Дисертації: "Shakespearean studies"

1

Adey, Helen Louise. "The Shakespearean criticism of Ludwig Tieck : conception and creation." Thesis, University of Cambridge, 1987. https://www.repository.cam.ac.uk/handle/1810/250901.

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Blackwell, Anna. "The contemporary Shakespearean actor as the site of adaptive encounter." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11079.

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This thesis investigates the cultural uses and implied signifying practices of the work of actors who are popularly and frequently described as 'Shakespearean.' Though ubiquitous figures within culture, there is a dearth of criticism which questions what qualities are invoked in the use of the term ‘Shakespearean’ and what implicit judgements of value or taste, class or cultural function are at work in its attribution. Although works such as Carol Chillington Rutter’s Clamorous Voices have analysed the figure of the female Shakespearean, moreover, the male Shakespearean remains largely an unexplored site of meaning and definition. It is this focus on the body of the actor which represents my original contribution to knowledge. Indeed, despite the preponderance of actor-based studies in Film Studies or, indeed, Theatre Studies, Adaptation Studies has been slow to locate the body as an adaptive site; concentrating instead upon themes, authors, the work of directors or, more recently, the influence of production factors. My thesis argues for the Shakespearean actor as a site of adaptation, positing it as a conduit for the transferable commdity value which is ‘Shakespeare’ and thereby considering the differences which may occur in the production of meaning as the Shakespearean actor moves between cultural hierarchies: from ‘high’ to ‘low’, or mainstream culture. An essential part of this thesis and an aspect which further argues for its contribution to this field is, therefore, analysis of popular cultural texts which have largely been ignored by adaptation critics. Although figures such as Richard Burt have recognised the value of popular or counter-cultural texts for an understanding of Shakespeare’s far-reaching and often surprising influence, the more tangential work in the Shakespearean actor’s filmography provide equally valuable ground to mine. An understanding of a Shakespearean actor’s cultural function is thus served by critiquing their mainstream films as well as their more documented Shakespearean oeuvre. By focusing on the implicitly multidirectional possibilities of adaptation as a process, I explore what values the ‘Shakespearean’ holds in contemporary culture and whether these maintain a popular perception of the Shakespearean actor as a representative of conservatism, elitism and ‘high’ culture. Or, whether the Shakespearean actor contains the potential for subverting some of the associations which Shakespeare’s legacy has accrued over time.

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3

Anderson, Amy. "Shakespearean Spin-Offs: Mindless Entertainment or Conversations with Critics." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001965.

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4

Al-Bassam, Sulayman. "Adapting Shakespearean drama for and in the Middle East : process and product." Thesis, University of Hertfordshire, 2018. http://hdl.handle.net/2299/21087.

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This dissertation chronicles the development of a series of plays, collectively referred to as The Arab Shakespeare Trilogy, from the perspective of their playwright Sulayman Al-Bassam. Together, The Al-Hamlet Summit (2002-2005), Richard III, An Arab Tragedy (2007-2009), and The Speaker's Progress (2011-2012) register the eruptive social, political, and cultural contexts of the Arab world during the first decade of the twenty-first century while negotiating the adaptation of Shakespeare's plays to a form thought-provoking and entertaining to audiences both within and outside the Middle East. The document outlines the inception of the project, which includes both personal and historical context, and provides more specific commentary on the production of each play individually. In addition to its focus on the specific impact of 9/11, and its global consequences, on the development of these dramatic works, it attends to topics including the technical and ideological challenges of linguistic and cultural translation, the adaptation of Shakespeare in Arabic theatre, the politics of art and drama in the Arab world, and the involvement of art in the shaping of the ethics of cross-cultural representation. Of particular interest are the linguistic conditions bearing upon the adaptation of English language texts into multi-lingual and cross- cultural works, the effects of the globalisation of politics and media, and the international touring life of the plays between the Arab region and wider world. The play texts of the Trilogy make up the second part of the document. The methodology of this dissertation deploys historical contextualisation, autobiographical memoir, literary analysis and creative improvisation. The play-texts are dramatic adaptations of specific Shakespeare texts to the Arab world.

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Walsh, James Jason JR. "American Hamlet: Shakespearean Epistemology in Infinite Jest." Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1409079425.

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6

Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.

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L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien
The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism

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7

Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.

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Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.

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Lighthill, Brian. "Can selected Shakespearean stories impact on personal and social development? : seven case studies at Key Stage 3." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/46811/.

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This longitudinal study provides a critique of current delivery of PSHFE and Citizenship lessons and offers an original transdisciplinary approach to these learning-for-life subjects. Using action research methodologies, the study investigated whether selected Shakespearean stories could stimulate Socratic discussions on the decisions made by the characters. Then, in parallel with the topics on the PSHFE and Citizenship curricula, the students philosophised on alternative ways of thinking and acting and vicariously develop their own social and moral reasoning. The research design was based on the eclectic ‘bricoleur’ model developed by Kincheloe and Berry (2004) and was supported by both quantitative and qualitative analyses. In order to capture the complexity of measuring the impact of Shakespearean stories a threetiered research template was designed. Based on the response to neo-Kohlbergian conundrums discussed in the thrice-yearly home interviews, the informers’ personal and social development (PSD) was assessed using Kohlberg’s ‘six stages in moral reasoning’ as a measuring stick. Then, having triangulated the PSD variations from other sources, ‘partial connections’ (Law, 2007, p.155) were sought between the Shakespearean stories used in the action research and the informers’ PSD. Case study analyses indicate that, for the majority of the informers, partial connections were made between the Shakespearean stories and their PSD during KS3. The boundary set by this investigation was that the case studies consisted of seven randomly selected informers based in one school. However, the aforementioned quantitative studies were used to establish the representability of the students to the wider population. The action research offered nine interpretive discoveries which could contribute to more effective delivery of PSHFE and Citizenship. The key conceptual discovery was that PSHFE and Citizenship need another kind of pedagogic approach if they are to help develop empathetic and active citizens - an approach which would move the teacher/student relationship towards a facilitator/student partnership and have ramifications for teacher recruitment and training.

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MONTANINO, FRANCESCA. "The Merchant of Venice sul palcoscenico della Storia. Interpretazioni regie riscritture." Doctoral thesis, Università di Siena, 2018. http://hdl.handle.net/11365/1051350.

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La mia ricerca analizza la storia scenica di The Merchant of Venice dal Settecento fino alla nostra contemporaneità. Nella schiera dei classici shakespeariani, il Merchant si colloca senza dubbio tra i più problematici: si tratta di certo di una delle commedie più rappresentate nel mondo, tuttavia il motivo principale della sua attrattività, e al tempo stesso la ragione delle sue complessità, non si ritrova negli elementi connotanti il genere a cui appartiene (trionfo dell’amore romantico sull’antagonista, equivoci, travestimenti e smascheramenti, ecc…), ma nelle ambiguità e contraddizioni che trascendono la struttura del plot. Per questo è stata molto spesso oggetto di operazioni di riscrittura, teatrale o di altro genere, a partire dal primo Settecento fino ai giorni nostri. Molto spesso, in queste pagine come nel destino del Merchant, il centro della riflessione finisce per coincidere con il personaggio di Shylock: l’ebreo shakespeariano - villain estremamente sui generis, per quella sua capacità di trascendere, con il suo dramma concreto e vibrante, il proprio ruolo di oppositore al lieto fine - sopravvive alla memoria dell’opera stessa, diventando una sorta di archetipo per un eterno dibattito sulla questione ebraica. Inevitabilmente molta della fama del play shakespeariano coincide con quella del suo personaggio: Shylock mette in crisi gli equilibri della commedia, e il racconto della sua disfatta diventa spesso il fulcro drammaturgico, a cui gli innamorati di Belmont fanno da pallido contraltare. Il dibattito sull’antisemitismo influenza fortemente la percezione del Merchant fin dall’epoca moderna, e tantissime riscritture sono motivate dalla volontà di redimere il personaggio dalla sua immagine stereotipata, o al contrario di condannarlo definitivamente. Anche quando le rielaborazioni contemporanee si riappropriano della pluralità di punti di vista, presentando il Merchant come un dramma corale, l’ebreo e la sua disfatta emergono sempre in primo piano. Del resto, puntualizza il critico del “New Yorker” Alan Dopkin, “a production of The Merchant of Venice that treats Shylock as anything other than the most interesting person in the play will always fail.” In un percorso che ha il suo centro nell’esperienza teatrale, ho tuttavia cercato quanto più possibile di allargare la visione ad altri linguaggi artistici (letteratura, cinema, poesia), sottolineando le peculiarità di ogni riscrittura alla luce degli scenari sociali e politici in cui si colloca. Gran parte del lavoro si è focalizzato quindi sul confronto tra il testo shakespeariano e le sue rielaborazioni, intese nel senso più ampio di ‘trasformazioni’ (copioni, libri di regia, testi drammaturgici o letterari autonomi, opere filmiche) con l’intento di mettere in evidenza i cambi di prospettiva, gli elementi di continuità e i punti di rottura, i cambiamenti sociali e culturali di cui ogni esperienza è in qualche modo espressione.
The Merchant of Venice is undoubtedly one of the most problematic of Shakespearean classics: one of the main reason of its attractiveness and complexity could be found in the ambiguities and contradictions that overwhelmed the structure of the plot. The attempt to investigate such a complex play is the driving force for its many rewritings from the early eighteenth century to nowadays. The research covers almost four centuries of stagings, adaptations and appropriations, identifying the aims that leaded actors, directors and writers to re-read the play through the lens of the present. Despite the research had been particularly focusing on some selected theatrical experiences, the discussion includes other artistic languages as well (literature, cinema, poetry), underlining the peculiarities of each work in relation to the social and political scenarios wherein it spread out. The research proceeds comparing the original Shakespeare’s text with many of its ‘transformations’ (scripts, acting versions, novels, films, etc…) in the attempt to highlight the elements of continuity as well as the breakpoints, the social and cultural changes which emerge from each of these adaptations.

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Molz, Johannes [Verfasser], and Helge [Akademischer Betreuer] Nowak. "A close and distant reading of Shakespearean intertextuality : towards a mixed method approach for literary studies / Johannes Molz ; Betreuer: Helge Nowak." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2019. http://d-nb.info/1210861704/34.

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11

Andersson, Edén Therese. "The Shakespearean Stahr : Using Genette’s Theory of Intertextuality to Compare The Last Tycoon to Shakespeare’s Tragedies." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62125.

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This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello

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Chen, Xing. "Reconsidering Shakespeare's 'Lateness' : studies in the last plays." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10579.

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Shakespeare’s last plays, because of their apparent similarity in thematic concern, dramatic arrangements and stylistic features, are often considered by modern scholarship to form a unique group in his canon. Their departure from the preceding great tragedies and their status as an artist’s last works have long aroused scholarly interest in Shakespeare’s lateness—the study, essentially, of the relationship between his advancing years and his last-period dramatic output, encompassing questions such as ‘Why did Shakespeare write the last plays?’, ‘What influenced his writing?’, and ‘What is the significance of these plays?’. Answers to the questions are varied and often contradictory, partly because the subject is the elusive Shakespeare, and partly because the concept of lateness as an artistic phenomenon is itself unstable and problematic. This dissertation reconsiders Shakespeare’s lateness by reading the last plays in the light of, but not bound by current theories of late style and writing. The analysis incorporates traditional literary, stylistic and biographic approach in various combinations. The exploration of the works (Pericles, Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen), while underlined by an interest in their shared concern with the effect, power and the possibilities of art and language, also places an emphasis on each play’s special, distinct features and contexts. A pattern of steady artistic development is revealed, bespeaking Shakespeare’s continued professional energy and ongoing self-challenge, which are, in fact, at the centre of his working methods throughout his career. The dissertation therefore proposes that Shakespeare’s ‘lateness’ is in fact a continuation of his sustained dramatic development instead of, in terms of working attitude and methods, a brand new, sharply different phase, and that his last plays are the result of his, as it were, ‘working as usual’. It also suggests that occasionally ‘ungrouping’ the plays, which frees the critic from perspectives preconditioned by classifying them under labels such as ‘romances’ and ‘tragicomedies’, might yield fruitful insight into late Shakespeare.

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Zullo, Valentino L. "The Comic(s) Shakespeare: Kill Shakespeare and Audience Experience in Adaptation Studies." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363444777.

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Dahiya, Hema. "Shakespeare studies in Colonial Bengal : the early phase." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19526/.

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Shakespeare was formally introduced in Colonial Bengal when Hindu College was established in 1817. This thesis highlights how in the midst of running controversy between Orientalists and Anglicists, amidst intense rivalry between Christian missionaries and orthodox Hindus, Hindu College pioneered Shakespeare studies, keeping it free from religious orthodoxy, and imparting secular ideas of Renaissance humanism. Describing the historical role the leading founders of the college - Raja Rammohan Roy and David Hare - played in creating environment of secularism, this thesis is focussed on the work of three early teachers of English at Hindu College -Henry Derozio, D.L. Richardson, and H.M. Percival - who laid the foundation of Shakespeare studies in colonial Bengal. Derozio's inspiring teaching made his students not only crusaders against orthodoxy but also fighters for freedom thereby igniting the flame of the Bengal Renaissance. A poet like Derozio, Richardson, besides teaching Shakespeare's plays and promoting their performance, emerged as the first major literary critic of Shakespeare and other English poets. Percival, continuing the secular tradition of teaching, also became the first major editor of Shakespeare for Indian students, who edited with long introductions the texts of six plays. This thesis highlights the pioneering role of these three eminent teachers of English at Hindu College who established Shakespeare studies as a secular learning of humanist ideas. This thesis also challenges the sweeping generalisation of postcolonial criticism that English education in colonial India, including Shakespeare teaching, was used to promote the political agenda of the British rulers. It points out that Shakespeare teaching as a component of English education at Hindu College defies that generalisation. Besides, if English education promoted colonial interests, it also inducted ideas of the European Enlightenment that contributed towards the general awakening in colonial Bengal. In the era of postcolonial theory's dominance in English studies, this thesis offers an original contribution to knowledge by putting forth evidence in support of secular Shakespeare studies in colonial Bengal spearheaded by eminent teachers like Derozio, Richardson, and Percival.

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Jay, Corey M. "The Unraveling of Shakespeare's Othello." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/117.

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This thesis analyzes one of Shakespeare’s greatest tragedies from the perspective of its costumes, and chronicles the start-to-finish process of the costume design for the April 2012 production of Othello held at Pomona College. Incorporating the Pre-Raphaelite art movement with high fashion’s late Alexander McQueen, this thesis brings to light Othello’s predominant themes of race and honesty by means of luxurious textiles and distinct silhouettes.

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Elgenstierna, Saga. "Shakespeare bland stjärnorna : Litteraturens funktion i Star Trek." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-447389.

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The television phenomenon called Star Trek has captured audiences for 55 years since the first episode was aired in 1966. In this essay, I study one aspect which has not been explored in detail before: How Star Trek uses literature in the five completed live action-series: Star Trek: The Original Series, Star Trek: The Next Generation, Star Trek: Deep Space Nine, Star Trek: Voyager and Star Trek: Enterprise. I explore this through adaptation studies, mainly as described and defined by Linda Hutcheon, and canon theory, as presented by Harold Bloom. In this essay, I answer my questions by watching every episode in the series mentioned above and categorize the ones where literature is present by strong literary reference and weak literary reference. After this, I give examples of how literature can function in different ways in 8 episodes from the series.

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17

Barnes, Jennifer Ann. "Shakespeare's Olivier : selfhood, nationhood and the cinema (1944-1958)." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3585.

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This thesis traces the construction and evolution of the star text of Laurence Olivier as it relates to cinematic Shakespeare production and formulations of nationhood in 1940s and 1950s Britain. Organised around an examination of Olivier’s four Shakespearean film adaptations (including the unmade Macbeth), the project focuses on the ways in which the concept of 'Shakespeare' – signalled throughout by its italicisation – is appropriated through Olivier’s image in relation to the industrial and cultural contexts of the wartime and post-war British film industry. It also examines articulations of Shakespearean selfhood and related reappropriations of the filmic image in Olivier’s life writing, exploring how Olivier engages with his own star persona. In examining the relationship that exists between broader industrial-cultural appropriations of 'Shakespeare' and a sense of a star’s personal connection with the national poet, the thesis explores (in addition to the film texts) extratextual materials such as fan letters, publicity documents, theatre and film ephemera, magazine interviews, newspaper criticism, industrial reports and personal and professional correspondence in order to interrogate the national-cultural function of a star text whose image is aligned to 'Shakespeare'. This thesis seeks to make an original contribution to Shakespeare on screen studies by constituting the fullest study of Laurence Olivier’s cinematic Shakespearean career to date. In introducing and analysing previously unseen archival material (including screenplays and shooting scripts relating to the unmade Macbeth), the thesis informs our understanding of the evolving history of British Shakespeare production and, therefore, of the history of Shakespeare on screen. Rethinking Olivier’s cultural currency as a Shakespearean star in 2012 and in the space of the archive, the thesis also contributes to the theoretical thinking underpinning Shakespearean performance studies and archival studies. Finally, the thesis opens the way for further considerations as to how (and to what effect) the Shakespearean star operates as a national and transnational phenomenon.

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Bryne, Catherine. "The Pedagogy of Shakespeare & Company." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1398.

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The Pedagogy of Shakespeare & Company examines in several ways the principles and practices of actor training at Shakespeare & Company of Lenox, Massachusetts. Chapter 1 is a narrative of my personal experience at the Month-long Intensive in Lenox, elaborating its multiple components. Chapter 2 recounts the genesis of the company and looks at the influences that shaped its identity. Chapter 3 is a more specific attempt to define the pedagogy developed by Tina Packer, Kristin Linklater and the other founders of Shakespeare & Company and to provide some contextual analysis. The remainder of this document explores my own pedagogical evolution and the opportunities afforded me thus far to apply my learning to my teaching.

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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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Rassokhina, Elena. "Shakespeare's sonnets in Russian : the challenge of translation." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134792.

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Shakespeare’s 154 sonnets have become the interest of several generations of Russian translators. Overall, after their first appearance in the middle of the nineteenth century, at least thirty-five Russian translations of the complete sonnet collection have been produced so far, though mostly during the last three decades. The overall objective of the present thesis is to examine the evolution of Russian translations of Shakespeare’s sonnets over the years. The thesis is novel in that it offers an analysis of specific linguistic, literary and cultural challenges the numerous Russian translators have dealt with while translating the sonnets, as well as the strategies adopted in an effort to resolve them. In order to achieve the study objectives, several individual sonnets and a number of their Russian translations have been selected as a sample representing challenging areas that have been more closely investigated in four articles. The method of cross comparison has been applied throughout the study. Both the introductory part and the articles address certain problematic translation issues, such as the sonnets’ formal structure, the pronouns of address, grammatical gender, bawdy language, sexual puns, culture-specific items, and metaphors. The results provide evidence for seeing translation as a multi-layered and ever-changing process, which, apart from the pure linguistic tasks, combines historical, political and ideological aspects. The findings of the study suggest that translation competence, namely deep understanding of the context and its fundamental cultural and social features, motivates the translator’s interpretation of the contradictions and uncertainties of Shakespeare’s poems. Those include the sonnets genre, relation to Shakespeare’s biography, the order of the poems in the first 1609 Quarto. The analysis also identifies the ways in which the target language’s social and historical context have had an impact on the choices made by the translators. On the whole, the study’s results do not contradict Mikhail Gasparov’s model describing the pendulum-like movement from “free” to “literal” approaches through the history of Russian literary translation.

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Zambon-Palmer, Angela 1947. "Character conceptions of Shakespeare's Cressida in major twentieth-century productions." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278477.

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For three centuries, Shakespeare's Cressida was universally considered to be a fully culpable "daughter of the game." However, as a result of changing cultural conditions at the beginning of the twentieth century, her motivations within the play began to be re-examined. The threat of war in Europe and the women's struggle for equal rights renewed interest in Troilus and Cressida. From this time forward, the play was in constant production. Cressida was regarded as a coquette and a courtesan by critics and directors until the 1960s when Joseph Papp (at the New York Shakespeare Festival) portrayed her as a victim of men and war. In the 1970s, feminist critics in particular studied the nuances of one of Shakespeare's most maligned women. Their observations proved an insightful, three-dimensional analysis of a young woman in a war-torn country. Regardless of the perception of Cressida's motivations by modern thinkers, their considerations of her character were ignored in productions of the 1970s and 1980s.

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22

Fernández-Vara, Clara. "Orson Welles' intermedial versions of Shakespeare in theatre, radio and film." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/44294.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2004.
Includes bibliographical references (p. 153-156). Filmography: p. 157.
In addition to being a keyfigure in the history of filmmaking, Orson Welles was an original theatre director and radio performer and producer. The aim of this thesis is to study Welles' achievements and failures in theatre, radio and film, as well as comparing his craft and techniques in each medium during his early career. Welles' adaptations of Shakespeare will provide the guiding thread of this intermedial exploration. Close reading of these texts will show the recurrence of intermediality in Welles' work, namely, the way techniques from one medium feed into the other two. Borrowing conventions and devices that are proper to other media and importing them into a target medium is his basic innovative strategy. This use of intermediality brings about innovative effects that favour agile and gripping storytelling, though it can also hamper the understanding of the piece.
by Clara Fernández-Vara.
S.M.

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23

Cook, Amy. "Shakespeare, the illusion of depth, and the science of parts an integration of cognitive science and performance studies /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3217529.

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Thesis (Ph. D.)--University of California, San Diego and University of California, Irvine, 2006.
Title from first page of PDF file (viewed September 5, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 253-272).

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Southall, Sally. "Pedagogy and Performing Shakespeare's Text: A Comparative Study." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1832.

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ABSTRACT PEDAGOGY AND PERFORMING SHAKESPEARE’S TEXT: A COMPARATIVE STUDY By Sally Parrish Southall A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University Virginia Commonwealth University, 2009 Director: Dr. Noreen C. Barnes Professor, Director of Graduate Studies School of the Arts In the Master of Fine Arts program in Theatre Pedagogy at Virginia Commonwealth University, and in a second program, the Master of Letters/Master of Fine Arts in Shakespeare and Renaissance Literature in Performance at Mary Baldwin College - two specific pedagogical approaches to accessing and performing Shakespeare’s text, both in the post-graduate setting - provide significant analysis tools and performance techniques, yet they use different points of departure and areas of focus. Chapter 1 will give the background, design, and focus of the graduate programs at Virginia Commonwealth University and at Mary Baldwin College. Chapter 2 will discuss and describe Janet B. Rodgers’ teaching orientation and her particular pedagogy in “Shakespeare and Text: The War of the Roses” class at viii ix Virginia Commonwealth University. Chapter 3 will provide Dr. Ralph Alan Cohen’s professional background and the foundational structure and focus of the pedagogy in his class “Language and Performance” at Mary Baldwin College. Chapter 4 explores the parallel and overlapping methods demonstrated in these two classes as well as the contrasting specifics of their particular methodologies. Chapter 5 describes the value of the two approaches, both of which exemplify the individual strengths of the professors.

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Patrick, Tegan Rae. "Legitimising Misogyny: Representations of Women in Three Shakespeare Films." Thesis, University of Canterbury. Humanities, 2014. http://hdl.handle.net/10092/10015.

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The plays of William Shakespeare have long been considered a source of cultural and educational interest by both academics and filmmakers, and the practice of adapting Shakespeare’s works to film has existed for almost as long as film itself. The name “Shakespeare” evokes ideals of cultural legitimacy and importance, and Shakespeare film as a genre is always caught up in questions of fidelity and legitimacy. In adapting Shakespeare to the screen, filmmakers also adapt, whether deliberately or not, the various cultural beliefs that his work is steeped in. Early modern ideas about gender, race and class are reproduced in modern film through the adaptation of Shakespeare, often excused or unexamined in the name of fidelity. This thesis discusses Shakespeare’s three plays Hamlet, Richard III and The Taming of the Shrew, all of which deal in some way with gender roles and the place and power of women, whether that power is sexual, political or verbal. I also examine three film adaptations of the plays: Kenneth Branagh’s Hamlet, Ian McKellen and Richard Loncraine’s Richard III, and Gil Junger’s 10 Things I Hate About You. All three films serve as examples of the way the misogyny present in Shakespeare’s works is reproduced and sometimes magnified through adaptation to the screen. The reproduction of early modern gender hierarchies is naturalised in a number of ways across the three films, including the use of star power, the invocation of Shakespeare as a cultural authority, and specific filmic techniques such as flashback and the cutting and editing of film and screenplay. I argue that in all three films, the faithful adaptation of Shakespearean ideas of gender comes at the expense of both the women characters and those women who make up the films’ audience.

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26

Alsop, James. "Playing dead : living death in early modern drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17122.

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This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works.

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McPherson, Leith. "Shakespeare's verse and the training actor." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/163.

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A focus on the clarity of the verse in the preparation and performance of Shakespeare's plays has been seen by some modem directors and teachers as an impediment to effective storytelling. Contemporary directors and actors in both film and theatre are focussing more on making the text sound 'natural', rather than formally structured, in order to improve the accessibility of the text for a modern audience that is more familiar with interpreting a visual world than an aural one, and more appreciative of a naturalistic acting technique rather than the heightened commitment required for Elizabethan text. Furthermore, many actors and directors have written and spoken about the lack of exposure young actors have to Shakespeare in performance, let alone to performances of these texts that are illuminating or inspirational. The plays do hold tremendous appeal as literature, but it is quite clear that they were never originally intended to be experienced in that form, just as the reading of · sheet music and performance of live music are two distinct experiences. Shakespeare lived and breathed and wrote for the theatre and it is within this environment that we can most fully understand and engage with his work. This is true for students of the text, for audiences, and most significantly for the actors whose job is to communicate the verse. Although. the teacher of Shakespeare in an acting course has to compete· for tuition time with many skills that seem more · immediately relevant to current industry demands, my belief is that the tools a student develops through learning to read and perform Shakespeare's text serve the overall growth of the ·professional actor. I also believe that a focus on the clarity and. confidence of the verse speaking will improve the quality of any Shakespeare play in performance, regardless of the other interpretive choices made by the creative team. This thesis aims to identify the most effective ways of training students of acting to work with Shakespeare's verse. I -will be documenting my verse work with students from the Acting course · at the Western Australian Academy of Performing Arts from 2006-2008, exploring and reflecting on three key components of the work conducted with the students during that time: practical voice and poetry classes; a full public production of Shakespeare's play The Winter's Tale; -and a post-training workshop in 2007 .

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Lunning, Lydia. "Dramatic Relocation : The Time and Place for Shakespeare on Film." Oberlin College Honors Theses / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411139072.

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Parker, Herb. "Acting Shakespeare is Outrageous!: Playing the Bard for Beginners." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/0415790972.

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Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic―the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote as a tool to perform him, and to create exciting and moving performances.
https://dc.etsu.edu/etsu_books/1138/thumbnail.jpg

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Roy, Patricia. "Shakespeare’s Midsummer Fairies: Shadows and Shamen of the Forest." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1226.

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Recent interest in environmental crises has inspired literary critics to consider how the history of ideas shapes our current ecological debates. Shakespeare's A Midsummer Night's Dream sets the stage for assessing how Renaissance attitudes towards nature have influenced current ideologies. While the play appears to be a fantasy, it reveals a relationship with nature, both physically and figuratively. The play's excursion into the woods shows an attempt to heal human relationships. Shakespeare's use of the imagery of nature argues in favor of the green world, for it is a world inhabited by shadows and shamen -- or, as Shakespeare calls them, fairies. A key element for ecocritics concerns the apparent silence of nature in literature and other cultural forms. Christopher Manes' article, "Nature and Silence," alerts readers to nature's lack of voice as a symptom of humanism, especially of theories such as the Great Chain of Being, which place nature in a subordinate role to humans, giving homo sapiens the dubious power to speak for nature. I wish to present Shakespeare's fairies as the speakers of the forest and of nature's values, according to the Early Modern period. By liberating fairies from demonic associations, Shakespeare's forest appears to us as inviting and healing. Furthermore, I argue that the pastoral tradition, which informs the Early Modern attitude towards nature, is superceded by picaresque and shamanic figures within the text. These elements allow for a subversive understanding of nature and our relationship to it. If humans adapted to their environment by developing consciousness, what has been the effect of that consciousness on their environment? Shakespeare's forest and fairies help to confront this issue because they restore human awareness to a healthy state of consciousness. By showing fairies in this light, Shakespeare provocatively proposes that humans "mend" their relationship to their surroundings as well as their own human relationships.

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Klawitter, Uwe. "Die Darstellung des einfachen Volkes in Shakespeares Dramen : eine ideologiekritische Studie /." Trier : WVT Wissenchaftlicher Verl, 2004. http://catalogue.bnf.fr/ark:/12148/cb39193377s.

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32

Tuffin, Zoe. "Claiming Shakespeare for our own: An investigation into directing Shakespeare in Australia in the 21st century." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1285.

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Shakespeare has been performed on Australian stages for over two hundred years, yet despite this fact, in Australia we still treat Shakespeare as a revered idol. It seems that, as a nation of second-class convicts, consciously or not, we regard Shakespeare as a product of our aristocratic founders. However deeply buried the belief may be, we still think that the British perform Shakespeare ‘the right way’. As a result, when staging his plays today, our productions suffer from a cultural cringe. This research sought to combat these inhibiting ideologies and endeavoured to find a way in which Australians might claim ownership over Shakespeare in contemporary productions of his plays. The methodology used to undertake this investigation was practice-led research, with the central practice being theatre directing. The questions the research posed were: can Australian directors in the 21st century navigate and reshape Shakespeare's works in productions that give actors and audiences ownership over Shakespeare? And, what role can irreverence play in this quest for ownership? In order to answer these questions, a strong reference point was required, to understand what Shakespeare, with no strings attached to tradition and scholarly reverence, looked and felt like. Taiwan became an ideal reference point, as the country is a site for unrestrained and strongly localised performances of the Shakespearean tradition. The company at the forefront of such Taiwanese productions is Contemporary Legend Theatre (CLT). Wu Hsing-kuo, the Artistic Director of CLT, creates jingju (Beijing opera) adaptations of Shakespeare’s plays, the most renowned of which is his solo King Lear, titled Li Er zaici. The intention of the practice-led research was to use the ideas gathered from an interview with Wu and through watching a performance of Li Er zaici, to form an approach to directing Shakespeare in Australia today, which was free from the restrictions commonly encountered by Australians. The practical project involved trialling this approach in a series of workshops and rehearsals with eight actors over eight weeks, which ultimately resulted in a performance of an adaptation of Romeo and Juliet. Wu’s approach generated a sense of ownership over Shakespeare amongst the actors and widened their dominant, narrow concept of Shakespeare performances in Australia to incorporate a wealth of new possibilities. Yet, from this practical experiment, the strength and depth of the inhibiting ideologies surrounding Shakespeare in Australia was made apparent, as even when consciously seeking to remove them, they formed unconscious impediments. Despite the initial intention, a sense of veneration towards Shakespeare’s text entered the rehearsal process for Romeo and Juliet. This practice-led research revealed that as Australians we have an almost inescapable attachment to Shakespeare’s text, which ultimately begs the contrary question: in order to stage an irreverent and owned production of Shakespeare in Australia, how much of Shakespeare and his traditions must we abandon?

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Sheppard, Philippa. "Tongues of war : studies in the military rhetoric of Shakespeare's English history plays." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240387.

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34

Slagle, Judith Bailey. "Joanna Baillie and the Anxiety of Shakespeare's Influence." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/719.

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Joanna Baillie, a drama critic as well as a dramatist, began during the last decade of the eighteenth century to develop her own theory of tragedy and comedy, based on human emotions, the elemental instincts that prompted Shakespeare's characters to action over two hundred years before. Baillie could not escape Shakespeare's early influence; even if she had tried, critics and colleagues regularly reminded her of her debt. While Baillie admitted her poetical debt to Ossian and to Robert Burns, her Romantic "naturalness" was indeed fresh and original. Her dramatic writing, however, followed many of the themes of Shakespeare — love, hate, revenge, jealousy, ambition — and she defended and defined her focus on such passions in her "Introductory Discourse" to A Series of Plays, whereas Shakespeare was tacit about his scheme if, in fact, he had one.

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Sun, Yanna. "Shakespeare in China." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.

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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.

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O'Connor, Lorney Roland. "Directing and designing Shakespeare's The Tempest." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2581.

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The purpose of this project is to assess the production level one person can achieve when directing, designing, and managing all aspects of a major theatrical production. It will identify strategies and techniques which are crucial for success in the areas of theatrical design and management.

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Ackerson, Christiane Plante. "The Soul of Shakespeare and Company| Sylvia Beach's Journey into Leadership." Thesis, Franklin Pierce University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567797.

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American expatriate Sylvia Beach (1887-1962) is mostly recognized for her contribution to Modernist literature by publishing James Joyce's Ulysses and avant-garde magazines. However, the objective of this study is to resurrect Beach's legacy as a leader by discovering how Beach, through opening Shakespeare and Company, an English-language bookshop in Paris, led the literary community who expatriated to Paris in the early twentieth century. Beach's journey into leadership began when she bravely opened her bookshop in a foreign country in 1919, at the closing of World War I, during a time when few women owned their own businesses. By creating a place, a home away from home, for the disillusioned and disenfranchised expatriates writers, Beach created a safe environment for the expatriates—a place to find their identity. By befriending them, earning their trust, and gaining their help in the Ulysses publishing venture, Beach created an environment of collaboration among the writers, many of whom remained lifelong friends. Beach's business model was unprecedented, and with vision and boldness, at Shakespeare and Company, Beach exemplified leadership by continually helping others, and thus transformed Shakespeare and Company into one of the most recognized bookstores of the time.

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Buntaine, Olivia G. "Howls on the Heath: Shakespeare Ensembles in American Prisons." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/714.

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This thesis discusses the process and value of theatrical and performance-based rehabilitation programming in prisons, specifically focusing on the non-profit organization Shakespeare Behind Bars (SBB). SBB has programs in two prisons in which they read, rehearse and produce a Shakespeare play annually. Using performance theories, theories of rehabilitation and personal interviews, this thesis aims to develop an understanding of the way culture functions in prisons, how the act of performance changes that functioning, and how these programs effect incarcerated people. This thesis includes analyzed interviews with Curt Tofteland, founder of Shakespeare Behind Bars and Sammie Byron, a previously incarcerated alumnus of the program. Ultimately, this project focuses on the possibilities for rehabilitation within incarceration and how performance-based rehabilitation programming offers something unique. SBB creates spaces through performance that allow incarcerated people to reflect on their choices and take responsibility for who they want to become. Central to this thesis and the program it analyzes is the idea of story-telling and allowing incarcerated people to have the access and ability to create their own narratives.

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Sokolovic-Cizmek, Klarisa. "Homosocial, Homoerotic, Bisexual, and Androgynous Bonds in Shakespeare’s Comedies." Scholar Commons, 2003. https://scholarcommons.usf.edu/etd/1483.

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In the thesis I inquire into the nature of the same-sex bonds in Shakespeare’s comedies. I discuss seven pairs of characters and demonstrate how in his comedies, Shakespeare first created homosocial relationships, later homoerotic relationships, then bisexual relationships, and, finally, a couple that may be described as androgynous. I demonstrate that in the early comedies the relationships are primarily homosocial and serve the purpose of self-realization. The self-realization includes reaching of a balance between a “feminine,” and a “masculine” self, with the goal of becoming a mature, androgynous human being. Although there are some homoerotic undercurrents in both the male and female relationships created during this period, I do not believe that these relationships are intended to represent a permanent sexual orientation. I see them as a part of the pattern that occurs in most of the plays, which possibly reflects Shakespeare’s concept of the process of maturing into an adult who is ready to accept the bonds of marriage. All of Shakespeare’s comedies contain homosocial relationships, sometimes with homoerotic undercurrents. The primary purpose of these relationships is the realization of the self. A young person enters into a relationship with another young person, a coeval, who resembles him/herself in numerous ways. They spend a lot of time together, involved in activities that are of interest to both of them. They see themselves in their friend. They identify not only with the persona, but also with the physique of the friend. Therefore, the (homo)erotic undercurrents that are present in some of the relationships are in fact the realization of the characters’ own eroticism and sexuality and are therefore not directed at the other character with the aim of gratification of sexual desire. The relationships with (homo)erotic undercurrents are merely a stage in the development of the self, and do not constitute a permanent sexual orientation. The final stage in the above pattern is marriage. Once the character has realized him/herself, (s)he is ready to marry. The homoerotic undercurrents begin to emerge in 1598, and in 1599 Shakespeare creates Antonio and Sebastian as his first homoerotic couple. In the same play appear the first three bisexual characters: Olivia, Orsino, and Sebastian. Again, since the three characters reach self-realization and marry at the play’s end, the issue of bisexuality can be interpreted either as a lifestyle, or as a stepping stone in one’s development toward adulthood and marriage. Another possibility is that the occurrence of bisexuality and the androgynous twins Viola and Sebastian serve to open up space for an inward marriage. In other words, the twins represent the climax of the pattern of self-realization through friends and lover, and add the notion that the better we know ourselves, the more we are aware of our androgyny. In the pattern that I trace through the four comedies, I demonstrate how Shakespeare uses homosocial, homoerotic, and bisexual relationships as means of learning about the true self, the self which reaches beyond the boundaries of gender, into—androgyny.

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Vintila, Antoniu. "In the Company of Shakespeare." Thesis, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2422.

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Abstract

With the introduction of the teaching plan Lpo94 and the others, many of the rules that restricted the teacher to just a few didactical methods disappeared. The former strict ruling system changed to a more free goal-oriented system. That and the fact that the governmental ruled shifted from a top down to a bottom up perspective gave the schools the freedom to choose whatever material and methods they would want, as long as the goals could be attained. This freedom allowed the employment of many new didactical methods. All these new methods had “activity” as their main asset. One such method that followed in this wake is “Shakespeare as a second language”, developed and created by Donya Feuer and Ted Hughes. The main objective with this essay is to introduce this method to the readers as well as introduce it in relation with literature in the field of alternative methods and the teaching and course plans of today. My intention is to let it go through some critical evaluation and see if it fits to be employed as a didactical method in the school of today.

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Rehn, Johanna. "Metaphors of Time : Mortality and Transience in Shakespeare's Sonnets." Thesis, Södertörn University College, School of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2724.

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This essay is about metaphors of time, mortality and transience in William Shakespeare’ssonnets. Exploring these metaphors, I examine sonnets nr. 60, 64 and 65 more closely, since Ithink they are particularly representative as regards the metaphors of time. Unlike the rest ofthe sonnets, these three deal with the subject throughout the sonnets, focusing on theinevitable degeneration of material things. The image of time in the sonnets is depicted in avaried way constructed by several metaphors that add to the depth and paint imagesinfluenced by the beliefs and knowledge of Shakespeare’s time. I put these images in relationto the English Renaissance and its concepts of time using sources from, for example, JohnSpencer Hill, Katherine Duncan-Jones and Dympna Callaghan, who all have made their ownanalyses of Shakespeare’s sonnets. In my close reading of the sonnets I analyse the variousmetaphors Shakespeare uses to make us experience the passage of time as in, for example,sonnet number 60, where the ongoing passage of time is described in a cyclical way by theuse of the metaphor of the waves rolling in and out of a pebbled shore. In a repetitive way thewaves are in constant motion. We can recognise ourselves as being the pebbles, affected bythe constant motion in our lives, slowly turning into sand by time’s cruel hand.

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Anthony, Courtney Elizabeth. "Eve's Legacy: The Fates of Young Women in Shakespeare's Tragedies." Xavier University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1472821662.

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Weber, Lauren. "Reading the Curriculum: Empathic Education in Shakespeare, Keats and Haddon." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25983.

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Abstract: In this thesis I argue that a complex approach to empathy is integral to subject English, especially in the twenty-first century. I begin my argument by showing how empathy has rhetorical power in contemporary society and the current New South Wales senior English curriculum. I contrast the way these discourses value empathy by mapping how empathy features in literature throughout educational and literary history. I show how literature provides complicated and conflicting examples of the way empathy operates between people and texts by offering three unique approaches to empathic literary criticism informed by interdisciplinary methodologies. My thesis makes an original contribution by demonstrating how empathy may work as a type of literary criticism and simultaneously as a form of resistance to the pressures and harmful effects of over-systematised education. In the Introduction, I provide an overview of empathy’s multiple meanings to argue for a broad and multifaceted approach to empathy that resists a static definition. In Chapter 1, I propose the term 'pop empathy' to explain how empathy is wielded rhetorically in contemporary discourse involving politics, marketing and advertising, and artificial intelligence. I argue this is important because it influences the broader discourse involving empathy and affects its value in education. Chapter 2 outlines the way current educational policy and curriculum documents rhetorically value empathy. I show how the reality of educational inequality in Australia complicates the way curriculum and policy documents claim to value empathy in education and that empathy in education is coming to be defined by pop empathy. Chapter 2 sets up my argument against the increasing influence of standardised and systematised education especially in subject English where empathy is cited directly as a potential outcome of study. Chapters 1 and 2 work together to frame my theoretical approach to Chapters 3, 4, and 5 where I read three set texts belonging to different genres prescribed on the current NSW senior English curriculum: Shakespeare's Hamlet, the poetry of John Keats, and Mark Haddon's The Curious Incident of the Dog in the Night-Time. I complicate and contribute to debates about the empathic value of subject English by highlighting the way these texts represent empathy. I examine empathy's relationship to the educational concerns of the Tudor period, the Romantic era, and the twenty-first century to build a historical view of empathy for the study of literature. The authors and texts studied in this thesis bear the mark of empathic pedagogy and as a result they offer unique impressions of empathy's make-up and capabilities. Through my readings I show how empathy has consistently featured in literary studies across time periods and genres while simultaneously complicating popular rhetorical uses of empathy. I address this wide scope of historical and generic texts as they relate to the NSW curriculum because I argue for a new approach to integrating empathy into subject English that privileges empathy as a form of critical interpretation rather than a student outcome. In the Conclusion I draw together my rhetorical arguments and critical readings to show how a complex and open-ended approach to empathy without the pressure of predetermined outcomes can enrich the understanding of texts and the importance of studying literature. I offer directions for future research in the area of empathy and literary education to highlight how the project of exploring empathy in subject English is far from over.

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Venn, Andrea Faye. "Exactly What is That Worth to You: Gifting Ornamentation and Relationships in Shakespeare's Plays." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1541092559869203.

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45

Fahey, Caitlin Jeanne. "Altogether Governed by Humors: The Four Ancient Temperaments in Shakespeare." Scholar Commons, 2008. https://scholarcommons.usf.edu/etd/230.

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Hippocrates, and later Galen, hypothesized that a person's character was influenced by a combination of four humors that governed the body: black bile, phlegm, yellow bile, and blood. Centuries later, the Elizabethans adopted these ideologies to their medical practices, and associated each humor with one of four temperaments: melancholy, phlegmatic, choleric, and sanguine. References to the four temperaments may be found embedded in a number of William Shakespeare's texts, most notably Hamlet, Henry IV, Part 1, Macbeth, and Twelfth Night. While many figures in Shakespeare embody many humoral traits, allowing for character development throughout the play, several characters possess a superfluity of one particular humor. As these characters motivate the action of each respective play, the play provides textual evidence that identifies the traits associated with each temperament. Hamlet exemplifies the melancholy temperament, Sir John Falstaff the phlegmatic temperament, Lady Macbeth the choleric temperament, and Viola the sanguine temperament. The respective personalities of these characters are revealed not only by their actions in the plays but by numerous textual allusions to each humor. In examining these four characters, the reader may become familiar with the humor that each character represents, and, in turn, possess a greater knowledge of the driving forces behind many of Shakespeare's heroes, heroines, villains, and clowns. Moreover, these examinations may also shed light on the beliefs of early modern England and the beginning of character study and development.

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Perfect, Filippa, and Elisabeth Andersson. "Shakespeare : Levande eller död i skolan?" Thesis, Jönköping University, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7941.

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Shakespeare- Dead or alive in school?

The purpose with our degree project is to examine if Shakespeare still is alive in school and in what way he is being used. Our study is based on these following questions:

Does Shakespeare exist in school today?

How are the other classic books being used?

Which teaching methods are used?

How is Shakespeare received by the pupils?

The methods used to be able to answer the questions are interviews with teachers and focus groups with the pupils. We carried out the interviews with six Swedish teachers and four focus groups in four different upper secondary schools.

The main result of this study shows that teachers and pupils still think that Shakespeare is an important author. Every teacher was using Shakespeare in their Swedish teaching and the expanded conception of text was established, but some of the teachers practiced it more than the others. Film was the most popular and most used teaching method. The majority of the pupilsconsidered Shakespeare and his most famous works as general knowledge. The pupils preferredto dramatize or watch films when they are working with Shakespeare and other classic authors.

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Briggs, Terese C. "What You Will: An Endeavor in Adapting Shakespeare to New Media." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/778.

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These scripts are the attempt to take three of Shakespeare's plays, Coriolanus, All's Well that Ends Well, and Much Ado About Nothing, and adapt them to create a type of video game called a visual novel.

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48

Byström, Hampus. "”Djuret med många huvud” : Shakespeares Coriolanus 1866 i skuggan av svenska demokratiseringen." Thesis, Södertörns högskola, Litteraturvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-44555.

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This essay examines the conditions for translation into Swedish, and reception of Shakespeare’s dramatic works during the 19th century. By looking at the critical discussion around Shakespeare in Sweden from 1790 until 1850, and the biographies of several translators, the conclusion is that the Romantic movement was a crucial component in introducing his plays, as well as a modernization of political and literary culture after the French revolution. The essay also aims to tie a specific play – The Tragedy of Coriolanus, one of Shakespeare’s later tragedies – which was performed in Stockholm in 1866 to the political conditions of modernity, with its focus on class struggle and the taming of public opinion. The play dramatizes the for democracy as against aristocracy and tyranny – an issue well alive in the late 19th century. By situating the text of the play as a narratological homology for political and capitalist modernity, Shakespeare is brought into sharp relief as a thoroughly modern playwright, whose problems still concern us today.

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Junkins, C. R. "My Lord Lackbeard : enfranchisement and expressions of beardlessness in Shakespeare's canon from 1594 to 1601." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002263.

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50

Thomas, Deborah. "Lessons of Vocal Coaching Shakespeare in Hollywood: A Production Analysis." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1075.

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This thesis is a personal narrative of my experience as vocal coach on a production of Ken Ludwig's Shakespeare in Hollywood directed by BT McNicholl and performed in the Raymond Hodges Theatre of Virginia Commonwealth University in November 2005. Chapter one covers my identification of the play's vocal and aural challenges; what I did to prepare for those challenges; the research I gathered on 1930s Hollywood prototypes for the play; an examination of Shakespearean verse, especially that in "A Midsummer Night's Dream" and how Ludwig synthesized Shakespeare's verse with that of his own.Chapter two is divided into an account of the rehearsal process; a description of my sessions with the individual actors and an exploration of the dynamics of the vocal coach-director relationship. Chapter three focuses on the finished production and summarizes my response to the experience.

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Дисертації з теми "Shakespearean studies"

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