Shakespeare and Young Readers: Encounters Mediated by Tales, Animation and Manhwa
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This paper examines the ways in which the three Shakespeare-inspired mediums of communication for young readers—tales, animation and manhwa—approach the three plays of Shakespeare—The Taming of the Shrew, Romeo and Juliet and Hamlet—with their own methods, assumptions and procedures. It presents as illustrative cases the three medium versions of Shakespeare for the young: Tales from Shakespear (1807), Shakespeare: The Animated Tales (1992 and 1994) and the manhwa Shakespeare series (2003). Each version has a demonstration of that the three plays continue to facilitate a dialogue with different mediums in order to construct a understanding of how young readers see the world around them through their perceptions of Shakespeare. Each medium is set by what the adaptor/artist regards the essence of the play and characterized by the recipient’s sympathetic empathy with the characters. The discussion is designed to show similarities rather than differences amongst the three examples, considering their narrative results and artistic effects: they bring young readers to Shakespeare reinforcing his status as a measure of culture acquisition and intellectual standing; and that they afford the pleasure of enjoying the dramatic power of Shakespeare’s storytelling and becoming emotionally involved in it.
Abstract
This paper examines the ways in which the three Shakespeare-inspired mediums of communication for young readers—tales, animation and manhwa—approach the three plays of Shakespeare—The Taming of the Shrew, Romeo and Juliet and Hamlet—with their own methods, assumptions and procedures. It presents as illustrative cases the three medium versions of Shakespeare for the young: Tales from Shakespear (1807), Shakespeare: The Animated Tales (1992 and 1994) and the manhwa Shakespeare series (2003). Each version has a demonstration of that the three plays continue to facilitate a dialogue with different mediums in order to construct a understanding of how young readers see the world around them through their perceptions of Shakespeare. Each medium is set by what the adaptor/artist regards the essence of the play and characterized by the recipient’s sympathetic empathy with the characters. The discussion is designed to show similarities rather than differences amongst the three examples, considering their narrative results and artistic effects: they bring young readers to Shakespeare reinforcing his status as a measure of culture acquisition and intellectual standing; and that they afford the pleasure of enjoying the dramatic power of Shakespeare’s storytelling and becoming emotionally involved in it.
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