“Steven Bochco Could Kick Shakespeare's Ass”. the Simpsons
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177 © the Author(S) 2020 J. H. Pope, Shakespeare's Fans, Palgrave
INDEX1 NUMBERS AND SYMBOLS Amateur, 7, 8, 11, 16, 27, 46, 46n17, 10 Things I Hate About You, 26, 52, 54, 60, 69, 72, 72n14, 74, 33–63, 68, 108, 149 82–84, 87–89, 169 Anachronism, 26, 34, 122–124, 172 Anonymity, 120 A Anonymous, 71, 72, 91, 174 Actor, 2, 4, 8, 10, 20, 26, 28, 34, 46, Anti-fandom, 74, 173, 174, 174n9 48, 54, 58, 62, 79, 83, 104, 121, Anti-Midas, 55n57 124, 133–136, 136n4, 138–143, Appropriation, 33, 40n8, 67–69, 147–152, 148n37 81n47, 85 Adaptation, 9–11, 13–17, 19, Arcadia, 76 33, 36, 61, 67, 68, 77–79, Archive, 3, 24, 25, 71, 87, 100, 101, 80n45, 88–90, 94, 100, 103, 105, 108, 112, 114, 115, 119, 104, 107, 108, 110, 124, 127, 154, 169, 171, 171n3, 172 133, 148, 153, 162, 164, Archive of Our Own (AO3), 100, 171–173, 174n9 101, 110, 112, 113, 115, Affect, 26, 33–63, 85, 118 117n42, 119, 120, 128n62, 133, The Alchemist, 8 141, 145, 155, 163 All is True, 144 Aristophanes, 140 Allusion, 47, 61, 80, 107, Arthurian literature, 19 113, 116, 151, 153, 157, As You Like It, 79, 138, 159 159, 164 Atwood, Margaret, 17, 18 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2020 177 J. H. Pope, Shakespeare’s Fans, Palgrave Studies in Adaptation and Visual Culture, https://doi.org/10.1007/978-3-030-33726-1 178 INDEX Austen, Jane, 23, 75, 115, 170–171 The Cobler of Preston (Charles Authenticity, 41, 54, 81, 106, 149, Johnson), 78 150, 154, 164 The Cobler of Preston (Christopher Authority, 16, 21, 27, 38, 39, 41–44, Bullock), 78 67, 70, 73, 74, 91, 92, 94, 95, Cohen, Ethan, 156 120, 152, 154n55, 162, 164, 170 Cohen, Joel, -
A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature. -
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Die Flexible Welt Der Simpsons
BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ................................................................................................... -
Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die
H O S n o t p U e c n e d u r P Saturday, October 7, 201 7, 8pm Zellerbach Hall Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Matt Groening , creator and executive producer Simpsons , Futurama, and Life in Hell . Groening of the Emmy Award-winning series The Simp - has launched The Simpsons Store app and the sons , made television history by bringing Futuramaworld app; both feature online comics animation back to prime time and creating an and books. immortal nuclear family. The Simpsons is now The multitude of awards bestowed on Matt the longest-running scripted series in television Groening’s creations include Emmys, Annies, history and was voted “Best Show of the 20th the prestigious Peabody Award, and the Rueben Century” by Time Magazine. Award for Outstanding Cartoonist of the Year, Groening also served as producer and writer the highest honor presented by the National during the four-year creation process of the hit Cartoonists Society. feature film The Simpsons Movie , released in Netflix has announced Groening’s new series, 2007. In 2009 a series of Simpsons US postage Disenchantment . stamps personally designed by Groening was released nationwide. Currently, the television se - Lynda Barry has worked as a painter, cartoon - ries is celebrating its 30th anniversary and is in ist, writer, illustrator, playwright, editor, com - production on the 30th season, where Groening mentator, and teacher, and found they are very continues to serve as executive producer. -
SIMPSONS to SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M
CONTEMPORARY ANIMATION: THE SIMPSONS TO SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M. Social Work 134 Instructor: Steven Pecchia-Bekkum Office Phone: 801-935-9143 E-Mail: [email protected] Office Hours: M-W 3:00 P.M.-5:00 P.M. (FMAB 107C) Course Description: Since it first appeared as a series of short animations on the Tracy Ullman Show (1987), The Simpsons has served as a running commentary on the lives and attitudes of the American people. Its subject matter has touched upon the fabric of American society regarding politics, religion, ethnic identity, disability, sexuality and gender-based issues. Also, this innovative program has delved into the realm of the personal; issues of family, employment, addiction, and death are familiar material found in the program’s narrative. Additionally, The Simpsons has spawned a series of animated programs (South Park, Futurama, Family Guy, Rick and Morty etc.) that have also been instrumental in this reflective look on the world in which we live. The abstraction of animation provides a safe emotional distance from these difficult topics and affords these programs a venue to reflect the true nature of modern American society. Course Objectives: The objective of this course is to provide the intellectual basis for a deeper understanding of The Simpsons, South Park, Futurama, Family Guy, and Rick and Morty within the context of the culture that nurtured these animations. The student will, upon successful completion of this course: (1) recognize cultural references within these animations. (2) correlate narratives to the issues about society that are raised. -
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. -
From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1. -
Seven Ladies Macbeth
Seven Ladies Macbeth by Michael Bettencourt 67 Highwood Terrace #2, Weehawken NJ 07086 201-770-0770 • 347-564-9998 • [email protected] http://www.m-bettencourt.com Copyright © by Michael Bettencourt Offered under the Creative Commons Attribution-Share Alike License http://creativecommons.org/licenses/by-sa/3.0/ DESCRIPTION What came before Lady Macbeth became Lady Macbeth? CHARACTERS • GRUOCH (later, Lady Macbeth) • ELFRIDA (mother of Lady Macbeth)/DUNCAN/GENTLEWOMAN • SOLDIER/GILLACOMGAIN (first husband)/MACBETH’s SQUIRE/DOCTOR/MACDUFF • MACBETH • NURSE/BISHOP/SINT (can be played by a male or female) • CHORUS OF CROWS/GRUOCH’S ATTENDANTS/THE 3 WITCHES CHORUS will wear half-masks made to look like crows. There is nothing but interpretation. * * * * * Scene 1: First Lady Blackness. In the blackness, the sound of ELFRIDA, the queen, in carnal delight and distress—a rising wail halfway between pleasure and lamentation, with a final crescendo halfway between pleasure and a snarl. As this happens, a light up on young GRUOCH. When ELFRIDA is finished, a light up on ELFRIDA slipping on a simple rough cotton caftan. They sit apart, at some distance. They hold each other’s gaze, then GRUOCH looks away. ELFRIDA: Gruoch? We named you Gruoch—I don’t know why. I don’t think you can change it. The name sounds like it crawled out of the throats of crows. Would you like me to remember for you how your world began? Well? Not that you have many memories— GRUOCH: I heard—it—them—the screams—your screams—they—shook me—as I— SEVEN LADIES MACBETH • Page 1 GRUOCH makes a sliding motion with her hand: slipping out of the womb. -
When Culture Meets Couture Designer Lee Lapthorne to Create Bespoke Pieces of Furniture Inspired by Shakespeare
Press Release 7 January 2019 When Culture Meets Couture Designer Lee Lapthorne to create bespoke pieces of furniture inspired by Shakespeare One of the UK’s leading creative talents, Lee Lapthorne has been selected as the new Artist-in- Residence at the Shakespeare Birthplace Trust, the independent charity which cares for the five Shakespeare heritage sites in Stratford-upon-Avon, and promotes the enjoyment and understanding of his works, life and times. A prominent artist, fashion and textile designer, Lee Lapthorne will be creating two bespoke pieces of furniture inspired by the historic interiors of the Shakespeare houses and the Trust’s world-class museum and archive collection. They will go on display at Anne Hathaway’s Cottage and Hall’s Croft in Stratford-upon-Avon from 11 March – 15 September 2019. The Bard’s Rest Artist impression of The Bard’s Rest, by Lee Lapthorne The Bard’s Rest is a re-interpretation of a Greaves & Thomas pop-up sofa designed with bespoke textiles inspired by the Shakespeare Birthplace Trust’s museum and archive collection, including intricate embroidery from a 16th century sweet purse, and the original rosette from David Garrick’s Shakespeare Jubilee of 1769*. The Bard’s Rest will be displayed in Hall’s Croft - the elegant Jacobean home of Shakespeare’s daughter Susanna, and her physician husband John Hall. The Love Settle Artist impression of The Love Settle, by Lee Lapthorne The Love Settle is an outdoor garden lounger bearing digital, screen-printed and embroidered weather-proof fabric inspired by love and romance in Shakespeare’s world. -
Macbeth Character Card Sort
Macbeth Character Card Sort SORT OUT THE CARDS INTO TWO PILES AND USE THE DESCRIPTIONS TO MATCH UP THE CHARACTER AND THE CORRECT NAME THE THREE WITCHES MACBETH LADY MACBETH BANQUO DONALBAIN MALCOLM LENNOX THE PORTER ROSS LADY MACDUFF MACDUFF DUNCAN FLEANCE © 2003 www.teachit.co.uk m237char Page 1 of 5 Macbeth Character Card Sort These characters add an element of Thane of Glamis and Cawdor, a general supernatural and prophecy to the play. in the King's army and husband he is a They each have a familiar, such as basically good man who is troubled by Graymalkin and Paddock, and are his conscience and loyalty though at the commanded by Hecate, a Greek goddess same time ambitious and murderous. He of the moon and witchcraft. They can is led to evil initially by the witches' use sieves as boats, and they can predictions and then by his wife's become an animal. They are described goading, which he gives into because he as having beards but looking human. loves her so. This woman is a good wife who loves her Thane of Lochaber, a general in the husband. She is also ambitious but lacks King's army. This man is the opposite the morals of her husband. To achieve of Macbeth, showing an alternate her ambition, she rids of herself of any reaction to prophecy. He keeps his kindness that might stand in the way. morals and allegiances, but ends up However, she runs out of energy to dying. He is brave and ambitious, but suppress her conscience and kills this is tempered by intelligence. -
Selected Songs from "The Jubilee" (1769) Part Ofthe Colloquium on ((Shakespeare, Music, and Memory"
( () tv\ ~ lid c\ ~ sc Cv~ The University ofWashington School ofMusic )o{~ and the Walter Chapin Simpson Center for the Humanities present Gr ~ J-~ Selected songs from "The Jubilee" (1769) Part ofthe colloquium on ((Shakespeare, Music, and Memory" 29 April 2016 5:00 PM Brechemin Auditorium, UW School ofMusic UW Collegium Musicum Directed by J~Ann Taricani Tekla Cunningham, baroque violin John Lenti, baroque guitar Emerald Lessley, soprano Linda Tsatsanis, soprano Nathan Whittaker, baroque cello PROGRAM Texts by David Garrick (1717-1779) Music by Charles Dibdin (1745-1814) Texts provided in the slides are images from 18th-century publications of"The Jubilee" -'';"-. -- r~lZ~C01i:5/}CiV'ict:n;~-~:-~ ,.-~~=;' . -----~~.-.- ;....,_.--' Z. "Let Beauty with the Sun Arise" (duet) 3'.3 ~ "All this for a Poet?" (air) 2 ~ 0 S 4- "Ye Warwickshire Lads and Ye Lasses" (air) -'3>: s S' t'Sweet Willie 0" (air) 3,',/ Lf £; "Let us Sing It and Dance It" (duet) {: 13 -1- A Roundelay: "The Jubilee" (air) Lt" {g if "This, Sir, is a Jubilee" (duet) "The Jubilee" was a play produced by the Shakespearean actor David Garrick in October 1769. a month after his disastrous attempt to produce a three-day Shakespeare Jubilee in Stratford-upon-Avon in September 1769, which ended at mid-point because oftorrential rains and the flooding ofthe venue by the River Avon. Garrick departed Stratford in a fury and in debt, turning his vehemence into a satire ofthe Stratford event in his play "The Jubilee," performed over ninety times in the 1769-70 season at the Drury Lane Theatre in London.