402016641 03 01 01 JB code JB John Benjamins Publishing Company 01 JB code SEC 1 Eb 15 9789027264787 06 10.1075/sec.1 13 2017049809 00 EA E107 10 01 JB code SEC 02 2452-1930 02 1.00 01 02 Shakespeare in European Culture Shakespeare in European Culture 11 01 JB code jbe-all 01 02 Full EBA collection (ca. 4,200 titles) 11 01 JB code jbe-2017 01 02 2017 collection (152 titles) 05 02 2017 collection 01 01 Romeo and Juliet in European Culture Romeo and Juliet in European Culture 1 B01 01 JB code 997246393 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 07 https://benjamins.com/catalog/persons/997246393 2 B01 01 JB code 84246394 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 07 https://benjamins.com/catalog/persons/84246394 3 B01 01 JB code 182246395 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/182246395 01 eng 11 343 03 03 xi 03 00 331 03 01 23 822.3/3 03 2017 PR2831 10 LIT013000 12 DSGS 24 JB code LIT.ENGL English literature & literary studies 24 JB code LIT.THEOR Theoretical literature & literary studies 01 06 02 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense. 03 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense by considering not only critical-scholarly responses but also translations, adaptations, performances and various material and digital interventions which have, from the standpoint of their specific local contexts, contributed significantly to the consolidation of Romeo and Juliet as an integral part of Europe’s cultural heritage. Moving freely across Europe’s geography and history, and reflecting an awareness of political and cultural backgrounds, the volume suggests that Shakespeare’s tragedy of youthful love has never ceased to impose itself on us as a way of articulating connections between the local and the European and the global in cases where love and hatred get in each other’s way. The book is concluded by a selective timeline of the play’s different materialisations. 01 00 03 01 01 D503 https://benjamins.com/covers/475/sec.1.png 01 01 D502 https://benjamins.com/covers/475_jpg/9789027209122.jpg 01 01 D504 https://benjamins.com/covers/475_tif/9789027209122.tif 01 01 D503 https://benjamins.com/covers/1200_front/sec.1.hb.png 01 01 D503 https://benjamins.com/covers/125/sec.1.png 02 00 03 01 01 D503 https://benjamins.com/covers/1200_back/sec.1.hb.png 03 00 03 01 01 D503 https://benjamins.com/covers/3d_web/sec.1.hb.png 01 01 JB code sec.1.loc 06 10.1075/sec.1.loc vii xii 6 Miscellaneous 1 01 04 List of contributors List of contributors 01 01 JB code sec.1.01cer 06 10.1075/sec.1.01cer 1 24 24 Chapter 2 01 04 Introduction Introduction 01 04 European households, alike in dignity? European households, alike in dignity? 1 A01 01 JB code 123313727 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 07 https://benjamins.com/catalog/persons/123313727 2 A01 01 JB code 765313728 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 07 https://benjamins.com/catalog/persons/765313728 3 A01 01 JB code 16313729 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/16313729 01 01 JB code sec.1.02eng 06 10.1075/sec.1.02eng 25 36 12 Chapter 3 01 04 Chapter 1. Heavenly eloquence Chapter 1. Heavenly eloquence 01 04 Romeo and Juliet and linguistic conflict Romeo and Juliet and linguistic conflict 1 A01 01 JB code 341313730 Balz Engler Engler, Balz Balz Engler University of Basel 07 https://benjamins.com/catalog/persons/341313730 03 00

There have been several multilingual productions of Romeo and Juliet since the late 1980s, with the Capulets and the Montagues speaking two different languages, the Prince possibly a third. In this paper such productions in Belgium, Finland, Germany, Russia, Switzerland and Ukraine (and one in Canada for comparison) are discussed in view of the problems and opportunities multilingualism can create. Conflicts tend to be better motivated and harder to resolve, the philosophy of the productions tends to vary between political commitment and theatrical experiment, and language as the basis of theatrical communication is devalued.

01 01 JB code sec.1.03pfi 06 10.1075/sec.1.03pfi 37 60 24 Chapter 4 01 04 Chapter 2. Juliet's balcony Chapter 2. Juliet’s balcony 01 04 The balcony scenes from Shakespeare's Romeo and Juliet across cultures and media The balcony scenes from Shakespeare’s Romeo and Juliet across cultures and media 1 A01 01 JB code 272313731 Manfred Pfister Pfister, Manfred Manfred Pfister Berlin 07 https://benjamins.com/catalog/persons/272313731 03 00

This chapter traces the history of Juliet’s balcony from its beginnings in Shakespeare’s text to the present times across European and non-European cultures and follows its transformations across the media of print, theatre, visual arts, tourism, cinema, advertising, music and ballet. The story that emerges is one of a rise and fall: the balcony, not even mentioned in Shakespeare’s text, within the next to two centuries becomes the centre of the play in theatrical performances and the central icon of Romeo’s and Juliet’s romantic love. Paradoxically, it will continue to function as such worldwide even when, in the late nineteenth century, artists begin to turn against the conventional symbolic equation and to defamiliarise, erase or dismantle the balcony.

01 01 JB code sec.1.04wil 06 10.1075/sec.1.04wil 61 76 16 Chapter 5 01 04 Chapter 3. Romeo and Juliet in Germany Chapter 3. Romeo and Juliet in Germany 01 04 From the English actors to Goethe From the English actors to Goethe 1 A01 01 JB code 557313732 Simon Williams Williams, Simon Simon Williams University of California, Santa Barbara 07 https://benjamins.com/catalog/persons/557313732 03 00

Although Romeo and Juliet was one of the first of Shakespeare’s plays to find its way onto the German stage, it was invariably in versions that were far from Shakespeare’s original. Published translations aspired to reflect the original more completely but Shakespeare’s supposed lapses in taste, his constant breach of neoclassical form, and his mixing of tragedy and comedy, along with German translators’ failure to understand the basic principles of Shakespeare’s dramaturgy, often led to misunderstandings and misapprehensions. Critics and theorists of the Sturm und Drang developed a comprehensive view of Shakespeare as a heroic genius, but it would take well over a century before their vision could be represented on the German stage.

01 01 JB code sec.1.05sch 06 10.1075/sec.1.05sch 77 100 24 Chapter 6 01 04 Chapter 4. Romeo and Juliet on the French stage Chapter 4. Romeo and Juliet on the French stage 01 04 From the early versions to the English production at the Odeon Theatre in 1827 From the early versions to the English production at the Odéon Theatre in 1827 1 A01 01 JB code 840313733 Isabelle Schwartz-Gastine Schwartz-Gastine, Isabelle Isabelle Schwartz-Gastine Université de Caen 07 https://benjamins.com/catalog/persons/840313733 03 00

Eighteenth-century France did not get to see Shakespeare’s Romeo and Juliet. However, the basic plot was familiar through two contradictory influences: Boccaccio’s happy-ending Filocolo (cf. the lost play of Chevalier de Chastellux, successfully performed at Château de la Chevrette for an elite society in 1770, and Comte de Ségur’s opera in 1793), and Bandello’s tragic novella after Dante’s Purgatory (cf. a drama by d’Ozicourt, obviously a nom-de-plume, published in 1771). In 1772 Jean-François Ducis presented his version of Romeo and Juliet, the first to be indebted to Shakespeare, albeit through Pierre-Antoine de La Place’s patchy summary. It had a long run at the Comédie-Française, but saw few performances until 1827, the year Harriet Smithson successfully took the part of Juliet at the Odéon to Charles Kemble’s Roméo, announcing Romanticism on stage.

01 01 JB code sec.1.06puj 06 10.1075/sec.1.06puj 101 118 18 Chapter 7 01 04 Chapter 5. Romeo and Juliet in Spain Chapter 5. Romeo and Juliet in Spain 01 04 The neoclassical versions The neoclassical versions 1 A01 01 JB code 807313734 Ángel-Luis Pujante Pujante, Ángel-Luis Ángel-Luis Pujante University of Murcia 07 https://benjamins.com/catalog/persons/807313734 2 A01 01 JB code 200313735 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/200313735 03 00

Though the Italian sources of Romeo and Juliet had already been adapted by Golden Age dramatists in the seventeenth century, it wasn’t until the nineteenth century that Shakespeare’s version of the story began to appear on the Spanish stage. These plays, which drew heavily on the neoclassical reappraisal of Shakespeare in France and other non-Anglophone countries, have been neglected and underrated, as well as being subject to various kinds of error and confusion. Focusing on Dionisio Solís’s Julia y Romeo (1803), Manuel García Suelto’s Romeo y Julieta (1817) and the libretto for an undated operatic version, this chapter studies their relation to their most immediate sources – German in the first case, French in the second and third –, as well as the adaptations and rewritings effected to bring them into line with contemporary Spanish tastes and expectations. Rather than dismiss them as inferior or unrecognisable versions of Shakespeare, the chapter acknowledges their status as the only form of “Shakespeare” performable at the time, together with their contribution, both direct and indirect, to making Shakespeare known and to the reception and dissemination of Romeo and Juliet as one of the most widely translated plays in Spain.

01 01 JB code sec.1.07kah 06 10.1075/sec.1.07kah 119 138 20 Chapter 8 01 04 Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet 1 A01 01 JB code 303313736 Lily Kahn Kahn, Lily Lily Kahn University College London 07 https://benjamins.com/catalog/persons/303313736 03 00

Ram and Jael (Salkinson 1878), the earliest Hebrew version of Romeo and Juliet, is a highly domesticating translation containing numerous Jewish cultural elements. This is attributable to the fact that the translation formed part of an ideologically loaded Jewish Enlightenment initiative to establish a European-style literary canon in Hebrew and reflecting Jewish values at a time when the language was still almost solely a written medium prior to its late nineteenth-century re-vernacularisation in Palestine. This chapter discusses the unusual sociolinguistic background to Ram and Jael and analyses its main Judaising features, which include the treatment of non-Jewish names; holidays and rituals; establishments; oaths and expressions; mythological figures; and foreign languages, as well as the insertion of biblical verses.

01 01 JB code sec.1.08cal 06 10.1075/sec.1.08cal 139 158 20 Chapter 9 01 04 Chapter 7. Giulietta e Romeo Chapter 7. Giulietta e Romeo 01 04 From early nineteenth-century Italian adaptations to Ernesto Rossi's Shakespearean debut (1869) From early nineteenth-century Italian adaptations to Ernesto Rossi’s Shakespearean debut (1869) 1 A01 01 JB code 542313737 Lisanna Calvi Calvi, Lisanna Lisanna Calvi University of Verona 07 https://benjamins.com/catalog/persons/542313737 03 00

Shakespeare’s Romeo and Juliet was first performed on the Italian stage in the late 1860s when actor Ernesto Rossi successfully adapted the play and debuted as Romeo at the Teatro Re in Milan in 1869. Despite its belated appearance, this drama may be taken as a fit example of the growing interest in the Bard’s works which, since the beginning of the nineteenth century, animated the Italian national cultural panorama. Indeed, starting from 1818, many playwrights, among whom Luigi Scevola, Giuseppe Morosini, Angelica Palli, and especially Cesare Della Valle, whose Giulietta e Romeo (1826) held the stage for several decades and was “ousted” only by Rossi’s Shakespeare, produced original plays centred on the Veronese subject. These dramatic renderings were often related or compared to the Shakespearean tragedy by contemporary critics. They, however, they introduced a different conceptualization of the Veronese plot that would also influence Ernesto Rossi’s later Shakespearean staging. In fact, these early nineteenth-century lovers offer no problematic meditation on the nature of their individuality, nor do they fight for the assertion of their own choices in front of adverse fate and families. They are transported into a whirl of sudden passion and precipitous events which they accept and to which they passively succumb. This raises interesting questions on the theatrical and cultural reception of Shakespeare’s Romeo and Juliet in nineteenth-century Italy.

01 01 JB code sec.1.09lin 06 10.1075/sec.1.09lin 159 176 18 Chapter 10 01 04 Chapter 8. Star-crossed lovers in Sweden Chapter 8. Star-crossed lovers in Sweden 1 A01 01 JB code 67313738 Kiki Lindell Lindell, Kiki Kiki Lindell Lund University 07 https://benjamins.com/catalog/persons/67313738 03 00

This chapter traces the history, past and present, of Romeo and Juliet in Sweden, by looking at a few memorable productions, translations and adaptations. In addition, it seeks to give some tentative answers to the questions why, after a first period of popularity, the play was comparatively rarely performed for over a hundred years, and why it then subsequently recovered its popularity on Swedish stages.

01 01 JB code sec.1.10cin 06 10.1075/sec.1.10cin 177 196 20 Chapter 11 01 04 Chapter 9. Romeo and Juliet - The East Side Story Chapter 9. Romeo and Juliet – The East Side Story 01 04 A note on Romania A note on Romania 1 A01 01 JB code 205313739 Nicoleta Cinpoeş Cinpoeş, Nicoleta Nicoleta Cinpoeş University of Worcester 07 https://benjamins.com/catalog/persons/205313739 03 00

Borrowing from two iconic stories, Romeo and Juliet and West Side Story, this chapter acknowledges that adaptation lies at the centre of the play today as much as it did in the mid-1590s. It argues that stage productions approach it in a manner similar to Shakespeare’s, who took a story familiar to his contemporaries and “repeat[ed] it but without replication” (Hutcheon and O’Flynn 2013, 173). Making the case for a broader study on the region, my chapter begins with a flashback to the story’s arrival in the eastern part of Europe and fast-forwards to its current state of affairs, offering a “note” on Romania. In doing so, it argues that the popularity of Romeo and Juliet in the West has been matched by that in the rest of Europe, where it has proliferated in a plurality of, often, co-existing forms.

01 01 JB code sec.1.11ban 06 10.1075/sec.1.11ban 197 226 30 Chapter 12 01 04 Chapter 10. xUnveilingx Romeo and Juliet in Spain Chapter 10. “Unveiling” Romeo and Juliet in Spain 01 04 Translation, performance and censorship Translation, performance and censorship 1 A01 01 JB code 510313740 Elena Bandín Fuertes Bandín Fuertes, Elena Elena Bandín Fuertes University of León 07 https://benjamins.com/catalog/persons/510313740 03 00

This paper surveys the reception of Romeo and Juliet in Franco’s Spain by showing the evolution of the tragedy on the Spanish stages. Thanks to the censorship material kept at the Archivo General de la Administración, I have carried out an analysis of different productions that reveals that Shakespeare’s Romeo and Juliet is not a stable entity but a web of translations, adaptations and appropriations reflecting the political, social and cultural forces at work at the time. Besides, this work brings to light how the performance of the play evolved from a poetic and chaste love story during the first years of the dictatorship to a more sexual and tasteless comedy framed in the context of the destape (unveiling) period, thus entering the realm of lowbrow culture and becoming a Shakespop product.

01 01 JB code sec.1.12fis 06 10.1075/sec.1.12fis 227 246 20 Chapter 13 01 04 Chapter 11. Romeo and Juliet in British culture Chapter 11. Romeo and Juliet in British culture 01 04 In fresh performance by The Royal Shakespeare Company In fresh performance by The Royal Shakespeare Company 1 A01 01 JB code 750313741 Susan L. Fischer Fischer, Susan L. Susan L. Fischer Bucknell University 07 https://benjamins.com/catalog/persons/750313741 03 00

Between 1947 and 2000, the Royal Shakespeare Company alone staged fifteen productions of Romeo and Juliet. To date (2015), three more mises en scène at the RSC can be counted: Nancy Meckler’s (2006), Neil Bartlett’s (2008), Rupert Goold’s (2010). Goold’s staging was touted by Michael Billington “as exciting a revival since Zeffirelli stunned us with his verismo in 1960.” Russell Jackson, in examining aspects of Romeo and Juliet across a half-century of RSC productions, organises his commentary into the following sections: “Fair Verona,” “Two Households,” “Ghostly Sire, Gallant Spirit,” “Star-Crossed Lovers,” “Towards Catastrophe.” An attempt will be made to (re)read Goold’s production in parallel fashion, highlighting points of contact mostly with other RSC stagings of the play.

01 01 JB code sec.1.13gue 06 10.1075/sec.1.13gue 247 262 16 Chapter 14 01 04 Chapter 12. A festival blockbuster Chapter 12. A festival blockbuster 01 04 Romeo and Juliet at the Edinburgh Fringe and the Avignon Off Romeo and Juliet at the Edinburgh Fringe and the Avignon Off 1 A01 01 JB code 675313742 Isabel Guerrero Guerrero, Isabel Isabel Guerrero University of Murcia 07 https://benjamins.com/catalog/persons/675313742 03 00

The Avignon Off and the Edinburgh Fringe Festival have a favourite Shakespearean play: Romeo and Juliet. Between 2011 and 2014, the play was staged fourteen times at the Edinburgh Fringe and thirteen times at the Avignon Off. This success can be attributed to its status as a well-known love story, its popularity and its emblematic scenes. Across the abundance of productions, two opposed trends can be identified: whereas many of the productions at the Edinburgh Fringe are staged by amateur groups, at the Avignon Off it is professional companies who tend to re-write the play or use it as a point of departure. This chapter seeks to address how Romeo and Juliet allows for different approaches at these two alternative festivals and, at the same time, it looks for reasons that explain the popularity of the play in twenty-first-century popular culture.

01 01 JB code sec.1.14fue 06 10.1075/sec.1.14fue 263 282 20 Chapter 15 01 04 Chapter 13. What's in a stamp? Chapter 13. What’s in a stamp? 01 04 Romeo and Juliet in the postal system of the twentieth and twenty-first centuries Romeo and Juliet in the postal system of the twentieth and twenty-first centuries 1 A01 01 JB code 164313743 Francisco Fuentes Fuentes, Francisco Francisco Fuentes University of Murcia 07 https://benjamins.com/catalog/persons/164313743 03 00

Since 1948, over 20 different postage stamps inspired by Shakespeare’s Romeo and Juliet have been issued all over the world. The issue of these stamps contributes to “officially” making Shakespeare a part of the issuing countries. The philatelic commemoration of Shakespeare’s play through the issue of postage stamps devoted to it is thus a culturally significant act. The aim of this chapter is to examine how postage stamps, with all the political, cultural and economic implications these documents entail, portray Romeo and Juliet and to what extent the reading of the play that these stamps convey is consistent with Shakespeare’s text.

01 01 JB code sec.1.15one 06 10.1075/sec.1.15one 283 300 18 Chapter 16 01 04 Chapter 14. xIn fair [Europe], where we lay our scenex Chapter 14. “In fair [Europe], where we lay our scene” 01 04 Romeo and Juliet, Europe and digital cultures Romeo and Juliet, Europe and digital cultures 1 A01 01 JB code 962313744 Stephen O’Neill O’Neill, Stephen Stephen O’Neill Maynooth University 07 https://benjamins.com/catalog/persons/962313744 03 00

This chapter explores several iterations of Romeo and Juliet in (European) digital cultures. Europe is placed in brackets here to capture how, in a digital context, boundaries may and may not apply, but also to complicate critical debate surrounding European Shakespeares. To what extent might we encounter a distinctly European Romeo and Juliet in digital cultures? Our field must think critically about the kind of European narratives, mythographies and values that are mobilised through Shakespeares in Europe. Travel and surfing are deployed as metaphors in order to track Europe’s Romeo and Juliets, with the resulting findings in the digital Wunderkabinett regarded as a function of both human selection and algorithmically determined search. While the focus is primarily on YouTube, what emerges is a deep sense of Romeo and Juliet’s convergence with popular culture, news stories and contemporary discourse about integration within Europe. In digital cultures, the chapter suggests, Romeo and Juliet is a metalanguage for conflict, boundaries and difference.

01 01 JB code sec.1.16rui 06 10.1075/sec.1.16rui 301 320 20 Chapter 17 01 04 Chapter 15. A selective timeline of Romeo and Juliet in European culture Chapter 15. A selective timeline of Romeo and Juliet in European culture 1 A01 01 JB code 975313745 Jennifer de la Salud Ruiz Morgan Ruiz Morgan, Jennifer de la Salud Jennifer de la Salud Ruiz Morgan University of Murcia 07 https://benjamins.com/catalog/persons/975313745 01 01 JB code sec.1.index 06 10.1075/sec.1.index 321 332 12 Miscellaneous 18 01 04 Index Index
01 JB code JBENJAMINS John Benjamins Publishing Company 01 01 JB code JB John Benjamins Publishing Company 01 https://benjamins.com 02 https://benjamins.com/catalog/sec.1 Amsterdam NL 00 John Benjamins Publishing Company Marketing Department / Karin Plijnaar, Pieter Lamers onix@benjamins.nl 04 01 00 20171214 C 2017 John Benjamins D 2017 John Benjamins 02 WORLD 13 15 9789027209122 WORLD 09 01 JB 3 John Benjamins e-Platform 03 https://jbe-platform.com 29 https://jbe-platform.com/content/books/9789027264787 21 01 00 Unqualified price 02 95.00 EUR 01 00 Unqualified price 02 80.00 GBP GB 01 00 Unqualified price 02 143.00 USD
832016640 03 01 01 JB code JB John Benjamins Publishing Company 01 JB code SEC 1 Hb 15 9789027209122 06 10.1075/sec.1 13 2017041496 00 BB 08 760 gr 10 01 JB code SEC 02 2452-1930 02 1.00 01 02 Shakespeare in European Culture Shakespeare in European Culture 01 01 Romeo and Juliet in European Culture Romeo and Juliet in European Culture 1 B01 01 JB code 997246393 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 07 https://benjamins.com/catalog/persons/997246393 2 B01 01 JB code 84246394 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 07 https://benjamins.com/catalog/persons/84246394 3 B01 01 JB code 182246395 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/182246395 01 eng 11 343 03 03 xi 03 00 331 03 01 23 822.3/3 03 2017 PR2831 10 LIT013000 12 DSGS 24 JB code LIT.ENGL English literature & literary studies 24 JB code LIT.THEOR Theoretical literature & literary studies 01 06 02 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense. 03 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense by considering not only critical-scholarly responses but also translations, adaptations, performances and various material and digital interventions which have, from the standpoint of their specific local contexts, contributed significantly to the consolidation of Romeo and Juliet as an integral part of Europe’s cultural heritage. Moving freely across Europe’s geography and history, and reflecting an awareness of political and cultural backgrounds, the volume suggests that Shakespeare’s tragedy of youthful love has never ceased to impose itself on us as a way of articulating connections between the local and the European and the global in cases where love and hatred get in each other’s way. The book is concluded by a selective timeline of the play’s different materialisations. 01 00 03 01 01 D503 https://benjamins.com/covers/475/sec.1.png 01 01 D502 https://benjamins.com/covers/475_jpg/9789027209122.jpg 01 01 D504 https://benjamins.com/covers/475_tif/9789027209122.tif 01 01 D503 https://benjamins.com/covers/1200_front/sec.1.hb.png 01 01 D503 https://benjamins.com/covers/125/sec.1.png 02 00 03 01 01 D503 https://benjamins.com/covers/1200_back/sec.1.hb.png 03 00 03 01 01 D503 https://benjamins.com/covers/3d_web/sec.1.hb.png 01 01 JB code sec.1.loc 06 10.1075/sec.1.loc vii xii 6 Miscellaneous 1 01 04 List of contributors List of contributors 01 01 JB code sec.1.01cer 06 10.1075/sec.1.01cer 1 24 24 Chapter 2 01 04 Introduction Introduction 01 04 European households, alike in dignity? European households, alike in dignity? 1 A01 01 JB code 123313727 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 07 https://benjamins.com/catalog/persons/123313727 2 A01 01 JB code 765313728 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 07 https://benjamins.com/catalog/persons/765313728 3 A01 01 JB code 16313729 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/16313729 01 01 JB code sec.1.02eng 06 10.1075/sec.1.02eng 25 36 12 Chapter 3 01 04 Chapter 1. Heavenly eloquence Chapter 1. Heavenly eloquence 01 04 Romeo and Juliet and linguistic conflict Romeo and Juliet and linguistic conflict 1 A01 01 JB code 341313730 Balz Engler Engler, Balz Balz Engler University of Basel 07 https://benjamins.com/catalog/persons/341313730 03 00

There have been several multilingual productions of Romeo and Juliet since the late 1980s, with the Capulets and the Montagues speaking two different languages, the Prince possibly a third. In this paper such productions in Belgium, Finland, Germany, Russia, Switzerland and Ukraine (and one in Canada for comparison) are discussed in view of the problems and opportunities multilingualism can create. Conflicts tend to be better motivated and harder to resolve, the philosophy of the productions tends to vary between political commitment and theatrical experiment, and language as the basis of theatrical communication is devalued.

01 01 JB code sec.1.03pfi 06 10.1075/sec.1.03pfi 37 60 24 Chapter 4 01 04 Chapter 2. Juliet's balcony Chapter 2. Juliet’s balcony 01 04 The balcony scenes from Shakespeare's Romeo and Juliet across cultures and media The balcony scenes from Shakespeare’s Romeo and Juliet across cultures and media 1 A01 01 JB code 272313731 Manfred Pfister Pfister, Manfred Manfred Pfister Berlin 07 https://benjamins.com/catalog/persons/272313731 03 00

This chapter traces the history of Juliet’s balcony from its beginnings in Shakespeare’s text to the present times across European and non-European cultures and follows its transformations across the media of print, theatre, visual arts, tourism, cinema, advertising, music and ballet. The story that emerges is one of a rise and fall: the balcony, not even mentioned in Shakespeare’s text, within the next to two centuries becomes the centre of the play in theatrical performances and the central icon of Romeo’s and Juliet’s romantic love. Paradoxically, it will continue to function as such worldwide even when, in the late nineteenth century, artists begin to turn against the conventional symbolic equation and to defamiliarise, erase or dismantle the balcony.

01 01 JB code sec.1.04wil 06 10.1075/sec.1.04wil 61 76 16 Chapter 5 01 04 Chapter 3. Romeo and Juliet in Germany Chapter 3. Romeo and Juliet in Germany 01 04 From the English actors to Goethe From the English actors to Goethe 1 A01 01 JB code 557313732 Simon Williams Williams, Simon Simon Williams University of California, Santa Barbara 07 https://benjamins.com/catalog/persons/557313732 03 00

Although Romeo and Juliet was one of the first of Shakespeare’s plays to find its way onto the German stage, it was invariably in versions that were far from Shakespeare’s original. Published translations aspired to reflect the original more completely but Shakespeare’s supposed lapses in taste, his constant breach of neoclassical form, and his mixing of tragedy and comedy, along with German translators’ failure to understand the basic principles of Shakespeare’s dramaturgy, often led to misunderstandings and misapprehensions. Critics and theorists of the Sturm und Drang developed a comprehensive view of Shakespeare as a heroic genius, but it would take well over a century before their vision could be represented on the German stage.

01 01 JB code sec.1.05sch 06 10.1075/sec.1.05sch 77 100 24 Chapter 6 01 04 Chapter 4. Romeo and Juliet on the French stage Chapter 4. Romeo and Juliet on the French stage 01 04 From the early versions to the English production at the Odeon Theatre in 1827 From the early versions to the English production at the Odéon Theatre in 1827 1 A01 01 JB code 840313733 Isabelle Schwartz-Gastine Schwartz-Gastine, Isabelle Isabelle Schwartz-Gastine Université de Caen 07 https://benjamins.com/catalog/persons/840313733 03 00

Eighteenth-century France did not get to see Shakespeare’s Romeo and Juliet. However, the basic plot was familiar through two contradictory influences: Boccaccio’s happy-ending Filocolo (cf. the lost play of Chevalier de Chastellux, successfully performed at Château de la Chevrette for an elite society in 1770, and Comte de Ségur’s opera in 1793), and Bandello’s tragic novella after Dante’s Purgatory (cf. a drama by d’Ozicourt, obviously a nom-de-plume, published in 1771). In 1772 Jean-François Ducis presented his version of Romeo and Juliet, the first to be indebted to Shakespeare, albeit through Pierre-Antoine de La Place’s patchy summary. It had a long run at the Comédie-Française, but saw few performances until 1827, the year Harriet Smithson successfully took the part of Juliet at the Odéon to Charles Kemble’s Roméo, announcing Romanticism on stage.

01 01 JB code sec.1.06puj 06 10.1075/sec.1.06puj 101 118 18 Chapter 7 01 04 Chapter 5. Romeo and Juliet in Spain Chapter 5. Romeo and Juliet in Spain 01 04 The neoclassical versions The neoclassical versions 1 A01 01 JB code 807313734 Ángel-Luis Pujante Pujante, Ángel-Luis Ángel-Luis Pujante University of Murcia 07 https://benjamins.com/catalog/persons/807313734 2 A01 01 JB code 200313735 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 07 https://benjamins.com/catalog/persons/200313735 03 00

Though the Italian sources of Romeo and Juliet had already been adapted by Golden Age dramatists in the seventeenth century, it wasn’t until the nineteenth century that Shakespeare’s version of the story began to appear on the Spanish stage. These plays, which drew heavily on the neoclassical reappraisal of Shakespeare in France and other non-Anglophone countries, have been neglected and underrated, as well as being subject to various kinds of error and confusion. Focusing on Dionisio Solís’s Julia y Romeo (1803), Manuel García Suelto’s Romeo y Julieta (1817) and the libretto for an undated operatic version, this chapter studies their relation to their most immediate sources – German in the first case, French in the second and third –, as well as the adaptations and rewritings effected to bring them into line with contemporary Spanish tastes and expectations. Rather than dismiss them as inferior or unrecognisable versions of Shakespeare, the chapter acknowledges their status as the only form of “Shakespeare” performable at the time, together with their contribution, both direct and indirect, to making Shakespeare known and to the reception and dissemination of Romeo and Juliet as one of the most widely translated plays in Spain.

01 01 JB code sec.1.07kah 06 10.1075/sec.1.07kah 119 138 20 Chapter 8 01 04 Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet 1 A01 01 JB code 303313736 Lily Kahn Kahn, Lily Lily Kahn University College London 07 https://benjamins.com/catalog/persons/303313736 03 00

Ram and Jael (Salkinson 1878), the earliest Hebrew version of Romeo and Juliet, is a highly domesticating translation containing numerous Jewish cultural elements. This is attributable to the fact that the translation formed part of an ideologically loaded Jewish Enlightenment initiative to establish a European-style literary canon in Hebrew and reflecting Jewish values at a time when the language was still almost solely a written medium prior to its late nineteenth-century re-vernacularisation in Palestine. This chapter discusses the unusual sociolinguistic background to Ram and Jael and analyses its main Judaising features, which include the treatment of non-Jewish names; holidays and rituals; establishments; oaths and expressions; mythological figures; and foreign languages, as well as the insertion of biblical verses.

01 01 JB code sec.1.08cal 06 10.1075/sec.1.08cal 139 158 20 Chapter 9 01 04 Chapter 7. Giulietta e Romeo Chapter 7. Giulietta e Romeo 01 04 From early nineteenth-century Italian adaptations to Ernesto Rossi's Shakespearean debut (1869) From early nineteenth-century Italian adaptations to Ernesto Rossi’s Shakespearean debut (1869) 1 A01 01 JB code 542313737 Lisanna Calvi Calvi, Lisanna Lisanna Calvi University of Verona 07 https://benjamins.com/catalog/persons/542313737 03 00

Shakespeare’s Romeo and Juliet was first performed on the Italian stage in the late 1860s when actor Ernesto Rossi successfully adapted the play and debuted as Romeo at the Teatro Re in Milan in 1869. Despite its belated appearance, this drama may be taken as a fit example of the growing interest in the Bard’s works which, since the beginning of the nineteenth century, animated the Italian national cultural panorama. Indeed, starting from 1818, many playwrights, among whom Luigi Scevola, Giuseppe Morosini, Angelica Palli, and especially Cesare Della Valle, whose Giulietta e Romeo (1826) held the stage for several decades and was “ousted” only by Rossi’s Shakespeare, produced original plays centred on the Veronese subject. These dramatic renderings were often related or compared to the Shakespearean tragedy by contemporary critics. They, however, they introduced a different conceptualization of the Veronese plot that would also influence Ernesto Rossi’s later Shakespearean staging. In fact, these early nineteenth-century lovers offer no problematic meditation on the nature of their individuality, nor do they fight for the assertion of their own choices in front of adverse fate and families. They are transported into a whirl of sudden passion and precipitous events which they accept and to which they passively succumb. This raises interesting questions on the theatrical and cultural reception of Shakespeare’s Romeo and Juliet in nineteenth-century Italy.

01 01 JB code sec.1.09lin 06 10.1075/sec.1.09lin 159 176 18 Chapter 10 01 04 Chapter 8. Star-crossed lovers in Sweden Chapter 8. Star-crossed lovers in Sweden 1 A01 01 JB code 67313738 Kiki Lindell Lindell, Kiki Kiki Lindell Lund University 07 https://benjamins.com/catalog/persons/67313738 03 00

This chapter traces the history, past and present, of Romeo and Juliet in Sweden, by looking at a few memorable productions, translations and adaptations. In addition, it seeks to give some tentative answers to the questions why, after a first period of popularity, the play was comparatively rarely performed for over a hundred years, and why it then subsequently recovered its popularity on Swedish stages.

01 01 JB code sec.1.10cin 06 10.1075/sec.1.10cin 177 196 20 Chapter 11 01 04 Chapter 9. Romeo and Juliet - The East Side Story Chapter 9. Romeo and Juliet – The East Side Story 01 04 A note on Romania A note on Romania 1 A01 01 JB code 205313739 Nicoleta Cinpoeş Cinpoeş, Nicoleta Nicoleta Cinpoeş University of Worcester 07 https://benjamins.com/catalog/persons/205313739 03 00

Borrowing from two iconic stories, Romeo and Juliet and West Side Story, this chapter acknowledges that adaptation lies at the centre of the play today as much as it did in the mid-1590s. It argues that stage productions approach it in a manner similar to Shakespeare’s, who took a story familiar to his contemporaries and “repeat[ed] it but without replication” (Hutcheon and O’Flynn 2013, 173). Making the case for a broader study on the region, my chapter begins with a flashback to the story’s arrival in the eastern part of Europe and fast-forwards to its current state of affairs, offering a “note” on Romania. In doing so, it argues that the popularity of Romeo and Juliet in the West has been matched by that in the rest of Europe, where it has proliferated in a plurality of, often, co-existing forms.

01 01 JB code sec.1.11ban 06 10.1075/sec.1.11ban 197 226 30 Chapter 12 01 04 Chapter 10. xUnveilingx Romeo and Juliet in Spain Chapter 10. “Unveiling” Romeo and Juliet in Spain 01 04 Translation, performance and censorship Translation, performance and censorship 1 A01 01 JB code 510313740 Elena Bandín Fuertes Bandín Fuertes, Elena Elena Bandín Fuertes University of León 07 https://benjamins.com/catalog/persons/510313740 03 00

This paper surveys the reception of Romeo and Juliet in Franco’s Spain by showing the evolution of the tragedy on the Spanish stages. Thanks to the censorship material kept at the Archivo General de la Administración, I have carried out an analysis of different productions that reveals that Shakespeare’s Romeo and Juliet is not a stable entity but a web of translations, adaptations and appropriations reflecting the political, social and cultural forces at work at the time. Besides, this work brings to light how the performance of the play evolved from a poetic and chaste love story during the first years of the dictatorship to a more sexual and tasteless comedy framed in the context of the destape (unveiling) period, thus entering the realm of lowbrow culture and becoming a Shakespop product.

01 01 JB code sec.1.12fis 06 10.1075/sec.1.12fis 227 246 20 Chapter 13 01 04 Chapter 11. Romeo and Juliet in British culture Chapter 11. Romeo and Juliet in British culture 01 04 In fresh performance by The Royal Shakespeare Company In fresh performance by The Royal Shakespeare Company 1 A01 01 JB code 750313741 Susan L. Fischer Fischer, Susan L. Susan L. Fischer Bucknell University 07 https://benjamins.com/catalog/persons/750313741 03 00

Between 1947 and 2000, the Royal Shakespeare Company alone staged fifteen productions of Romeo and Juliet. To date (2015), three more mises en scène at the RSC can be counted: Nancy Meckler’s (2006), Neil Bartlett’s (2008), Rupert Goold’s (2010). Goold’s staging was touted by Michael Billington “as exciting a revival since Zeffirelli stunned us with his verismo in 1960.” Russell Jackson, in examining aspects of Romeo and Juliet across a half-century of RSC productions, organises his commentary into the following sections: “Fair Verona,” “Two Households,” “Ghostly Sire, Gallant Spirit,” “Star-Crossed Lovers,” “Towards Catastrophe.” An attempt will be made to (re)read Goold’s production in parallel fashion, highlighting points of contact mostly with other RSC stagings of the play.

01 01 JB code sec.1.13gue 06 10.1075/sec.1.13gue 247 262 16 Chapter 14 01 04 Chapter 12. A festival blockbuster Chapter 12. A festival blockbuster 01 04 Romeo and Juliet at the Edinburgh Fringe and the Avignon Off Romeo and Juliet at the Edinburgh Fringe and the Avignon Off 1 A01 01 JB code 675313742 Isabel Guerrero Guerrero, Isabel Isabel Guerrero University of Murcia 07 https://benjamins.com/catalog/persons/675313742 03 00

The Avignon Off and the Edinburgh Fringe Festival have a favourite Shakespearean play: Romeo and Juliet. Between 2011 and 2014, the play was staged fourteen times at the Edinburgh Fringe and thirteen times at the Avignon Off. This success can be attributed to its status as a well-known love story, its popularity and its emblematic scenes. Across the abundance of productions, two opposed trends can be identified: whereas many of the productions at the Edinburgh Fringe are staged by amateur groups, at the Avignon Off it is professional companies who tend to re-write the play or use it as a point of departure. This chapter seeks to address how Romeo and Juliet allows for different approaches at these two alternative festivals and, at the same time, it looks for reasons that explain the popularity of the play in twenty-first-century popular culture.

01 01 JB code sec.1.14fue 06 10.1075/sec.1.14fue 263 282 20 Chapter 15 01 04 Chapter 13. What's in a stamp? Chapter 13. What’s in a stamp? 01 04 Romeo and Juliet in the postal system of the twentieth and twenty-first centuries Romeo and Juliet in the postal system of the twentieth and twenty-first centuries 1 A01 01 JB code 164313743 Francisco Fuentes Fuentes, Francisco Francisco Fuentes University of Murcia 07 https://benjamins.com/catalog/persons/164313743 03 00

Since 1948, over 20 different postage stamps inspired by Shakespeare’s Romeo and Juliet have been issued all over the world. The issue of these stamps contributes to “officially” making Shakespeare a part of the issuing countries. The philatelic commemoration of Shakespeare’s play through the issue of postage stamps devoted to it is thus a culturally significant act. The aim of this chapter is to examine how postage stamps, with all the political, cultural and economic implications these documents entail, portray Romeo and Juliet and to what extent the reading of the play that these stamps convey is consistent with Shakespeare’s text.

01 01 JB code sec.1.15one 06 10.1075/sec.1.15one 283 300 18 Chapter 16 01 04 Chapter 14. xIn fair [Europe], where we lay our scenex Chapter 14. “In fair [Europe], where we lay our scene” 01 04 Romeo and Juliet, Europe and digital cultures Romeo and Juliet, Europe and digital cultures 1 A01 01 JB code 962313744 Stephen O’Neill O’Neill, Stephen Stephen O’Neill Maynooth University 07 https://benjamins.com/catalog/persons/962313744 03 00

This chapter explores several iterations of Romeo and Juliet in (European) digital cultures. Europe is placed in brackets here to capture how, in a digital context, boundaries may and may not apply, but also to complicate critical debate surrounding European Shakespeares. To what extent might we encounter a distinctly European Romeo and Juliet in digital cultures? Our field must think critically about the kind of European narratives, mythographies and values that are mobilised through Shakespeares in Europe. Travel and surfing are deployed as metaphors in order to track Europe’s Romeo and Juliets, with the resulting findings in the digital Wunderkabinett regarded as a function of both human selection and algorithmically determined search. While the focus is primarily on YouTube, what emerges is a deep sense of Romeo and Juliet’s convergence with popular culture, news stories and contemporary discourse about integration within Europe. In digital cultures, the chapter suggests, Romeo and Juliet is a metalanguage for conflict, boundaries and difference.

01 01 JB code sec.1.16rui 06 10.1075/sec.1.16rui 301 320 20 Chapter 17 01 04 Chapter 15. A selective timeline of Romeo and Juliet in European culture Chapter 15. A selective timeline of Romeo and Juliet in European culture 1 A01 01 JB code 975313745 Jennifer de la Salud Ruiz Morgan Ruiz Morgan, Jennifer de la Salud Jennifer de la Salud Ruiz Morgan University of Murcia 07 https://benjamins.com/catalog/persons/975313745 01 01 JB code sec.1.index 06 10.1075/sec.1.index 321 332 12 Miscellaneous 18 01 04 Index Index
01 JB code JBENJAMINS John Benjamins Publishing Company 01 01 JB code JB John Benjamins Publishing Company 01 https://benjamins.com 02 https://benjamins.com/catalog/sec.1 Amsterdam NL 00 John Benjamins Publishing Company Marketing Department / Karin Plijnaar, Pieter Lamers onix@benjamins.nl 04 01 00 20171214 C 2017 John Benjamins D 2017 John Benjamins 02 WORLD WORLD US CA MX 09 01 JB 1 John Benjamins Publishing Company +31 20 6304747 +31 20 6739773 bookorder@benjamins.nl 01 https://benjamins.com 21 103 20 01 00 Unqualified price 02 JB 1 02 95.00 EUR 02 00 Unqualified price 02 80.00 01 Z 0 GBP GB US CA MX 01 01 JB 2 John Benjamins Publishing Company +1 800 562-5666 +1 703 661-1501 benjamins@presswarehouse.com 01 https://benjamins.com 21 103 20 01 00 Unqualified price 02 JB 1 02 143.00 USD
991018363 03 01 01 JB code JB John Benjamins Publishing Company 01 JB code SEC 1 GE 15 9789027264787 06 10.1075/sec.1 13 2017049809 00 EA E133 10 01 JB code SEC 02 JB code 2452-1930 02 1.00 01 02 Shakespeare in European Culture Shakespeare in European Culture 01 01 Romeo and Juliet in European Culture Romeo and Juliet in European Culture 1 B01 01 JB code 997246393 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 2 B01 01 JB code 84246394 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 3 B01 01 JB code 182246395 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 01 eng 11 343 03 03 xi 03 00 331 03 24 JB code LIT.ENGL English literature & literary studies 24 JB code LIT.THEOR Theoretical literature & literary studies 10 LIT013000 12 DSGS 01 06 02 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense. 03 00 With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense by considering not only critical-scholarly responses but also translations, adaptations, performances and various material and digital interventions which have, from the standpoint of their specific local contexts, contributed significantly to the consolidation of Romeo and Juliet as an integral part of Europe’s cultural heritage. Moving freely across Europe’s geography and history, and reflecting an awareness of political and cultural backgrounds, the volume suggests that Shakespeare’s tragedy of youthful love has never ceased to impose itself on us as a way of articulating connections between the local and the European and the global in cases where love and hatred get in each other’s way. The book is concluded by a selective timeline of the play’s different materialisations. 01 00 03 01 01 D503 https://benjamins.com/covers/475/sec.1.png 01 01 D502 https://benjamins.com/covers/475_jpg/9789027209122.jpg 01 01 D504 https://benjamins.com/covers/475_tif/9789027209122.tif 01 01 D503 https://benjamins.com/covers/1200_front/sec.1.hb.png 01 01 D503 https://benjamins.com/covers/125/sec.1.png 02 00 03 01 01 D503 https://benjamins.com/covers/1200_back/sec.1.hb.png 03 00 03 01 01 D503 https://benjamins.com/covers/3d_web/sec.1.hb.png 01 01 JB code sec.1.loc 06 10.1075/sec.1.loc vii xii 6 Miscellaneous 1 01 04 List of contributors List of contributors 01 01 JB code sec.1.01cer 06 10.1075/sec.1.01cer 1 24 24 Chapter 2 01 04 Introduction Introduction 01 04 European households, alike in dignity? European households, alike in dignity? 1 A01 01 JB code 123313727 Juan F. Cerdá Cerdá, Juan F. Juan F. Cerdá University of Murcia 2 A01 01 JB code 765313728 Dirk Delabastita Delabastita, Dirk Dirk Delabastita University of Namur 3 A01 01 JB code 16313729 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 01 01 JB code sec.1.02eng 06 10.1075/sec.1.02eng 25 36 12 Chapter 3 01 04 Chapter 1. Heavenly eloquence Chapter 1. Heavenly eloquence 01 04 Romeo and Juliet and linguistic conflict Romeo and Juliet and linguistic conflict 1 A01 01 JB code 341313730 Balz Engler Engler, Balz Balz Engler University of Basel 01 01 JB code sec.1.03pfi 06 10.1075/sec.1.03pfi 37 60 24 Chapter 4 01 04 Chapter 2. Juliet's balcony Chapter 2. Juliet’s balcony 01 04 The balcony scenes from Shakespeare's Romeo and Juliet across cultures and media The balcony scenes from Shakespeare’s Romeo and Juliet across cultures and media 1 A01 01 JB code 272313731 Manfred Pfister Pfister, Manfred Manfred Pfister Berlin 01 01 JB code sec.1.04wil 06 10.1075/sec.1.04wil 61 76 16 Chapter 5 01 04 Chapter 3. Romeo and Juliet in Germany Chapter 3. Romeo and Juliet in Germany 01 04 From the English actors to Goethe From the English actors to Goethe 1 A01 01 JB code 557313732 Simon Williams Williams, Simon Simon Williams University of California, Santa Barbara 01 01 JB code sec.1.05sch 06 10.1075/sec.1.05sch 77 100 24 Chapter 6 01 04 Chapter 4. Romeo and Juliet on the French stage Chapter 4. Romeo and Juliet on the French stage 01 04 From the early versions to the English production at the Odeon Theatre in 1827 From the early versions to the English production at the Odéon Theatre in 1827 1 A01 01 JB code 840313733 Isabelle Schwartz-Gastine Schwartz-Gastine, Isabelle Isabelle Schwartz-Gastine Université de Caen 01 01 JB code sec.1.06puj 06 10.1075/sec.1.06puj 101 118 18 Chapter 7 01 04 Chapter 5. Romeo and Juliet in Spain Chapter 5. Romeo and Juliet in Spain 01 04 The neoclassical versions The neoclassical versions 1 A01 01 JB code 807313734 Ángel-Luis Pujante Pujante, Ángel-Luis Ángel-Luis Pujante University of Murcia 2 A01 01 JB code 200313735 Keith Gregor Gregor, Keith Keith Gregor University of Murcia 01 01 JB code sec.1.07kah 06 10.1075/sec.1.07kah 119 138 20 Chapter 8 01 04 Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet Chapter 6. Judaisation in the first Hebrew translation of Romeo and Juliet 1 A01 01 JB code 303313736 Lily Kahn Kahn, Lily Lily Kahn University College London 01 01 JB code sec.1.08cal 06 10.1075/sec.1.08cal 139 158 20 Chapter 9 01 04 Chapter 7. Giulietta e Romeo Chapter 7. Giulietta e Romeo 01 04 From early nineteenth-century Italian adaptations to Ernesto Rossi's Shakespearean debut (1869) From early nineteenth-century Italian adaptations to Ernesto Rossi’s Shakespearean debut (1869) 1 A01 01 JB code 542313737 Lisanna Calvi Calvi, Lisanna Lisanna Calvi University of Verona 01 01 JB code sec.1.09lin 06 10.1075/sec.1.09lin 159 176 18 Chapter 10 01 04 Chapter 8. Star-crossed lovers in Sweden Chapter 8. Star-crossed lovers in Sweden 1 A01 01 JB code 67313738 Kiki Lindell Lindell, Kiki Kiki Lindell Lund University 01 01 JB code sec.1.10cin 06 10.1075/sec.1.10cin 177 196 20 Chapter 11 01 04 Chapter 9. Romeo and Juliet - The East Side Story Chapter 9. Romeo and Juliet – The East Side Story 01 04 A note on Romania A note on Romania 1 A01 01 JB code 205313739 Nicoleta Cinpoeş Cinpoeş, Nicoleta Nicoleta Cinpoeş University of Worcester 01 01 JB code sec.1.11ban 06 10.1075/sec.1.11ban 197 226 30 Chapter 12 01 04 Chapter 10. xUnveilingx Romeo and Juliet in Spain Chapter 10. “Unveiling” Romeo and Juliet in Spain 01 04 Translation, performance and censorship Translation, performance and censorship 1 A01 01 JB code 510313740 Elena Bandín Bandín, Elena Elena Bandín University of León 01 01 JB code sec.1.12fis 06 10.1075/sec.1.12fis 227 246 20 Chapter 13 01 04 Chapter 11. Romeo and Juliet in British culture Chapter 11. Romeo and Juliet in British culture 01 04 In fresh performance by The Royal Shakespeare Company In fresh performance by The Royal Shakespeare Company 1 A01 01 JB code 750313741 Susan L. Fischer Fischer, Susan L. Susan L. Fischer Bucknell University 01 01 JB code sec.1.13gue 06 10.1075/sec.1.13gue 247 262 16 Chapter 14 01 04 Chapter 12. A festival blockbuster Chapter 12. A festival blockbuster 01 04 Romeo and Juliet at the Edinburgh Fringe and the Avignon Off Romeo and Juliet at the Edinburgh Fringe and the Avignon Off 1 A01 01 JB code 675313742 Isabel Guerrero Guerrero, Isabel Isabel Guerrero University of Murcia 01 01 JB code sec.1.14fue 06 10.1075/sec.1.14fue 263 282 20 Chapter 15 01 04 Chapter 13. What's in a stamp? Chapter 13. What’s in a stamp? 01 04 Romeo and Juliet in the postal system of the twentieth and twenty-first centuries Romeo and Juliet in the postal system of the twentieth and twenty-first centuries 1 A01 01 JB code 164313743 Francisco Fuentes Fuentes, Francisco Francisco Fuentes University of Murcia 01 01 JB code sec.1.15one 06 10.1075/sec.1.15one 283 300 18 Chapter 16 01 04 Chapter 14. xIn fair [Europe], where we lay our scenex Chapter 14. “In fair [Europe], where we lay our scene” 01 04 Romeo and Juliet, Europe and digital cultures Romeo and Juliet, Europe and digital cultures 1 A01 01 JB code 962313744 Stephen O’Neill O’Neill, Stephen Stephen O’Neill Maynooth University 01 01 JB code sec.1.16rui 06 10.1075/sec.1.16rui 301 320 20 Chapter 17 01 04 Chapter 15. A selective timeline of Romeo and Juliet in European culture Chapter 15. A selective timeline of Romeo and Juliet in European culture 1 A01 01 JB code 975313745 Jennifer Ruiz-Morgan Ruiz-Morgan, Jennifer Jennifer Ruiz-Morgan University of Murcia 01 01 JB code sec.1.index 06 10.1075/sec.1.index 321 332 12 Miscellaneous 18 01 04 Index Index 01 JB code JBENJAMINS John Benjamins Publishing Company 01 01 JB code JB John Benjamins Publishing Company 01 https://benjamins.com Amsterdam NL 00 John Benjamins Publishing Company Marketing Department / Karin Plijnaar, Pieter Lamers onix@benjamins.nl 04 01 00 20171214 C 2017 John Benjamins D 2017 John Benjamins 02 WORLD 13 15 9789027209122 WORLD 03 01 JB 17 Google 03 https://play.google.com/store/books 21 01 00 Unqualified price 00 95.00 EUR 01 00 Unqualified price 00 80.00 GBP 01 00 Unqualified price 00 143.00 USD