Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Introduction
- 138 Translation, Adaptation, and “Tradaptation”
- 139 Translation: The European Fortunes of Sonnet 66
- 140 French Romanticism: Hamlet at the Théâtre de l’Odéon, Paris, in 1827
- 141 Shakespeare and National Literatures
- 142 Local, Global, and “Glocal”
- 143 Shakespeare Societies
- 144 Globe Theater Replicas
- 145 Boomerang Shakespeare: Foreign Shakespeare in Britain
- 146 Shakespeare in Iberian and Latin American Spanishes
- 147 Tercentenary Shakespeare: Britain and the United States, 1916
- 148 Shakespeare in Eastern Europe
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
140 - French Romanticism: Hamlet at the Théâtre de l’Odéon, Paris, in 1827
from Part XV - International Encounters
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Introduction
- 138 Translation, Adaptation, and “Tradaptation”
- 139 Translation: The European Fortunes of Sonnet 66
- 140 French Romanticism: Hamlet at the Théâtre de l’Odéon, Paris, in 1827
- 141 Shakespeare and National Literatures
- 142 Local, Global, and “Glocal”
- 143 Shakespeare Societies
- 144 Globe Theater Replicas
- 145 Boomerang Shakespeare: Foreign Shakespeare in Britain
- 146 Shakespeare in Iberian and Latin American Spanishes
- 147 Tercentenary Shakespeare: Britain and the United States, 1916
- 148 Shakespeare in Eastern Europe
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 1058 - 1064Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Chaulin, N. P. Biographie dramatique des principaux artistes anglais venus à Paris précédée de Souvenirs historiques du théâtre anglais à Paris, en 1827 et 1828. Paris: chez tous les Marchands de Nouveautés, 1828.Google Scholar
Delacroix, Eugène. Correspondance générale d’Eugène Delacroix, 1804–1837. Vol. 1. Ed. Joubin, André. Paris: Plon, 1936.Google Scholar
Delécluze, Etienne-Jean. Journal, 1824–1828. Ed. Baschet, Robert. Paris: Bernard Grasset, 1948.Google Scholar
Further reading
Berlioz, Hector. The Memoirs of Hector Berlioz, Member of the French Institute, Including His Travels in Italy, Germany, Russia and England, 1803–1865. Trans. and ed. Cairns, David. London: Victor Gollancz, 1969.Google Scholar
Borgerhoff, Joseph Leopold. Le Théâtre anglais à Paris sous la Restauration. Paris: Hachette, 1912.Google Scholar
Cairns, David. Berlioz. Vol. 1: The Making of an Artist, 1803–1832. 1989. Rpt. London: Allan Lane/Penguin, 1999.Google Scholar
Cairns, David. Berlioz. Vol. 2: Servitude and Greatness, 1832–1869. London: Allan Lane/Penguin, 1999.Google Scholar
Descotes, Maurice. Le Drame Romantique et ses Grands Créateurs, 1827–1839. Paris: Presses Universitaires de France, 1955.Google Scholar
Holland, Peter. “Touring Shakespeare.” The Cambridge Companion to Shakespeare on Stage. Ed. Wells, Stanley and Stanton, Sarah. Cambridge: Cambridge University Press, 2002. 194–211.Google Scholar
Porel(Parfouru), Paul, and Monval, Georges. L’Odéon, Histoire administrative, anecdotique et littéraire du Second Théâtre Français (1818–1859). Paris: Alphonse Lemerre, 1876.Google Scholar
Raby, Peter. Fair Ophelia: Harriet Smithson Berlioz. Cambridge: Cambridge University Press, 1982.Google Scholar
Royer, Alphonse. Histoire du théâtre contemporain en France et à l’étranger depuis 1800 jusqu’en 1876. Vols. 5–6. Paris: Paul Ollendorff, 1878.Google Scholar