Meditating the Macbeths
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Piteous Massacre’: Violence, Language, and the Off-Stage in Richard III
Journal of the British Academy, 8(s3), 91–109 DOI https://doi.org/10.5871/jba/008s3.091 Posted 15 June 2020 ‘Piteous massacre’: violence, language, and the off-stage in Richard III Georgina Lucas Abstract: Shakespeare regularly stages extreme violence. In Titus Andronicus, Chiron and Demetrius are baked in a pie and eaten by their mother. Gloucester’s eyes are plucked out in King Lear. In contradistinction to this graphic excess are moments when violence is relegated off-stage: Macbeth kills King Duncan in private; when Richard III suborns the assassination of his nephews—the notorious ‘Princes in the Tower’—the boys are killed away from the audience. In such instances, the spectator must imagine the scope and formation of the violence described. Focussing on Richard III, this article asks why Shakespeare uses the word ‘massacre’ to express the murder of the two princes. Determining the varied, and competing, meanings of the term in the 16th and 17th centuries, the article uncovers a range of ways an early audience might have interpreted the killings—as mass murder, assassination, and butchery—and demonstrates their thematic connections to child-killing across the cycle of plays that Richard III concludes. Keywords: Shakespeare, massacre, Richard III, off-stage violence, child-killing. Notes on the author: Georgina Lucas is Lecturer in Shakespeare and Renaissance Literature in the School of Arts, English and Languages at Queen’s University, Belfast. Her research focusses upon the representation of mass and sexual violence on the early modern stage, and the performance and reception of Shakespeare during and after acts of atrocity. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis. -
Lady Macbeth, the Ill-Fated Queen
LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from -
William Shakespeare As a Psychologist: a Study of the Supernatural Agency in Macbeth
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) William Shakespeare As A Psychologist: A Study of The Supernatural Agency in Macbeth Written By: - Prithvi Raj, Lecturer in English, Govt. Sr. Sec. School, Gurera Distt Bhiwani (Haryana) Macbeth: The Tragedy of Macbeth is a play by William Shakespeare. It is the tragedy about a regicide and its aftermath. It is Shakespeare's shortest tragedy. The first act opens in thunder and lightning with the three witches. They decide that their next meeting shall be with Macbeth. The three Witches appear to greet them with prophecies. Both Macbeth and Banquo are surprised and horrified to see them. The first witch hails Macbeth as "Thane of Glamis,” the second as "Thane of Cawdor,” and the third proclaims that he shall "be King hereafter.” Instantly, Ross, a messenger of the King, arrives and informs Macbeth about his new title: Thane of Cawdor. The first prophecy has thus fulfilled. It gives thought to Macbeth for getting position of king. Macbeth writes to his wife and informs about three witches with prophecies. Coincidently Duncan decides to spend one night in the Macbeth's castle. Lady Macbeth makes a plan to murder the king. Since, she wants to secure the throne of the king for her husband, Macbeth. Although, Macbeth does not like to murder the king, however Lady Macbeth agrees him for this cruelty. On the night of the king's visit, Macbeth kills Duncan. The audiences do not see the misdeed of murder. In accordance with her plan, “Lady Macbeth frames ………..Thane of Fife, arrives.”[1] In a feigned fit of anger, Macbeth also murders the guards before they can protest their innocence. -
Sensory Witchcraft in Shakespeare's <I>Antony and Cleopatra</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of Spring 4-20-2020 "You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth Hannah Kanninen University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Kanninen, Hannah, ""You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth" (2020). Dissertations, Theses, and Student Research: Department of English. 162. https://digitalcommons.unl.edu/englishdiss/162 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH by Hannah Kanninen A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Julia Schleck Lincoln, Nebraska May, 2020 “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH Hannah Kanninen, M.A. University of Nebraska, 2020 Advisor: Julia Schleck Scholarship on witches and witchcraft within Shakespeare’s plays has been a popular subject for many scholars. But one of Shakespeare’s most famous characters has not yet been integrated into this scholarship: Cleopatra from Antony and Cleopatra. -
King James's Daemonologie: the Evolution of the Concept Of
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea King James’s Daemonologie: the evolution of the concept of witchcraft in Scotland Relatore Laureando Prof. Alessandra Petrina Stefano Melta n° matr.1038982 / LMLCC Anno Accademico 2018 / 2019 1 Table of Contents FOREWORD ...................................................................................................................... 5 CHAPTER I: The Scottish social and political situation in the second half of the sixteenth century............................................................................................................................... 13 I.I. A social geography of the Reformation in Scotland .......................................... 13 I.II. Witchcraft as an enemy of the State ................................................................... 17 I.III. The shaping of the new Kirk and the concept of authority ................................ 21 CHAPTER II: Biographical background .......................................................................... 25 II.I The political situation in the 70s and 80s ........................................................... 28 II.II Marriage and witches ......................................................................................... 35 CHAPTER III: The books behind Daemonologie ............................................................ 41 CHAPTER IV: Daemonologie -
(Mtyp) Manitoba Theatre for Young People
Running head: (MTYP) MANITOBA THEATRE FOR YOUNG PEOPLE An Inquiry into the History of the Manitoba Theatre for Young People: Its Role and Impact on Education in Manitoba Joy Beauchamp A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of Master of Education Department of Curriculum, Teaching and Leaming University of Manitoba December 2004 @ Copyright by Joy Beauchamp 2004 THE UM\iERSITY OF MA,NITOBA FACULTY OF GRÄDUATE STUDMS COPYRIGHT PERMISSION PAGE An Inquiry into the History of the Manitoba Theatre for Young Peoplel Its Role and Impact on Education in Manitoba BY Joy Beauchamp A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfiIlment of the requirements of the degree of MASTER OF EDUCATION JOY BEAUCIIÄMP @2004 Permission has been granted to the Library ofThe University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfìlm Inc, to publish an âbstract 0f this thesis/practicum. The author reserves other publication rights, and neither this thesis/practicum nor extensive extracts from it may be printed or otherwise reproduced \v¡thout the author's Ìyritten permission, Table of Contents List ofTables .......... vii Acknowledgnents ...... .........viii Abstract ........ ix Chapter 1: lntroduction and Overview ..........1 Setting the Context .........1 Purpose ofthe Study . 3 A Historical Inquiry Approach . ..........3 Delimitations ............4 Definitions .......6 Chapter 2: The Literature Review ... ..........8 Manitoba's 'Young' Theatre . .......13 The Changing View of the Child and Development in Children's Theatre . -
From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908
From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908. Betts, Eleanor Frances Winifred The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author. For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/11902 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] From Juvenile Delinquent to Boy Murderer: Understanding Children Who Killed, 1816-1908. Eleanor Frances Winifred Betts Submitted in partial fulfilment of the requirements of the Degree of Doctor of Philosophy 1 Statement of Originality I, Eleanor F. W. Betts, confirm that the research included within this thesis is my own work or that where it has been carried out in collaboration with, or supported by others, that this is duly acknowledged below and my contribution indicated. Previously published material is also acknowledged below. I attest that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge break any UK law, infringe any third party’s copyright or other Intellectual Property Right, or contain any confidential material. I accept that the College has the right to use plagiarism detection software to check the electronic version of the thesis. I confirm that this thesis has not been previously submitted for the award of a degree by this or any other university. -
Staging Executions: the Theater of Punishment in Early Modern England Sarah N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Staging Executions: The Theater of Punishment in Early Modern England Sarah N. Redmond Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY THE COLLEGE OF ARTS AND SCIENCES “STAGING EXECUTIONS: THE THEATER OF PUNISHMENT IN EARLY MODERN ENGLAND” By SARAH N. REDMOND This thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2007 The members of the Committee approve the thesis of Sarah N. Redmond, Defended on the 2nd of April, 2007 _______________________ Daniel Vitkus Professor Directing Thesis _______________________ Gary Taylor Committee Member _______________________ Celia Daileader Committee Member Approved: _______________________ Nancy Warren Director of Graduate Studies The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS I would like to thank my major professor, Dr. Daniel Vitkus, for his wonderful and invaluable ideas concerning this project, and Dr. Gary Taylor and Dr. Celia Daileader for serving on my thesis committee. I would also like to thank Drs. Daileader and Vitkus for their courses in the Fall 2006, which inspired elements of this thesis. iii TABLE OF CONTENTS List of Figures . v Abstract . vi INTRODUCTION: Executions in Early Modern England: Practices, Conventions, Experiences, and Interpretations . .1 CHAPTER ONE: “Blood is an Incessant Crier”: Sensationalist Accounts of Crime and Punishment in Early Modern Print Culture . .11 CHAPTER TWO “Violence Prevails”: Death on the Stage in Kyd’s The Spanish Tragedy and Middleton’s The Revenger’s Tragedy . -
Murder in Families
U.S. Department of Justice Office of Justice Programs Bureau of Justice Statistics Bureau of Justice Statistics Special Report Murder in Families By John M. Dawson • When a son killed a parent, his victim and Patrick A. Langan, Ph.D. July 1994 was about as likely to be the mother as the BJS Statisticians father: 47% mothers versus 53% fathers. The United States has over 3,000 But when a daughter killed a parent, her A survey of murder cases disposed counties, but more than half of all victim was more likely to be the father than in 1988 in the courts of large urban murders occur in just 75 of them, the the mother: 81% fathers versus 19% counties indicated that 16% of murder Nation’s mort populous jurisdictions. mothers. victims were members of the defendant's This report taps a rich source of murder family. The remainder were murdered by data — prosecutors’ files in a sample of • In murders of persons under age 12, the friends or acquaintances (64%) or by these large urban places — for detailed victims' parents accounted for 57% of the strangers (20%). These findings are drawn information on the nature and extent of murderers. from a representative sample survey of a particular type of murder: those that State and county prosecutors' records. occur within families. In addition, the • Eleven percent of all victims age The survey covered disposed charges report uses these files justice systems 60 or older were killed by a son or against nearly 10,000 murder defendants, respond to family murder. -
SENTAC Benchbook
SENTAC Delaware Sentencing Accountability Commission Benchbook 2020* *INCLUDES RELEVANT LEGISLATION OF THE FIRST SESSION OF THE 150th GENERAL ASSEMBLY Benchbook 2020 1 SUMMARY OF PRESUMPTIVE SENTENCES Crime Classification Presumptive Sentence Statutory Page Ref. Felonies Class A (Other than Murder) 15 yrs @ Level V 15 yrs. to Life 28 Class B 2 to 5 yrs (1st 2 yrs @ Level V) 2 to 25 yrs 31 Class C (Violent) Up to 30 m @ Level V up to 15 yrs 37 Class C (Nonviolent) Up to 1 yr @ Level V up to 15 yrs 41 Class D (Violent) Up to 2 yrs @ Level V up to 8 yrs 43 Class D (Nonviolent) Up to 12 m @ Level II or III up to 8 yrs 47 Class E (Violent) Up to 15 m @ Level V up to 5 yrs 49 Class E (Nonviolent) Up to 12 m @ Level II up to 5 yrs 53 Class F (Violent) Up to 9 m @ Level V up to 3 yrs 57 Class F (Nonviolent) Up to 12 m for Title 11; up to 3 yrs 60 Up to 18 m for Title 16 @ Level II Class G (Violent) Up to 6 m @ Level V up to 2 yrs 64 Title 16, §§4767,4768: 3-9 m @ Level V Class G (Nonviolent) Up to 12 m @ Level II up to 2 yrs 67 Misdemeanors Class A (Violent) MA1 Up to12 m @ Level II up to 1 yr 72 Class A (Escape) MA2 Up to 3 m @ Level IV up to 1 yr 74 Class A (Property) MA3 Up to 12 m @ Level I up to 1 yr 75 Class A (Order/Decency) MA4 Up to 12 m @ Level I up to 1 yr 77 Class A (Controlled substances) 1st offense 12m @Level II up to 1 yr 80 Class B Fine, Costs & Restitution up to 6 m.