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Cordelia''s Portrait in the Context of King Lear''s
Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
Directed by David Schwingle
THE UNIVERSITY CLASSIC PLAYERS in William Shakespeare’s Directed by David Schwingle Set and Costume Design by Jeffrey Stegall Lighting design by Richard Streeter Music by Kenon Renfrow CAST OF CHARACTERS DIRECTOR’S NOTES Lear, King of Britain ......................................................................... Ron Pyle It is a fearful thing to write about Shakespeare (brief let me be!). The fear increases when one approaches the Goneril, Lear’s eldest daughter ............................................................... Erin Naler towering achievement that is King Lear. The wheel turns a bit more toward a paralyzed state if one considers Duke of Albany, Goneril’s husband ................................................... Harrison Miller the laden, ceremonial barge of relevant scholarship on the subjects. (Imagine entering a room and seeing Oswald, Goneril’s steward ............................................................. Nathan Pittack the eminent Shakespeare scholar, Emma Smith, or our local Spenser and Shakespeare scholar, Ron Horton, Regan, Lear’s second daughter ............................................................ Emily Arcuri comfortably seated, smiling at you!) And yet, though surrounded by giants on every side, some of Lear’s own Duke of Cornwall, Regan’s husband ..................................................... Alex Viscioni making, King Lear pushes on, so I’ll push on and pen a few words about Lear, language, and love. Cordelia, Lear’s youngest daughter .................................................... -
Literature : King Lear ( Act (1
Literature : King Lear Act (1 ( Farhouda Ferwana Rula Farouq Al Farra Objectives: Students are expected to: Scan the 1st act for details, then answer comprehension questions. 2 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. 3 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. Answer the following question: 1. Who was Lear? How many daughters did he have? He was King of Britain and he had three daughters, Goneril, Regan and Cordelia. 4 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 5 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 2. What will happen when he gives them the country? a. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
1 King Lear, the Taming of the Shrew, a Midsummer Night's Dream, and Cymbeline, Presented by the Oregon Shakespeare Festival, Fe
King Lear, The Taming of the Shrew, A Midsummer Night's Dream, and Cymbeline, presented by the Oregon Shakespeare Festival, February-November 2013. Geoff Ridden Southern Oregon University [email protected] King Lear. Director: Bill Rauch. With Jack Willis/Michael Winters (King Lear), Daisuke Tsuji (Fool), Sofia Jean Gomez (Cordelia), and Armando Durán (Kent). The Taming of the Shrew. Director: David Ivers. With Ted Deasy (Petruchio), Neil Geisslinger (Kate), John Tufts (Tranio), and Wayne T. Carr (Lucentio). Cymbeline. Director: Bill Rauch. With Daniel José Molina (Posthumus), Dawn-Lyen Gardner (Imogen), and Kenajuan Bentley (Iachimo). A Midsummer Night's Dream. Director: Christopher Liam Moore. With Gina Daniels (Puck), and Brent Hinkley (Bottom). This was the 78th season of the Oregon Shakespeare Festival, and four of its eleven productions were Shakespeare plays: two were staged indoors (King Lear and The Taming of the Shrew) and two outdoors on the Elizabethan Stage/Allen Pavilion. This was the first season in which plays were performed indoors across the full season, and so both The Taming of the Shrew and King Lear had large numbers of performances. Nevertheless, according to the Mail Tribune, the non-Shakespeare plays drew larger audiences than Shakespeare this season: the plays staged outdoors fared especially poorly, and this is explained in part by the fact that four outdoor performances had to be cancelled because of 1 smoke in the valley, resulting in a loss of ticket income of around $200,000.1 King Lear King Lear was staged in the Thomas Theatre (previously the New Theatre), the smallest of the OSF theatres, and ran from February to November. -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
Comparing the Daughters in King Lear and a Thousand Acres
University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-4-2018 Reclaiming Independence: Comparing the Daughters in King Lear and A Thousand Acres Zachary Caldwell Follow this and additional works at: https://scholar.umw.edu/student_research Part of the English Language and Literature Commons Recommended Citation Caldwell, Zachary, "Reclaiming Independence: Comparing the Daughters in King Lear and A Thousand Acres" (2018). Student Research Submissions. 243. https://scholar.umw.edu/student_research/243 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. Caldwell 1 Zachary Caldwell Dr. Mathur ENGL 491 4 May 2018 Reclaiming Independence: Comparing the Daughters in King Lear and A Thousand Acres In his book, Shakespeare and Modern Popular Culture, Douglas Lanier analyzes how authors adapt Shakespeare to the current era and provides some methods that authors use to do so. Jane Smiley adopts two of these methods of reoriented and interpolated narrative in her novel, A Thousand Acres, to shift William Shakespeare’s patriarchal play, King Lear, into a feminist text through the perspective and actions of the three daughters, Ginny, Rose, and Caroline. Lanier explains that a reoriented narrative is one “in which the narrative is told from a different point of view” (83). A Thousand Acres shifts from the point of view centralized around King Lear to the eldest daughter in the novel, Ginny. An interpolated narrative is one “in which new plot material is dovetailed with the plot of the source” (Lanier 83), meaning that some plot points are added, subtracted, and/or altered from the original text. -
Download the King Lear Free Ebook
THE KING LEAR DOWNLOAD FREE BOOK William Shakespeare, Russell A. Fraser | 352 pages | 25 Jan 2002 | Pearson Education (US) | 9780451526939 | English | New Jersey, United States Shakespeare in lockdown: did he write King Lear in plague quarantine? Trump complained Democrats might exploit the news. All Episodes He refuses to accept her silent love as proof of her authentic love. Leir then fled to The King Lear, who reduced his entourage to only five men. Study Guide Ebook edition Our The King Lear guide has summaries, insightful analyses, and everything else you need to understand King Lear. King Lear: A Guide to the Playpp. The King Lear are frequently upgraded when they are not appropriately servile. Meanwhile, Edmund is determined to be recognised as a rightful The King Lear of Gloucester. The King Lear dating The King Lear inexact, but Geoffrey made Bladud a contemporary of the biblical prophet Elijah. By the end of the play, he is left with Albany to rule the kingdom. Mirror for magistrates: in five parts. Goneril, with whom Lear has gone to live, expresses her anger at Lear and his knights. Kent, searching for Lear, meets a Gentleman and learns that Lear and the Fool are alone in the storm. Warned by Edmund that his life is in danger, Edgar flees and takes the disguise The King Lear a Bedlam beggar. Lear rages against the elements while the Fool begs him to return to his daughters for shelter; when Kent finds…. Contents Characters in the Play. Since The King Lear father is blind, Edgar leads The King Lear despairing man to the coast and helps him along the journey to come to an acceptance of his life. -
The Nature of Cursing: Efficacy, Femininity and Revenge In
THE NATURE OF CURSING: EFFICACY, FEMININITY AND REVENGE IN SHAKESPEARE’S CURSES by Amanda Rose Echeverria Bitz A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English MONTANA STATE UNIVERSITY Bozeman, Montana May, 2013 ©COPYRIGHT by Amanda Rose Echeverria Bitz 2013 All Rights Reserved ii APPROVAL of a thesis submitted by Amanda Rose Echeverria Bitz This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dr. Gretchen Minton Approved for the Department of English Dr. Philip Gaines Approved for The Graduate School Dr. Ronald W. Larsen iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Amanda Rose Echeverria Bitz May, 2013 iv DEDICATION To Henry, who wiped my tears, picked me up, and never doubted. He is the half part of a blessed man, Left to be finished by such as she; And she a fair divided excellence, Whose fullness of perfection lies in him. -
Introduction
Notes Introduction 1. Ben Jonson, ‘Epitaph on S. P. a Child of Q. El. Chappel’, in Ben Jonson, ed. C. H. Herford, Percy Simpson and Evelyn Simpson, 11 vols (Oxford: Clarendon Press, 1925–52), VIII (1947), p. 77, ll. 1–5. Further references are given in the text. 2. For example, Michael Shapiro, Children of the Revels: The Boy Companies of Shakespeare’s Time and their Plays (New York: Columbia University Press, 1977), p. 104; Glynne Wickham, Herbert Berry and William Ingram, eds, English Professional Theatre, 1530–1660 (Cambridge: Cambridge University Press, 2000), p. 268. 3. See Claire Busse, ‘Pretty Fictions and Little Stories’, in Childhood and Children’s Books in Early Modern Europe, 1550–1800, ed. Andrea Immel and Michael Witmore (London: Routledge, 2006), pp. 75–102 (p. 75). 4. See David Kathman, ‘How Old Were Shakespeare’s Boy Actors?’, Shakespeare Survey, 58 (2005), 220–46 (p. 223). 5. See Philippe Ariès, Centuries of Childhood (New York: Vintage, 1962), pp. 36–7. 6. For ease of reference I will generally refer to ‘the Children of the Queen’s Revels’, but I will use the title appropriate to a particular historical moment when discussing a specific event. 7. See Shapiro, Children of the Revels, p. 104; Shen Lin, “How Old were the Children of Paul’s?”, Theatre Notebook, 45 (1991), 121–31. 8. See Linda Austern, ‘Thomas Ravenscroft: Musical Chronicler of an Elizabethan Theatre Company’, Journal of American Musicological Society, 38 (1985), 238–63; W. Reavley Gair, ‘Chorister-Actors at Paul’s’, Notes and Queries, 25 (1978), 440–1; Lin, p. -
Stage & Screen
STAGE & SCREEN Wednesday, April 28, 2021 DOYLE.COM STAGE & SCREEN AUCTION Wednesday, April 28, 2021 at 10am Eastern EXHIBITION Friday, April 23, Noon – 8pm Saturday, April 24, 10am – 6pm Sunday, April 25, Noon – 5pm Monday, April 26, 10am – 6pm And by Appointment at other times Safety protocols will be in place with limited capacity. Please maintain social distance during your visit. LOCATION Doyle Auctioneers & Appraisers 175 East 87th Street New York, NY 10128 212-427-2730 This Gallery Guide was created on (date) Please see addendum for any changes The most up to date information is available On DOYLE.COM Sale Info View Lots and Place Bids Doyle New York 1 6 CELESTE HOLM CELESTE HOLM Two Gold Initial Stickpins.14 kt., of the letters Celeste Holm's monogrammed luna mink "C" and "H" for Celeste Holm, signed Schubot, coat and cap. A floor length vintage fur coat, the ap. 3 dwts. interior labeled Robert Payne and the lining C The Celeste Holm Collection embroidered Celeste Holm. $300-500 C The Celeste Holm Collection $1,000-1,500 2 CELESTE HOLM Triple Strand Cultured Pearl Necklace with Gold and Garnet Clasp. Composed of three strands of graduated pearls ap. 9.5 to 6.5 mm., completed by a stylized flower clasp centering one oval garnet, framed by 7 round garnets, further tipped by 14 oval rose-cut garnets. Length 16 inches. C The Celeste Holm Collection $500-700 7 CELESTE HOLM Celeste Holm's monogrammed ranch mink 3 coat, hat and muffler. A three-quarter length CELESTE HOLM vintage fur coat, the interior labeled Robert Van Cleef & Arpels Gold, Cabochon Sapphire Payne and the lining with a label embroidered and Diamond Compact.