| 156 | 1999 |
Shi, Kangqiang. Xi ju ren sheng = Shashibiya de yi sheng. (Chongqing : Chongqing chu ban she, 1999). (Ren lei wen ming hua juan cong shu, 19). [Biographie von William Shakespeare]. 戏剧人生 |
Publication / Shak312 | |
| 157 | 1999 |
Wang, Hong ; Zhang, Chun. Shashibiya de qing shao nian shi dai. (Taiyuan : Shanxi ren min chu ban she, 1999). (Zhong wai ming ren de qing shao nian shi dai xi lie cong shu, wen xue jia juan). [Biographie von William Shakespeare]. 莎士比亚的青少年时代 |
Publication / Shak329 | |
| 158 | 1999 |
Wang, Weichang. Shashibiya yan jiu. (Hefei : Anhui da xue chu ban she, 1999). [Abhandlung über William Shakespeare]. 莎士比亞硏究 |
Publication / Shak330 | |
| 159 | 1999 |
Zhou, Junzhang. Shashibiya san lun. (Xi'an : Shanxi ren min chu ban she, 1999). [Biographie von William Shakespeare]. 莎士比亚散论 |
Publication / Shak355 | |
| 160 | 2000 | Lai, Jane ; Wong, Dorothy. Shakespeare in China : bringing home the bard. In : East-West dialogue ; vol. 4, no 2 ; vol. 5, no 1 (2000). | Publication / Shak33 |
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| 161 | 2000 |
[Halliday, Franck E.]. Shashibiya zhuan. Halitai ; Pu Xijin, Zhang Kejun, Zhang Zhijun yi. (Beijing : Zhong gong zhong yang dang xiao chu ban she, 2000). (Shi jie ming ren ming jia ming chuan, wen xue jia juan ; 37). Übersetzung von Halliday, Franck E. Shakespeare : a pictorial biography. (London : Thames and Hudson, 1956). 莎士比亚传 |
Publication / Shak256 | |
| 162 | 2000 |
Shi, Fan. Shashibiya xi ju shang xi. (Beijing : Zhongguo xi ju chu ban she, 2000). [Biographie von William Shakespeare]. 莎士比亚戏剧赏析 |
Publication / Shak311 | |
| 163 | 2000 |
Wang, Congwen. Shu lian de huo zhe. (Beijing : Zhong yang bian yi chu ban she, 2000). [Abhandlung über William Shakespeare]. 熟练地活着 |
Publication / shak327 | |
| 164 | 2004 | Levith, Murray J. Shakespeare in China. (London : Continuum, 2004). | Publication / Shak12 |
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| 165 | 2008 |
Sun, Yanna. Shakespeare in China. (Dresden : Technische Universität, 2008). Diss. Technische Univ. Dresden, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?idn=990753824. |
Web / Shak |
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| 166 | 2009 | Huang, Alexander C.Y. A 'tender heir' to 'bear his memory' : Shakespeare's Sonnets in Taiwan. In : William Shakespeare's Sonnets for the first time globally reprinted : a quatercentenary anthology. Ed. by Manfred Pfister and Jürgen Gutsch. (Dozwil : Ed. Signathur, 2009). | Publication / Shak26 | |
| 167 | 2009 | Huang, Alexander C.Y. Chinese Shakespeares : two centuries of cultural exchange. (New York, N.Y. : Columbia University Press, 2009). (Global Chinese culture). | Publication / Shak36 |
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| 168 | 2010 | Shakespeare in China : old man Sha in the Middle kingdom : http://internetshakespeare.uvic.ca/Library/Criticism/shakespearein/china1.html. | Web / Shak9 |
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| 169 | 2010 | Li, Ruru. Hamlet in China : translation, interpretation and performance : http://web.mit.edu/shakespeare/asia/essays/RuruLi.html. | Web / Shak13 |
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| 170 | 2010 |
Huang, Alexander C.Y. Shakespeare bunt geschminkt : die chinesische Shakespeare-Werkstatt. http://www.personal.psu.edu/ach13/Publications/Huang-Erinnerung-sm.pdf. |
Publication / Shak196 |
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