'Wherefore Base?': Outsider Characters and the Nature of Evil in Shakespeare by Miriam Sokolow Advisor: Professor William Fl
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Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 4-2-2016 “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Criminal Law Commons, Criminology Commons, Family, Life Course, and Society Commons, Public Affairs, Public Policy and Public Administration Commons, and the Social Control, Law, Crime, and Deviance Commons Bosch, Brandon, "“Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films" (2016). Sociology Department, Faculty Publications. 287. http://digitalcommons.unl.edu/sociologyfacpub/287 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 17, ISSUE 1, PAGES 37–54 (2016) Criminology, Criminal Justice Law, & Society E-ISSN 2332-886X Available online at https://scholasticahq.com/criminology-criminal-justice-law-society/ “Why So Serious?” Threat, Authoritarianism, and Depictions of Crime, Law, and Order in Batman Films Brandon Bosch University of Nebraska-Lincoln A B S T R A C T A N D A R T I C L E I N F O R M A T I O N Drawing on research on authoritarianism, this study analyzes the relationship between levels of threat in society and representations of crime, law, and order in mass media, with a particular emphasis on the superhero genre. -
Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work. -
Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Or Shakesploi Meets the Camp
Colby Quarterly Volume 37 Issue 1 March Article 7 March 2001 Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets the Camp Richard Burt Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.1, March 2001, p.78-106 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Burt: Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets (the) Camp by RICHARD BURT II cinema eI'anna piu forte (Cinema is the strongest weapon) -Mussolini's motto Every day I'll read something that is right out of Titus Andronicus, so when people think this is "over the top," they're absolutely wrong. What could be more "over the top" than the Holocaust? -Julie Taymor "Belsen Was a Gas." -Johnny Rotten SHAKESPEARE NACH AUSCHWITZ? NE MORNING in the summer of 2000, I was channel surfing the trash talk O. shows to get my daily fix of mass media junk via the hype-o of my tele vision set. After "Transsexual Love Secrets" on Springer got a bit boring, I lighted on the Maury Povich Show.! The day's topic was "My seven-year-old child drinks, smokes, swears, and hits me!" Father figure Pavich's final solu tion, like Sally Jessie Raphael's with much older kids on similar episodes of her show, was to send the young offenders to boot camp. -
The Wonder Women: Understanding Feminism in Cosplay Performance
THE WONDER WOMEN: UNDERSTANDING FEMINISM IN COSPLAY PERFORMANCE by AMBER ROSE GRISSOM B.A. Anthropology University of Central Florida, 2015 B.A. History University of Central Florida, 2015 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Summer Term 2019 © 2019 Amber Rose Grissom ii ABSTRACT Feminism conjures divisive and at times conflicting thoughts and feelings in the current political climate in the United States. For some, Wonder Woman is a feminist icon, for her devotion to truth, justice, and equality. In recent years, Wonder Woman has become successful in the film industry, and this is reflected by the growing community of cosplayers at comic book conventions. In this study, I examine gender performativity, gender identity, and feminism from the perspective of cosplayers of Wonder Woman. I collected ethnographic data using participant observation and semi-structured interviews with cosplayers at comic book conventions in Florida, Georgia, and Washington, about their experiences in their Wonder Woman costumes. I found that many cosplayers identified with Wonder Woman both in their own personalities and as a feminist icon, and many view Wonder Woman as a larger role model to all people, not just women and girls. The narratives in this study also show cosplay as a form of escapism. Finally, I found that Wonder Woman empowers cosplayers at the individual level but can be envisioned as a force at a wider social level. I conclude that Wonder Woman is an important and iconic figure for understanding the dynamics of culture in the United States. -
The Gentle Gender?: Shakespeare's Tamora And
THE GENTLE GENDER?: SHAKESPEARE’S TAMORA AND LADY MACBETH AS MODELS OF REVENGE by Jenna Fitzgerald A Thesis Submitted to the Faculty of The Wilkes Honors College in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Liberal Arts and Sciences with a Concentration in English Literature Wilkes Honors College of Florida Atlantic University Jupiter, Florida May 2008 THE GENTLE GENDER?: SHAKESPEARE’S TAMORA AND LADY MACBETH AS MODELS OF REVENGE by Jenna Fitzgerald This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Michael Harrawood, and has been approved by the members of her supervisory committee. It was submitted to the faculty of The Honors College and was accepted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Liberal Arts and Sciences. SUPERVISORY COMMITTEE: ____________________________ Dr. Michael Harrawood ____________________________ Dr. Hilary Edwards ______________________________ Dean, Wilkes Honors College ____________ Date ii ACKNOWLEDGEMENTS I would like to extend my thanks and appreciation to Dr. Michael Harrawood for all his help during my four years at the Honors College and especially for his assistance during the research and writing processes of my thesis. In addition, I would also like to thank Dr. Hilary Edwards for her advice and guidance throughout the thesis process and my college career. iii ABSTRACT Author: Jenna Fitzgerald Title: The Gentle Gender?: Shakespeare’s Tamora and Lady Macbeth as Models of Revenge Institution: Wilkes Honors College of Florida Atlantic University Thesis Advisor: Dr. Michael Harrawood Degree: Bachelor of Arts in Liberal Arts and Sciences Concentration: English Literature Year: 2008 Twelve years separate the plays Titus Andronicus and Macbeth and yet the similarities between Tamora and Lady Macbeth seem to indicate that the former served as a model for the latter female revenge character. -
Killing Shakespeare's Children: the Cases of Richard III and King John Joseph Campana
Campana, J. (2007). Killing Shakespeare’s Children: The Cases of Richard III and King John. Shakespeare, 3(1), 18–39. doi:10.1080/17450910701252271 Killing Shakespeare's Children: The Cases of Richard III and King John Joseph Campana This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles. Keywords: Children; childhood; seduction; sexuality; affect; temporality; Richard III; King John If it is fair to say that Shakespeare included in his plays more child roles than did his contemporaries (Ann Blake counts thirty; Mark Heberle counts thirty-nine), it is also fair to say Shakespeare provided a wide range of parts for those children: from pivotal roles in royal succession to trace presences as enigmatic markers of symbolic equations never perhaps to be solved. -
King John Take Place in the Thirteenth Century, Well Before Shakespeare’S Other English History Plays
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play ACT 1 Scene 1 ACT 2 Scene 1 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 Scene 3 ACT 5 Scene 4 Scene 5 Scene 6 Scene 7 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
Titus Andronicus Is Shakespeare's Bloodiest Play
By William Shakespeare | Directed by David Quicksall All original material copyright © Seattle Shakespeare Company 2016 WELCOME Dear Educators, Titus Andronicus is Shakespeare's bloodiest play. There is no getting around the blood, gore, and violence in a story about the cycle of violence! This winter, we're embracing that violence in the more familiar and campy style of grindhouse cinema — disreputable films being shown at a cut-rate price. Titus Andronicus was one of Shakespeare's earlier plays, and likely his first tragedy. It has more similarities to the revenge plays that were popular before Shakespeare than to his later tragedies, though there are hints of his future characters present in this play. The character of Titus is reminiscent of King Lear. Tamora could be a proto Lady Macbeth. Aaron is like vicious Iago. Lavinia reminds us of other much-abused daughters to come, particularly Ophelia, Desdemona, and Cordelia. As you watch this play, the killing and maiming are the most obvious features. However, it can also be a fascinating study in Shakespeare's early career, and an easy entry point for those who have never seen Shakespeare. It's got nonstop action and a wicked cycle of revenge, but it also contains some of Shakespeare's most beautiful language, particularly as spoken by Marcus Andronicus. Have your students on the lookout for Shakespeare's genius poetry, tucked in among some of his most gratuitous bloody moments. Best, Michelle Burce Education Director www.seattleshakespeare.org/education 206-733-8228 ext. 251 or [email protected] PRODUCTION SPONSORS CONTENTS Plot Synopsis . -
Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-21-2013 12:00 AM Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance Caitlin Foster The University of Western Ontario Supervisor Dr. Joseph Wlodarz The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Caitlin Foster 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Advertising and Promotion Management Commons, and the Film and Media Studies Commons Recommended Citation Foster, Caitlin, "Clash of the Industry Titans: Marvel, DC and the Battle for Market Dominance" (2013). Electronic Thesis and Dissertation Repository. 1494. https://ir.lib.uwo.ca/etd/1494 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CLASH OF THE INDUSTRY TITANS: MARVEL, DC AND THE BATTLE FOR MARKET DOMINANCE (Thesis format: Monograph) By Caitlin Foster Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Caitlin Foster 2013 Abstract This thesis examines the corporate structures, marketing strategies and economic shifts that have influenced the recent resurgence of the comic book superhero in popular Hollywood cinema. Using their original texts and adaptation films, this study will chronologically examine how each company’s brand identities and corporate structures have reacted to and been shaped by the major cultural and industrial shifts of the past century in its attempt to account for the varying success of these companies throughout their histories. -
VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S. -
Understanding Shakespeare's King John and Magna Carta in the Light
Bilgi [2018 Yaz], 20 [1]: 241-259 Understanding Shakespeare’s King John and 1 Magna Carta in the Light of New Historicism Kenan Yerli2 Abstract: Being one of the history plays of William Shakespeare, The Life and Death of King John tells the life and important polit- ical matters of King John (1166-1216). In this play, Shakespeare basically relates the political issues of King John to Queen Eliza- beth I. Political matters such as the threat of invasion by a foreign country, divine right of kings; papal excommunication and legit- imacy discussions constitute the main themes of the play. How- ever, Shakespeare does not mention a word of Magna Carta throughout the play. In this regard, it is critical to figure out and explain the reason why Shakespeare did not mention Magna Car- ta in his The Life and Death of King John, owing to the im- portance of Magna Carta in the history of England. In this respect, the analysis of The Life and Death of King John in the light of new historicism helps us to understand both how Shakespeare re- lated the periods of Queen Elizabeth and King John; and the rea- son why Shakespeare did not mention Magna Carta in his play. Keywords: Shakespeare, New Historicism, Magna Carta, Eliza- bethan Drama. 1. This article has been derived from the doctoral dissertation entitled Political Propaganda in Shakespeare’s History Plays. 2. Sakarya University, School of Foreign Languages. 242 ▪ Kenan Yerli Being one of the most important playwrights of all times, William Shakespeare wrote and staged great number of plays about English history.