摘要：It has become de rigueur in scholarly inquiries to reconceptualize critical terms and to question commonplace ideas. However, the locality of performative translations of Shakespeare is a logical extension of the worn and hard-pressed question about the nature of Shakespeare’s text and its afterlife. There is indeed only one Mona Lisa, and its location can be precisely pin-pointed. The existence of canonical drama with an infinite range of (performative) signification is a different story.
