ABSTRACT Properly analyzing Shakespeare appropriations means asking exactly how international adapters have received their source texts. These complex reception histories matter whether one is analyzing an Arabic adaptation of an English play (mediated through Russian or French) or an English-to-English-through-English adaptation such as Harlem Duet, Black Canadian playwright Djanet Sears's 1997 prequel to Othello. This article uses examples from two periods of the Egyptian Hamlet tradition (the earliest extant Arabic Hamlet, from 1901, and the period of Nasserist and post-Nasser political theatre, 1964–71) to show why artists' global kaleidoscope of sources and models is both so important and so easy to overlook. The case of Harlem Duet demonstrates how this approach, developed in Arabic literary studies, can be fruitful for studying the circulation and transformation of world literary classics even within English-language literature.

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多边接待：阿拉伯哈姆雷特传统的三个教训

摘要 正确分析莎士比亚的挪用意味着确切地询问国际改编者是如何收到他们的源文本的。这些复杂的接收历史很重要，无论是分析英语戏剧的阿拉伯语改编（通过俄语或法语）还是英语到英语到英语的改编，如哈莱姆二重奏，加拿大黑人剧作家贾内特·西尔斯 1997 年的奥赛罗前传。本文使用埃及哈姆雷特传统的两个时期（现存最早的阿拉伯哈姆雷特，1901 年，以及纳赛尔主义和后纳赛尔政治剧场时期，1964-71 年）的例子来说明为什么艺术家的全球资源和模型万花筒既如此重要又如此容易被忽视。哈莱姆二重奏的案例展示了这种方法是如何在阿拉伯文学研究中发展起来的，