Shakespeare and Contemporary Adaptation: the Graphic Novel
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The Graphic Novel and the Age of Transition: a Survey and Analysis
The Graphic Novel and the Age of Transition: A Survey and Analysis STEPHEN E. TABACHNICK University of Memphis OWING TO A LARGE NUMBER of excellent adaptations, it is now possible to read and to teach a good deal ot the Transition period litera- ture with the aid of graphic, or comic book, novels. The graphic novei is an extended comic book, written by adults for adults, which treats important content in a serious artistic way and makes use of high- quality paper and production techniques not available to the creators of the Sunday comics and traditional comic books. This flourishing new genre can be traced to Belgian artist Frans Masereel's wordless wood- cut novel. Passionate Journey (1919), but the form really took off in the 1960s and 1970s when creators in a number of countries began to employ both words and pictures. Despite the fictional implication of graphic "novel," the genre does not limit itself to fiction and includes numerous works of autobiography, biography, travel, history, reportage and even poetry, including a brilliant parody of T. S. Eliot's Waste Land by Martin Rowson (New York: Harper and Row, 1990) which perfectly captures the spirit of the original. However, most of the adaptations of 1880-1920 British literature that have been published to date (and of which I am aware) have been limited to fiction, and because of space considerations, only some of them can be examined bere. In addition to works now in print, I will include a few out-of-print graphic novel adap- tations of 1880-1920 literature hecause they are particularly interest- ing and hopefully may return to print one day, since graphic novels, like traditional comics, go in and out of print with alarming frequency. -
Graphic No Vels & Comics
GRAPHIC NOVELS & COMICS SPRING 2020 TITLE Description FRONT COVER X-Men, Vol. 1 The X-Men find themselves in a whole new world of possibility…and things have never been better! Mastermind Jonathan Hickman and superstar artist Leinil Francis Yu reveal the saga of Cyclops and his hand-picked squad of mutant powerhouses. Collects #1-6. 9781302919818 | $17.99 PB Marvel Fallen Angels, Vol. 1 Psylocke finds herself in the new world of Mutantkind, unsure of her place in it. But when a face from her past returns only to be killed, she seeks vengeance. Collects Fallen Angels (2019) #1-6. 9781302919900 | $17.99 PB Marvel Wolverine: The Daughter of Wolverine Wolverine stars in a story that stretches across the decades beginning in the 1940s. Who is the young woman he’s fated to meet over and over again? Collects material from Marvel Comics Presents (2019) #1-9. 9781302918361 | $15.99 PB Marvel 4 Graphic Novels & Comics X-Force, Vol. 1 X-Force is the CIA of the mutant world—half intelligence branch, half special ops. In a perfect world, there would be no need for an X-Force. We’re not there…yet. Collects #1-6. 9781302919887 | $17.99 PB Marvel New Mutants, Vol. 1 The classic New Mutants (Sunspot, Wolfsbane, Mirage, Karma, Magik, and Cypher) join a few new friends (Chamber, Mondo) to seek out their missing member and go on a mission alongside the Starjammers! Collects #1-6. 9781302919924 | $17.99 PB Marvel Excalibur, Vol. 1 It’s a new era for mutantkind as a new Captain Britain holds the amulet, fighting for her Kingdom of Avalon with her Excalibur at her side—Rogue, Gambit, Rictor, Jubilee…and Apocalypse. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Gender and Sexuality in Adaptations of Shakespeare Organizer: Deanne Williams, York University
SAA Seminar: Gender and Sexuality in Adaptations of Shakespeare Organizer: Deanne Williams, York University. 1. The Fiendlike Queen: Recuperating the Feminine in Modern Adaptations of Macbeth William C. Carroll Boston University Terry Eagleton’s notorious comment – “To any unprejudiced reader – which would seem to exclude Shakespeare himself, his contemporary audiences and almost all literary critics – it is surely clear that positive value in Macbeth lies with the three witches. The witches are the heroines of the piece, however little the play itself recognizes the fact” (William Shakespeare, p. 2) – is just one of many attempts in recent decades to recast the witches in a more positive light, an effort that has had considerable success. Lady Macbeth has proven to be a harder case to rehabilitate, at least on the stage (as seen recently in Kate Fleetwood’s harrowing depiction with Patrick Stewart in Rupert Goold’s version). In adaptations of the past century, however, especially those written by women and those for younger readers, a very different picture of the “fiend-like queen” has emerged. These representations move far away from earlier texts in which “Lady Macbeth” is little more than a synonym for a murderous woman. Several recent works instead seek explanation or rationale for her participation in Duncan’s murder through reference to her earlier marriage and son by that marriage (both suppressed in Shakespeare’s play), to her situation as a woman in a culture of Celtic masculinity, and even to a supposed daughter (Klein) with whom Lady Macbeth (not dead in this version!) is ultimately reunited. -
Fyredrake.Net 2020 Direct Order Sales Catalogue – Prices in UK GBP£ Books / Comics – See Full Details of the Books on My Website, All Will Be Signed by Me
Sonia Leong - Fyredrake.net 2020 Direct Order Sales Catalogue – prices in UK GBP£ Books / Comics – see full details of the books on my website, all will be signed by me A Brush With Magic £6.99 The Colours Of Magic £10.00 Once Upon A Time £5.00 Aya Takeo v.1 £8.99 Aya Takeo v.2 £8.99 Aya Takeo v.3 £8.99 Aya Takeo Complete Set £20.00 Love Stuffing v.1 £5.99 FujoFujo! v.1 £5.00 Beginning Manga £12.99 Drawing Manga Heroines & Heroes £12.99 OFFER: Buy with Beginning Manga for £25 + free mystery sketch Sonia Leong’s Big Art Pack of October Drawing Challenges: Inktober 2017~2019 & Drawtober 2020 Draw Manga Complete Skills £14.99 £15 + free mystery sketch. For individual sections please ask, prices £2 to £5 Drop Dead Monstrous £5.00 Marie Curie £10.99 Manga Your World £10.99 Manga Life Be Creative £5.99 Telling Tales £6.99 Romeo and Juliet £8.99 Manga Life Find True Love £5.99 Art Prints, full bleed, professionally laser printed on 160gm silk paper, signed by me Up to 3 sizes available: A5(148x210mm) £3.00 or A4(210x297mm) £6.00 or A3(297x420mm) £12 Doctor Who Thirteen A5 (148x210mm) £3.00 Doctor Who Clara A5 (148x210mm) £3.00 Doctor Who Idris A5 (148x210mm) £3.00 Doctor Who Thirteen A4 (210x297mm) £6.00 Doctor Who Clara A4 (210x297mm) £6.00 Doctor Who Idris A4 (210x297mm) £6.00 Doctor Who Thirteen A3 (297x420mm) £12.00 Doctor Who Clara A3 (297x420mm) £12.00 Doctor Who Idris A3 (297x420mm) £12.00 Assassin's Creed Blue A5 (148x210mm) £3.00 Assassin's Creed Brown A5 (148x210mm) £3.00 Rua Cat A5 (148x210mm) £3.00 Assassin's Creed Blue A4 (210x297mm) -
Original Text Publisher: Classical Comics Ltd Author: William Shakespeare
New Title Information Classical Comics Ltd., PO Box 7280, Litchborough, Towcester NN12 9AR. Tel: 0845 812 3000 Fax: 0845 812 3005 Email: [email protected] www.classicalcomics.com Title: The Tempest The Graphic Novel Sub title: Original Text Publisher: Classical Comics Ltd Author: William Shakespeare ISBN: UK: 978-1-906332-29-7 US: 978-1-906332-69-3 Contributors: Script Adaptation: John McDonald Pencils: Jon Haward Inks: Gary Erskine Colouring & lettering: Nigel Dobbyn Design & Layout: Jo Wheeler Editor in Chief: Clive Bryant Brief description of the book: This is the unabridged play brought to life in full colour! Ideal for purists, students and readers who will appreciate the unaltered text. Although The Tempest Folio printing of Shakespeare's plays, it was almost certainly the last play he wrote alone. It held pride of place in that crowning glory to the career of the most brightest of playwrights. Needless to say, we had to select the very best artists to do it justice, and to bring you the stunning artwork that you've come to expect from our titles. Poignant to the last, this book is a classic amongst classics. Coupled with stunning artwork, this is a must-have for any Shakespeare lover. Key sales points: • ENTIRE, UNABRIDGED ORIGINAL SCRIPT - just as The Bard intended. Ideal for purists, students and for readers who want to experience the unaltered text. • Full colour graphic novel format. • Meets UK curriculum requirements. • Teachers notes/study guide available. Publisher information: Classical Comics is a UK publisher creating graphic novel adaptations of classical literature. True to the original vision of the author, the book has been further experience. -
Hamlet and the Invention of Tragedy1
Hamlet and the invention of Tragedy1 Helen Cooper UNIVERSITY COLLEGE, OXFORD The first thing that should be said about Hamlet is that he is a serial killer. He kills off a higher proportion of the speaking cast list, either directly with his own hand or indirectly, than any other Shakespearean character, including Richard III and Macbeth. To begin with, his victims include the entire Polonius family. He kills Polonius deliberately, though it is true that he believes him to be someone else at the time; but such an instance of mistaken identity, of killing B when one had set out with the intention of killing A, is not acceptable as an excuse for murder in a court of law. Laertes he kills with his own hand, though inadvertently; the text leaves open the opportunity, taken up in many productions, to have Hamlet engineer the change of swords deliberately as result of realizing that Laertes’ is unbated, but he cannot know that it is poisoned. Ophelia’s death he causes indirectly, but there can be no question but that he carries total moral responsibility for it, first tendering her affection, then proceeding through public humiliation to private violent abuse, and finally murdering her father. The First Quarto has Laertes make the double accusation of responsibility for the catastrophes to both Polonius and Ophelia explicit: Griefe upon griefe, my father murdered, My sister thus distracted: Cursed be his soule that wrought this wicked act.2 At no point, however, does Hamlet acknowledge his own role in bringing about her death, nor does he show any compunction over it. -
From Michael Strogoff to Tigers and Traitors ― the Extraordinary Voyages of Jules Verne in Classics Illustrated
Submitted October 3, 2011 Published January 27, 2012 Proposé le 3 octobre 2011 Publié le 27 janvier 2012 From Michael Strogoff to Tigers and Traitors ― The Extraordinary Voyages of Jules Verne in Classics Illustrated William B. Jones, Jr. Abstract From 1941 to 1971, the Classics Illustrated series of comic-book adaptations of works by Shakespeare, Hugo, Dickens, Twain, and others provided a gateway to great literature for millions of young readers. Jules Verne was the most popular author in the Classics catalog, with ten titles in circulation. The first of these to be adapted, Michael Strogoff (June 1946), was the favorite of the Russian-born series founder, Albert L. Kanter. The last to be included, Tigers and Traitors (May 1962), indicated how far among the Extraordinary Voyages the editorial selections could range. This article explores the Classics Illustrated pictorial abridgments of such well-known novels as 20,000 Leagues Under the Sea and Around the World in 80 Days and more esoteric selections such as Off on a Comet and Robur the Conqueror. Attention is given to both the adaptations and the artwork, generously represented, that first drew many readers to Jules Verne. Click on images to view in full size. Résumé De 1941 à 1971, la collection de bandes dessinées des Classics Illustrated (Classiques illustrés) offrant des adaptations d'œuvres de Shakespeare, Hugo, Dickens, Twain, et d'autres a fourni une passerelle vers la grande littérature pour des millions de jeunes lecteurs. Jules Verne a été l'auteur le plus populaire du catalogue des Classics, avec dix titres en circulation. -
1 Plays, Books
PLAYS, BOOKS - WRITTEN, PUBLISHED and PERFORMED; PRIZES. 1950s (Circa) And After Today – play written for amateur drama group ‘The Query Players’ to which A.W belonged. Never performed. Precursor to Chicken Soup with Barley. 1951 The Reed That Bent. A novel. Unpublished but used as the basis for ‘Chips With Everything’. Begun 30 April finished 17 August. The novel itself was drawn from assembled letters written to friends and family during 8 weeks of ‘square bashing’ as an RAF National Service conscript. 1955 Pools. A short story. Begun 16th October, finished following month. 1956 The Kitchen. No date on written MS. Probably begun in this year. Entered for The Observer Play competition in original form of two acts with no Interlude. No prizes. 1957 Life Is Where You Live. Musical written for Primrose Jewish Youth Club of which A.W. was the ‘drama director.’ Fiona Castiglione, the granddaughter of the composer, Rutland Boughton, wrote four or five songs then gave up! June 1957. Chicken Soup With Barley. First notes, circa early October 1957. The play (first entitled ‘When the Wind Blows’) begun 8 October 1957. 1958 Chicken Soup With Barley. First presented at The Belgrade Theatre, Coventry, 7 July for one week, directed by John Dexter. Subsequently at The Royal Court, London on14th July for one week as part of a four week ‘Guest Repertory Season’. Roots. Begun 20th June. 2nd typed draft completed 29 October. I’m Talking About Jerusalem. Begun 9 December. (1st typed draft dated 1st December 1959. 3rd typed draft dated 11th May 1960. Pools. Printed in The Jewish Quarterly, Winter 58/59. -
Visualizing the Romance: Uses of Nathaniel Hawthorne's Narratives in Comics1
Visualizing the Romance: Uses of Nathaniel Hawthorne’s Narratives in Comics1 Derek Parker Royal Classic works of American literature have been adapted to comics since the medium, especially as delivered in periodical form (i.e., the comic book), first gained a pop cultural foothold. One of the first texts adapted by Classic Comics, which would later become Classics Illustrated,2 was James Fenimore Cooper’s The Last of the Mohicans, which appeared in issue #4, published in August 1942. This was immediately followed the next month by a rendering of Moby-Dick and then seven issues later by adaptations of two stories by Washington Irving, “Rip Van Winkle” and “The Headless Horseman.”3 As M. Thomas Inge points out, Edgar Allan Poe was one of the first, and most frequent, American authors to be translated into comics form (Incredible Mr. Poe 14), having his stories adapted not only in early issues of Classic Comics, but also in Yellow- jacket Comics (1944–1945) and Will Eisner’s The Spirit (1948).4 What is notable here is that almost all of the earliest adaptations of American literature sprang not only from antebellum texts, but from what we now consider classic examples of literary romance,5 those narrative spaces between the real and the fantastic where psychological states become the scaffolding of national and historical morality. It is only appropriate that comics, a hybrid medium where image and text often breed an ambiguous yet pliable synthesis, have become such a fertile means of retelling these early American romances. Given this predominance of early nineteenth-century writers adapted to the graphic narrative form, it is curious how one such author has been underrepresented within the medium, at least when compared to the treatment given to his contemporaries. -
“Reciprocal Legitimation” Between Shakespeare's Works and Manga
Multicultural Shakespeare: Translation, Appropriation and Performance vol. 14 (29), 2016; DOI: 10.1515/mstap-2016-0019 ∗ Yukari Yoshihara Toward “Reciprocal Legitimation” between Shakespeare’s Works and Manga Abstract: In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled “Ophelia, not yet”. Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative cultural products and radicalized counterculture consumer products (such as animation), to argue that it would be more profitable to think of the relationships between highbrow/lowbrow, Western/non-Western, male versus female, heterosexual versus non-heterosexual, not simply in terms of dichotomies or domination/subordination, but in terms of reciprocal enrichment in a never-ending process of mutual metamorphoses. Keywords: Pop culture, Japan, gender, cultural hierarchy, manga, animation Introduction In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film (1 min. 30 seconds) titled Ophelia, not yet. The animation visually cites John Everett Millais’s painting of Ophelia (1852) with cheeky twists: in this animation, Ophelia looks like the Ophelia by Millais, but she does not die because she can swim, being a national backstroke champion.1 My garments were pulling me down deep under the water. Suddenly I remembered, I am a national backstroke champion, am I not? Soaked clothes spread wide were dragging me down, but Not yet, not yet, it is not time for a watery death . ∗ University of Tsukuba. -
No Perfect Heroes. Revisiting the Heroic Ideal in Manga
111 MY KINGDOM FOR A STAGE NO PERFECT HEROES. REVISITING THE HEROIC IDEAL IN MANGA SHAKESPEARE JULIUS CAESAR ANDREEA ŞERBAN West University of Timişoara Abstract: In recent years manga has become a widely appreciated form of graphic adaptation of Shakespeare’s highly complex works into pop culture. Domesticated in the western world, manga adaptations of Shakespearean plays make them more accessible to younger generations and offer readers a sense of immediacy that the written text alone cannot challenge. This paper explores the ways in which two western manga transmediations of Shakespeare’s Julius Caesar offer several (conflicting) perspectives on what makes a man a hero, while also playing with black/darkness and white/light and numerous shades of grey. Heroic conventions and virtues such as dignity and honour, courage and bravery, self-discipline and social responsibility are revised not only by Shakespeare himself, but also by the manga artists in agreement with the medium’s requirements and with their own understanding of the heroic. Keywords: hero, Julius Caesar, manga, Shakespeare, virtue 1. Introduction 1.1. What makes a hero? Although the concept of hero has changed over generations, it is still generally associated with masculinity, bravery, and admiration (cf. Oxford Dictionary 2019), courage and outstanding achievements (cf. Cambridge Dictionary 2019), (semi-)divine origin, nobility of purpose, risk-taking and sacrifice for others (cf. The Free Dictionary 2019). In short, the hero is an ideal man who is other-oriented and willing to sacrifice for a higher cause. Historically, there are two main approaches to heroism before Shakespeare’s time (cf.