Hamlet on the former list because of its treatment of ‘corruption and justice’, while JuliusCaesar and Coriolanus were on the latter because they allegedly ‘glorified dictatorship’. Thus the play itself becomes an element in the process of surveillance in the specific circumstances of the immediate aftermath of the Second World War. Hawkes then goes into the use of stages and acting within the play, and then weaves in the true-life story of the Jewish actor Mauriz Leon Reiss, who in 1930s Nazi Germany constructed a whole new non-Jewish identity for himself which
these resources in Macbeth to
make his point, his discussion is also notable because it is the one
place that he talks about Shakespeare’s JuliusCaesar .
His focus is specifically the dream of Calpurnia which
‘foretells the death of Caesar: a dream which speaks no less
of the entire power and freedom of the imperator who shakes
the world – in the interpretation of Decius
‘The Platonic differential’ and ‘Zarathustra’s laughter’
repetition, like a parody of JuliusCaesar , beginning (as
already noted) with Plato himself in the attempt to decide between
the mask of Socrates and the Sophist. The cast also includes Duns
Scotus – who appears ‘sporting an impressive moustache
[…] belong[ing] to Nietzsche, disguised as
Klossowski’. 21 Indeed, amongst Foucault’s
philosophical personae, it is this particular
From the Twin Plagues of European Locusts to Africa’s Triple Quest for Emancipation
You are from Africa,
I from these States.
We are brothers – you and I. 128
Tanzania’s philosopher-king, Julius Nyerere, famously translated Shakespeare’s JuliusCaesar into Swahili in 1963 to demonstrate that an African language could carry a classic Western tragedy. The post-independence era also produced six Nobel literature laureates: Nigeria’s Wole Soyinka, Egypt’s Naguib Mahfouz, and South Africa’s Nadine Gordimer and J.M. Coetzee, and
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema. Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.