DOCSLIB.ORG

Romeo and Juliet Comparisons 212.84 KB

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Romeo and Juliet Comparisons 212.84 KB COMPARISONS Romeo and Juliet performed Matthew Bourne’s Romeo Romeo and Juliet by by the Royal Ballet, Romeo + Juliet directed by and Juliet William Shakespeare (the choreographed by Kenneth Baz Luhrmann Juliet & Romeo by Lost Dog original) MacMillan YEAR PRODUCED 2019 Circa 1594-1597 1965 1996 2018 GENRE Dance Theatre Play (Original Text) Classical Ballet Film Dance Theatre In the stark, antiseptic and Romeo and Juliet is a tragic unfeeling interior of the love story. Romeo Montague An American romantic crime Verona Institute young men and Juliet Capulet belong to tragedy. This film is an This show sets out to put the and women are stifled by a powerful feuding families adaptation and modernisation record straight and tell the repressive regime that and are therefore destined of Shakespeare’s original and ‘real’ story of Romeo and Juliet. dampens all spirits and to never be together. They appears as the second It turns out they didn’t die in a emotions. The inmates' lives meet by chance at a party instalment in Luhrmann's Red tragic misunderstanding in a are marked out by the mind- thrown by the Capulets, at Curtain Trilogy concept tomb in Verona after all. In fact, numbing rigours of daily which Romeo had gate- following Strictly Ballroom they eloped, set up home exercise, therapy and sleep. crashed with the hope of and preceding Moulin Rouge. together and produced a baby The male and female seeing Rosaline – the young Situated in a modern beach daughter, called Sophie. Now inmates are for the most woman he intends to marry. setting that is part decaying they find themselves all grown- part segregated. When It is love at first sight for Miami and part Mexico City, in up and in the grip of a marriage Romeo arrives he falls in the star-crossed lovers and a ‘world’ of Luhrmann’s he crisis. OVERVIEW love with the strong, Romeo and Juliet can think As per the original borrows aspects of its unique selfless and beautiful Juliet of no-one else except each visual style from such Feeling constantly mocked by straightaway. A brutal other from that point decades such as the 1940s, their teenage selves and institute guard, Tybalt is onwards. Juliet’s hand in 1970s, and 1990s It’s fast- haunted by the pressures of also captivated by her and marriage has been paced and full of cars and being the poster couple for she is the object of his promised to Paris, a suitor firearms. Here the Montague romantic love they decide to regular abuse. As tensions of her father’s choosing and the Capulet families are confront their current struggles within the institute rise, a however, which does not warring mafia empires. This by putting on a performance – scuffle breaks out and bode well for Romeo. Juliet is an era of dystopian about themselves. As it turns Mercutio is fatally wounded defies her father’s wishes dysfunctionality where drugs, out however, there memory of by a single shot from and turns to Friar Laurence guns and the breakdown of their past doesn’t always Tybalt’s gun. With Juliet for help knowing that civil society is the new match. leading the charge, and Romeo is her one true love. normal. with the full support of Friar Laurence concocts a Romeo and the other plan for Juliet to fake her residents, they set upon own death to get out of her Tybalt and Juliet strangles marriage to Paris. Then, him with his own belt. Life after the potion she has at the Verona Institute takes taken has worn off she will a turn for the worse and awaken and will be free to Romeo is put into solitary escape with Romeo. A confinement. Desperate, message detailing the Juliet seeks the help of Rev. arrangements fails to reach Bernadette Laurence so she Romeo though and he can be reunited with him. believes Juliet death is real. Whilst alone in his cell, Heartbroken he drinks Juliet becomes disorientated poison and takes his own and disturbed and believes life. When Juliet wakes from Tybalt is alive after all and her slumber she finds is looking for them. In the Romeo’s lifeless body and confusion that follows Juliet realises what has accidentally stabs Romeo. happened. In total grief she In grief at the loss of her also takes her own life, soulmate, Juliet takes her using Romeo’s dagger, and own life too. the lifeless bodies of the young lovers lay side by side. The Verona Institute, exact SETTING location not determined Verona, Italy As per the original Verona Beach, USA (fictional) An apartment in Paris (fictional) ERA The not too distant future 16th century As per the original Post-modern day Modern day Romeo (son of Senator and Romeo, son and heir of Lord Mrs Brie Montague) and & Lady Montague. High on ecstasy Romeo falls Juliet – both inmates at The Approximately 16 years of instantly in love with Juliet, Verona Institute. age he finds himself in the midst of two warring whom he has met by chance Juliet and Romeo - husband PRINCIPLE They are segregated by the families, though he is As per the original at a party he’s gate-crashed and wife pair both in their mid- CHARACTERS guards, with love and preoccupied with love rather with his cousin, Benvolio. It is 40’s and with a marriage in feeling discouraged. This than violence and is an not until later that they crisis. production also features intensely passionate and realise they belong to feuding Tybalt (the Guard), Benvolio, idealistic character. families. Mercutio and Balthasar (whom are in a Juliet is just 13 years of relationship). The role of age, and the daughter of Paris, as per the original, is Lord & Lady Capulet. She is switched to Frenchie and from an incredibly she is Juliet’s best friend. aristocratic family and up until the point she meets Romeo, has led a very protected existence and is rather naïve – though later shows great strength and maturity. Neither Friar Laurence, nor At the start of the ballet Lord & Lady Capulet appear Romeo is discovered in semi- in this production. darkness at the start of the ballet as Rosaline’s Prince Escalus is rewritten as The character of Rev. anonymous suitor. Rosaline is the police chief of Verona It is Juliet & Romeo’s therapist Bernadette Lawrence is a the niece of Lord Capulet and Beach and called Captain that has suggested they journey new character created for though she is an unseen Prince. The character Friar back in time to key moments in the New Adventure’s character within John does not appear in their relationship to help repair adaptation and is closely Shakespeare’s Romeo and Luhrmann’s adaptation and it. The audience (whom the PLOT TWISTS based on the part of the N/A Juliet, she is an important one some characters change performers address at times Nurse – Juliet’s confidante nonetheless. Romeo is deeply families such as Gregory and during the show) have been and supporter. in love with Rosaline at the Sampson who are Montagues invited to observe this latest start of the play and in Romeo + Juliet but were attempt at repairing their In Matthew’s production it dismayed his love for her in Capulets in the original. relationship, as laid-down by is Juliet who takes her own unrequited. He first spots their therapist. Juliet whilst trying to catch a life, in total devastation at glimpse of Rosaline at a Romeo’s death, rather than gathering hosted by the the other way around. Capulet family. INCLUDES ORIGINAL DIALOGUE? No dialogue used N/A No dialogue used Yes In parts New Adventures were given In Shakespeare’s time permission to create a more music would have been Composed in September 1935 Includes ‘Everybody’s Free (To Includes ‘Kissing You’ (Love intimate orchestration of more directly with the by Sergei Prokofiev for Feel Good)’ by Quindon Tarver, Theme from Romeo +Juliet) by MUSIC Sergei Prokofiev’s timeless performance on stage in the orchestra. The first recording ‘Talk Show Host’ by Des’ree (taken from Baz masterpiece, for Matthew sense that characters would of music from the ballet was Radiohead and ‘Lovefool’ by Luhrmann’s 1996 film), ‘The Bourne’s Romeo and Juliet. react to the sounds being made with the Moscow The Cardigans Sound of Silence’ by Simon and played, as opposed to Philharmponic Orchestra in Garfunkel and ‘Dance of the Terry Davies, Matthew’s having a full musical score 1938. Knights’ by Prokofiev. long-time collaborator and as is commonplace now. Associate Artist of New The choice of instruments Adventures, created a score would have been somewhat for a small chamber limited, but it is thought orchestra of 15 musicians. that Shakespeare’s A re-imagination of tragedies and history plays Prokofiev’s work from the would often use trumpets ground up, Terry created an and drums for ceremonial acoustic sound-world that sounds and certain wind is simple and at times instruments being used to fragile and necessitates for suggest danger or each player to use two or foreboding. three different instruments each. Romeo and Juliet also includes a song as text CLICK HERE to watch within the play: "When Matthew Bourne and Griping Griefs". Conductor, Dan Jackson, talk about the music of Romeo and Juliet Inspired by the legacy of In 1965, MacMillan's Romeo During the ball scene, which New Adventures’ production and Juliet was given its is a huge party thrown by the Whilst the choreography is a premiere at Covent Garden by Capulets each character is set-piece, the dialogue between Lord of the Flies that the two performers (whilst engaged over 8,000 young The Royal Ballet and was an dressed in a fancy-dress men and boys in 2014, immediate success.
Load more

Recommended publications
  • Criseydanconversations5.Pdf (51.42Kb)
    5 Books IV and V: Exchange and Inconstancy Following the consummation scene and close of Book III, the figure of Criseyde spirals downward to her fate as the exemplar of inconstancy and fickleness as she has come to be known. In Book IV the affair of Troilus and Criseyde moves beyond the private space and into the realm of public politics. Pandarus’ “zone of private power,” as Sarah Stanbury calls it, is shattered, and his control is severed. So, too, we witness the narrator’s own unraveling under the weight of impending scenes which he seemingly wishes not to render. But Criseyde continues to be the hinge on which the story pivots, and it is on her actions, as always, the outcome seemingly depends. Elizabeth Archibald (“Declarations of ‘Entente’ in Troilus and Criseyde”) continues her study of ‘entente’ in Book IV, in which she argues “every use of the word is connected to Criseyde’s intentions and decisions” (203). In fact, she states, “Criseyde’s ‘entente’ is the focus of Book IV, and by the end of the book the narrator gives us clear indications that we are to take Criseyde’s intentions as ephemeral and untrustworthy” (205). Troilus determines to accept Criseyde’s desires in her trade to the Greeks: For which he gan deliberen, for the beste, That though the lordes wolde that she wente, He wolde lat hem graunte what hem leste, And telle his lady first what that they mente; And whan that she hadde seyd hym hire entente, Therafter wolde he werken also blyve, 70 Theigh al the world ayeyn it wolde stryve.
    [Show full text]
  • Download PDF 928.08 KB
    Devils to Ourselves An analysis of the humanistic pessimism that links Chaucer’s Troilus and Criseyde to Shakespeare’s Troilus and Cressida as well as Romeo and Juliet Juliette Mann Submitted in Partial Fulfillment of the Prerequisite for Honors in English Literature under the advisement of Cord Whitaker April 2017 2017 Juliette Mann 1 Table of Contents: Dedication and Acknowledgements (Page 3) Chapter 1: Troilus and Troilus: An examination of the flawed nature of Chaucer’s and Shakespeare’s respective heroes (Page 13) Chapter 2: Criseyde and Cressida: How differing depictions of “falsehood” shape Shakespeare’s and Chaucer’s respective morals (Page 30) Chapter 3: Redemption from Chaucer to Shakespeare An analysis of religious morals in Troilus and Criseyde and Romeo and Juliet (Page 47) Chapter 4: Romeo and Juliet to Troilus and Cressida A discussion of how ideals of love and life shift within Shakespeare’s own work (Page 60) Conclusion (Page 78) Bibliography (Page 81) 2 For D.R.M. I would like to acknowledge the work of my advisor, Professor Cord J. Whitaker, and thank him for his tireless work on my behalf. Without his advice and direction, this work would not exist. Thank you as well, to Professor Yu Jin Ko and Professor William Cain, for their comments which ultimately helped shape my final draft. Thank you once more to Professor Ko for first introducing me to Troilus and Cressida, and to my Oxford tutor, Laura Ashe, for the endless inspiration. 3 Although Chaucer and Shakespeare lived and wrote roughly 200 years apart, they both managed to produce works that set the precedent for tragedy and romance.
    [Show full text]
  • Book Iii Troilus and Criseyde Book Iii
    BOOK III TROILUS AND CRISEYDE BOOK III BOOK III Invocation to Love 1. O blissful light, of which the beam•s clear Adorneth all the third• heaven fair; 1 O Sun's lief, O Jov•'s daughter dear, beloved of the Sun Pleasance of love, O goodly debonair, Pleasure / benign (one) In gentle hearts ay ready to repair, always ready to dwell O very cause of heal and of gladness, health Y-heried be thy might and thy goodness. praised 2. In heaven and hell, in earth and salt• sea Is felt thy might, if that I well discern, As man, bird, beast, fish, herb and green• tree Thee feel in tim•s with vapour etern. 2 influence, power God loveth, and to lov• will not wern; won't forbid And in this world no liv• creäture Withouten love is worth or may endure. is worth [anything] 3. You fierc• Mars appeasen of his ire, You placate M. And as you list you maken heart•s dign; as you wish / worthy Algat•s them that you will set a-fire Always They dreaden shame, and vices they resign; You do them courteous be, fresh and benign, You make them 1 In medieval astronomy Venus, to whom this invocation is addressed, occupied the third of the seven spheres. She is also, of course, the lover of Mars and goddess of love, the spirit of love that affects all things in Nature. Taken in part from Boccaccio, the invocation is ultimately derived from Boethius, the late classical / early medieval Christian philosopher who celebrated the power of Love (though not Venus) which holds all of God's creation together.
    [Show full text]
  • 2017-2018 Undergraduate Catalog
    UNDERGRADUATE CATALOG — 2017-2018 — Converse College Undergraduate Catalog 2017-2018 “I certify that this catalog is true and correct in content and policy and states progress requirements for graduation.” Signature of Authorized Official Name: Krista Newkirk J.D. Title: President Converse College does not discriminate in admissions or employment on the basis of race, color, sex, national or ethnic origin, age, sexual orientation, religion or disability. Converse admits only women to undergraduate programs and services in accordance with its historical mission. VISITORS Converse College welcomes visitors. Administrative offices in Wilson Hall, Carmichael Hall, Blackman Music Hall, and the Carnegie Building are open from 8:30 am to 5:00 pm Monday through Friday. (Summer hours: 8:00 am – 5:00 pm; College closes at 1:00 pm on Fridays.) Those who wish an interview with members of the staff are urged to make appointments in advance of their visit. Telephone 864.596.9000. Revised on July 2016 Table of Contents Converse College Calendar ..................................................................... 1-2 The Founder’s Ideal .................................................................................... 3 The College ............................................................................................. 4-7 Admissions .............................................................................................. 8-9 Fees and Financial Assistance .............................................................10-22 Academic Life ......................................................................................23-28
    [Show full text]
  • Transforming Lovers and Memorials in Ovid and Marie De France
    TRANSFORMING LOVERS AND MEMORIALS IN OVID AND MARIE DE FRANCE SunHee Kim Gertz Late medieval authors were fascinated by classical literature, by what for all practical purposes functioned as the literary canon for readers and writers of the twelfth through the fourteenth centuries. As made clear by earlier scholarship — which often, however, interpreted medieval reception of classi­ cal literature as badly understood — medieval writers did not simply honour or completely authorize their predecessors. Indeed, more comfortable with the idea of tradition than slavish imitators Eire, medieval poets transformed classical texts in any number of ways, often feeling at liberty to change even critical narrative elements in the process. They did so, apparently, for differ­ ent purposes, but one of the most interesting, it seems to me, was to explore what writing meant in their own literary circles. Reading and Transformation: Marie de France and Ovid Against what intuitively seems likely, such transformations of classical ma­ terial often occur in narratives that only subtly invoke literary ancestors and that (unlike, for instance, the romans antiques) do not owe an obvious debt of plot and characters to their predecessors. The twelfth-century lais of Marie de France offer particularly good examples, especially since her narra­ tor evinces an awareness of borrowing from the past. Indeed, she announces in the General Prologue that she will avoid mapping her own writing onto Latin (and hence, authoritative) narratives: comen;ai a penser D’aukune bone estoire faixe E de latin en romaunz traire; Mais ne me fust gil aires de pris [. .] Des lads pensai, k’o'iz aveie [.
    [Show full text]
  • Chaucer's Troilus and Shakespeare's Troilus
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Eastern Illinois University Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1989 Chaucer's Troilus and Shakespeare's Troilus: A Comparison of Their eclinesD Laura Devon Flesor Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Flesor, Laura Devon, "Chaucer's Troilus and Shakespeare's Troilus: A Comparison of Their eD clines" (1989). Masters Theses. 2408. https://thekeep.eiu.edu/theses/2408 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. · Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion
    [Show full text]
  • "The Double Sorwe of Troilus": Experimentation of the Chivalric
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2019 "The oubleD Sorwe of Troilus": Experimentation of the Chivalric and Tragic Genres in Chaucer and Shakespeare Rena Patel Scripps College Recommended Citation Patel, Rena, ""The oubD le Sorwe of Troilus": Experimentation of the Chivalric and Tragic Genres in Chaucer and Shakespeare" (2019). Scripps Senior Theses. 1281. https://scholarship.claremont.edu/scripps_theses/1281 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “THE DOUBLE SORWE OF TROILUS”: EXPERIMENTATION OF THE CHIVALRIC AND TRAGIC GENRES IN CHAUCER AND SHAKESPEARE by RENA PATEL SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR TESSIE PRAKAS PROFESSOR ELLEN RENTZ DECEMBER 14, 2018 Table of Contents Introduction 4 “Litel myn tragedie”: Tragedy in Chaucer’s Chivalric Romance 6 “’Tis but the chance of war”: Chivalry Undermining Shakespeare’s Tragedy 11 “So thenk I n’am but ded, withoute more”: Tragedy of Chivalric Fidelity 15 “Will you walk in, my lord?”: Shakespeare’s Performative Sham of Love 24 “True as Troilus, False as Cressid”: The Endings of Troilus 32 Conclusion 35 Bibliography 37 2 Acknowledgements First and foremost, I would like to offer my deepest admiration and appreciation to Professor Tessie Prakas, without whom this thesis would have never seen the light of day. Her enthusiasm and guidance has been invaluable not just in regards to the writing process, but also in all aspects of my time at Scripps.
    [Show full text]
  • A. K. Professor Obermeier English 351-001 7 December 2004 Lies, Deception, and Criseyde's Heart Chaucer's Troilus and Crisey
    A. K. Professor Obermeier English 351-001 7 December 2004 Lies, Deception, and Criseyde’s Heart Chaucer’s Troilus and Criseyde is a complicated and intricate tale of love, passion and despair. Each character realized by Chaucer’s pen takes on a vibrant and flashy life, attracting the reader to their stories and emotions. One of the more intriguing aspects of the poem is its dedication to those who have been betrayed by love. This passage, which logically should be addressed to men, is instead addressed “moost for women that bitraised be / Trough false folk... / ...with hire grete wit and subtitle” (5.1780-1782). Furthermore, that the work is described as “litel myn tragedye” (5.1786) leads the reader to question whose tragedy the work is. As the tale progresses, it becomes clear that Criseyde did not maliciously betray her beloved as tradition asserts. A deeper reading reveals that Criseyde is perhaps the greatest victim of the story, constantly afflicted by the machinations of those around her. The tragedy of Troilus and Criseyde, then, is the constant manipulation and deception visited upon Criseyde, which drives her to give her heart first to Troilus then to Diomede. The central theme of this work is the love between Troilus and Criseyde. The intensity of their love reminds the reader of other famous lovers throughout history, and seems to evoke the same notions of star-crossed love. Closer inspection reveals that this love, however strong, has its roots in fear and lies. For whatever reason, when the god of Love strikes Troilus and “bigan his fetheres so to lyme” (1.353), he finds himself incapable of wooing Criseyde himself, necessitating a go-between: Criseyde’s uncle Pandarus.
    [Show full text]
  • Chaucer's Depiction of Women in Troilus and Criseyde
    DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 4-2020 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Follow this and additional works at: https://scholarship.depauw.edu/studentresearch Part of the Literature in English, British Isles Commons Recommended Citation Balis, Vanessa, "Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde" (2020). Student research. 133. https://scholarship.depauw.edu/studentresearch/133 This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. Balis 1 Friend or Foe: Chaucer’s Depiction of Women in Troilus and Criseyde Vanessa Balis DePauw University Honor Scholar Program Class of 2020 Primary Thesis Sponsor: Dr. Amity Reading Committee Members: Dr. Nicole Lobdell and Dr. Jonathan Nichols-Pethick Balis 2 Abstract Often considered the father of English poetry, Geoffrey Chaucer (ca. 1340s-1400 CE) produced a number of famous poems during his lifetime, the most famous arguably being The Canterbury Tales. But another of his works, Troilus and Criseyde, is often considered the best example of both his poetic ability and his creative use of sources.1 In this thesis, I will be considering whether Chaucer supports or subverts a patriarchal social structure, specifically by looking at his representation of women in Troilus and Criseyde in comparison to his source Giovanni Boccaccio’s Il Filostrato.
    [Show full text]
  • Narrative Control in Chaucer's Troilus and Criseyde
    Bard College Bard Digital Commons Senior Projects Fall 2020 Bard Undergraduate Senior Projects Fall 2020 Narrative Control in Chaucer's Troilus and Criseyde Liam Ainslie Mayo Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2020 Part of the Literature in English, British Isles Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License Recommended Citation Mayo, Liam Ainslie, "Narrative Control in Chaucer's Troilus and Criseyde" (2020). Senior Projects Fall 2020. 11. https://digitalcommons.bard.edu/senproj_f2020/11 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Fall 2020 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. Narrative Control in Chaucer’s Troilus and Criseyde Senior Project Submitted to The Division of Languages and Literature of Bard College by Liam Mayo Annandale-on-Hudson, New York December 2020 2 Acknowledgements To Professor Marisa Libbon, for being a constant presence throughout my time at Bard, always there with support, encouragement, and incredibly sage literary advice. I can’t thank you enough for everything you’ve taught me about Middle English specifically and scholarship more generally - this project would not have been possible without you. To Professor Adhaar Noor Desai, for teaching me to think in new ways about the construction of characters and the social implications of literature. This project would not be nearly what it is without your insight.
    [Show full text]
  • Chaucer's Troilus and the Medieval Tradition of Love
    DIVINE INTERVENTION OR DEADLY DISEASE? CHAUCER'S TROILUS AND THE MEDIEVAL TRADITION OF LOVE by Amanda Brizendine A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Bachelor of Arts in English with Distinction. Spring 2010 Copyright 2010 Amanda Brizendine All Rights Reserved DIVINE INTERVENTION OR DEADLY DISEASE? CHAUCER'S TROILUS AND THE MEDIEVAL TRADITION OF LOVE by Amanda Brizendine Approved:_____________________________________________________________ James Dean, Ph.D. Professor in charge of the thesis on behalf of the Advisory Committee Approved:_____________________________________________________________ Bernard McKenna, Ph.D. Committee member from the Department of English Approved:_____________________________________________________________ John Montano, Ph.D. Committee member from the Board of Senior Thesis Readers Approved:_____________________________________________________________ Ismat Shah, Ph.D. Chair of the University Committee on Student and Faculty Honors ACKNOWLEDGMENTS There are many people who have helped me in my thesis writing experience, several of whom have been with me from the start to the finish, from Primer to Fin. My thesis group sat through many discussions and presentations, watching the same research being presented repeatedly but always managing to find an interesting question to ask or helpful suggestion to offer. My mother endured many phone calls with “Do you think this makes sense?” and “What word means ‘this’ but isn’t ‘that’?” For her help and dedication I will be forever grateful. My second and third readers, Professor McKenna and Professor Montano, have also been vital in this process. Both have provided me with valuable insight into my project and were guiding hands along the way.
    [Show full text]
  • Shakespeare Adapting Chaucer: “Myn Auctour Shal I Folwen, If I Konne”
    UNLV Theses, Dissertations, Professional Papers, and Capstones 8-2010 Shakespeare adapting Chaucer: “Myn auctour shal I folwen, if I konne” Scott A. Hollifield University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Cultural History Commons, Intellectual History Commons, Literature in English, British Isles Commons, and the Medieval History Commons Repository Citation Hollifield, Scott A., "Shakespeare adapting Chaucer: “Myn auctour shal I folwen, if I konne”" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 891. http://dx.doi.org/10.34917/2240849 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. SHAKESPEARE ADAPTING CHAUCER: ―MYN AUCTOUR SHAL I FOLWEN, IF I KONNE‖ by Scott Allan Hollifield Associate of Arts Macomb Community College 1993 Bachelor of Arts Wayne
    [Show full text]