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(Non-)Sense in King Lear by Carolin Roder
Wissenschaftliches Seminar Online Deutsche Shakespeare-Gesellschaft Ausgabe 5 (2007) Shakespearean Soundscapes: Music – Voices – Noises – Silence www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2007 Wissenschaftliches Seminar Online 5 (2007) HERAUSGEBER Das Wissenschaftliche Seminar Online wird im Auftrag der Deutschen Shakespeare-Gesellschaft, Sitz Weimar, herausgegeben von: Dr. Susanne Rupp, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) Prof. Dr. Tobias Döring, Institut für Englische Philologie, Schellingstraße 3 RG, D-80799 München ([email protected]) Dr. Jens Mittelbach, Staats- und Universitätsbibliothek Göttingen, Platz der Göttinger Sieben 1, 37073 Göttingen ([email protected]) ERSCHEINUNGSWEISE Das Wissenschaftliche Seminar Online erscheint im Jahresrhythmus nach den Shakespeare-Tagen der Deutschen Shakespeare-Gesellschaft und enthält Beiträge der Wissenschaftler, die das Wissenschaftli- che Seminar zum Tagungsthema bestreiten. HINWEISE FÜR BEITRÄGER Beiträge für das Wissenschaftliche Seminar Online sollten nach den Richtlinien unseres Stilblattes formatiert sein. Bitte laden sie sich das Stilblatt als PDF-Datei von unserer Webseite herunter: http://www.shakespeare-gesellschaft.de/uploads/media/stilblatt_manuskripte.pdf Bitte senden Sie Ihren Beitrag in einem gebräuchlichen Textverarbeitungsformat an einen der drei Herausgeber. INTERNATIONAL STANDARD SERIAL NUMBER ISSN 1612-8362 © Copyright 2008 Deutsche -
Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1
Notes Introduction: Shakespeare, Spectro-Textuality, Spectro-Mediality 1 . “Inhabiting,” as distinct from “residing,” suggests haunting; it is an uncanny form of “residing.” See also, for instance, Derrida’s musings about the verb “to inhabit” in Monolingualism (58). For reflections on this, see especially chapter 4 in this book. 2 . Questions of survival are of course central to Derrida’s work. Derrida’s “classical” formulation of the relationship between the living-on of a text and (un)translat- ability is in Parages (147–48). See also “Des Tours” on “the necessary and impos- sible task of translation” (171) and its relation with the surviving dimension of the work (182), a reading of Walter Benjamin’s “The Task of the Translator.” In one of his posthumously published seminars, he stresses that survival—or, as he prefers to call it, “survivance”—is “neither life nor death pure and simple,” and that it is “not thinkable on the basis of the opposition between life and death” (Beast II 130). “Survivance” is a trace structure of iterability, a “living dead machine” (131). To Derrida, what is commonly called “human life” may be seen as one of the outputs of this structure that exceeds the “human.” For a cogent “posthumanist” understanding of Derrida’s work, and the notion of the trace in particular, see Wolfe. 3 . There are of course significant exceptions, and this book is indebted to these studies. Examples are Wilson; Lehmann, Shakespeare Remains ; Joughin, “Shakespeare’s Genius” and “Philosophical Shakespeares”; and Fernie, “Introduction.” Richard Burt’s work is often informed by Derrida’s writings. -
1 Shakespeare and Film
Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon. -
25-2-W2016.Pdf
The ESSE Messenger A Publication of ESSE (The European Society for the Study of English Vol. 25-2 Winter 2016 ISSN 2518-3567 All material published in the ESSE Messenger is © Copyright of ESSE and of individual contributors, unless otherwise stated. Requests for permissions to reproduce such material should be addressed to the Editor. Editor: Dr. Adrian Radu Babes-Bolyai University, Cluj-Napoca, Romania Faculty of Letters Department of English Str. Horea nr. 31 400202 Cluj-Napoca Romania Email address: [email protected] Cover illustration: Gower Memorial to Shakespeare, Stratford-upon-Avon This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Picture credit: Immanuel Giel Contents Shakespeare Lives 5 Europe, like Hamlet; or, Hamlet as a mousetrap J. Manuel Barbeito Varela 5 Star-crossed Lovers in Sarajevo in 2002 Ifeta Čirić-Fazlija 14 Shakespeare on Screen José Ramón Díaz Fernández 26 The Interaction of Fate and Free Will in Shakespeare’s Hamlet Özge Özkan Gürcü 57 The Relationship between Literature and Popular Fiction in Shakespeare’s Richard III Jelena Pataki 67 Re-thinking Hamlet in the 21st Century Ana Penjak 79 Reviews 91 Mark Sebba, Shahrzad Mahootian and Carla Jonsson (eds.), Language Mixing and Code-Switching in Writing: Approaches to Mixed-Language Written Discourse (New York & London: Routledge, 2014). 91 Bernard De Meyer and Neil Ten Kortenaar (eds.), The Changing Face of African Literature / Les nouveaux visages de la litterature africaine (Amsterdam and New York: Rodopi, 2009). 93 Derek Hand, A History of the Irish Novel (Cambridge: Cambridge University Press, 2011). 95 Hobby Elaine. -
Global Shakespeare Hilary Term 2019 Dr. Ema Vyroubalova, Vyroubae
Global Shakespeare Hilary Term 2019 Dr. Ema Vyroubalova, [email protected] 10 ECTS Assessment: Final essay 5,000-6,000 words Module Description: Shakespeare has become a global phenomenon -- his plays have been translated into over 80 languages and literally performed across the globe in virtually all known languages. In this course we will study how Shakespeare’s plays have traveled around the world in stage productions, literary adaptations, and films during the 20th and 21st centuries. We will consider how many of these adaptations combine aesthetic and political concerns and agendas and how they incorporate elements of literary, dramatic, and cinematic traditions from around the world. We will also learn how the stage productions, film and animated versions, and literary adaptations on the syllabus might be illuminated by current theories of translation, globalization, nationalism, and appropriation. In addition to the films, productions, and rewrites of the plays on the syllabus, you will also be asked to read some scholarly articles and/or book chapters on each of the adaptations as well as relevant reviews, interviews, and artist biographies. I am also asking you to read or re-read each of the four Shakespeare plays that most of the adaptations covered will be based on. Learning outcomes: On successful completion of the module students will: 1. Become familiar with the Shakespeare plays covered and with the theatre performances, film version, and adaptations covered. 2. Be able to differentiate between major theoretical and critical approaches to international productions of Shakespeare . 3. Appreciate the historical and cultural factors informing the interpretations and reinterpretations of Shakespeare’s plays outside of the UK and North America . -
“Audience Vs. Fans: the Facebook Romeo & Juliet” M. G. Aune
“Audience vs. Fans: The Facebook Romeo & Juliet” M. G. Aune California University of Pennsylvania On 4 February 2013 a Facebook page appeared “Romeo and Juliet: A Social Summary The Greatest Love Story Ever Told.” On the 5th, Romeo Montague’s page appeared. Born, 9 February 1577, from Verona, Italy, Son at House of Montague. He added the life event “first time in love,” with Rosalind. On the 7th, Juliet Capulet’s page appeared. The story unfold on Facebook, concluding on Valentine’s Day. The work of the Stratford Festival (formerly the Stratford Shakespeare Festival) of Canada, the Facebook adaptation was designed to promote the upcoming production of Romeo and Juliet. The photos were of the actors cast in the various roles. The event was cleverly executed and attracted anywhere from a handful to fifty-odd likes per post. Comments were fewer, ranging from none to a dozen or so. The roots of this publicity exercise can be found in a speech by Artistic Director Antoni Cimolino in June 2010. Cimolino addresses the changes in audiences since the Festival began in 1953. He was especially interested in digital and social media, how they have transformed audience expectations, and how the Festival could embrace the transformations. As a result, the Festival maintains a blog, a Twitter feed, a Facebook page, a Pinterest Page, a YouTube and a Livestream channel. Rather than measure the effectiveness of such endeavors, which would be difficult in any case, I am interested in how the adaptation of Romeo and Juliet for a social media platform in the service of a destination theater festival pushes Shakespeare across a line from, in the words of John Fiske “official culture” to “popular culture.” This transgression occurs when the intended audience, theater goers, are invited to become fans. -
Bfi Presents Shakespeare on Film with Ian Mckellen
BFI PRESENTS SHAKESPEARE ON FILM WITH IAN MCKELLEN BIGGEST EVER PROGRAMME OF SHAKESPEARE ON FILM IN THE UK AND ACROSS THE WORLD WITH THE BRITISH COUNCIL Ian McKellen live on stage to present re-mastered Richard III for UK wide simulcast, hosts London bus tours of Richard III’s iconic locations and opens Shanghai Film Festival with Shakespeare on Film International tour of 18 British films to 110 countries with British Council Play On! Shakespeare in Silent Cinema premieres at BFI Southbank with new live score by the Musicians of Shakespeare’s Globe New 4K restorations of Franco Zeffirelli’s Romeo and Juliet and Akira Kurosawa’s Ran Includes landmark films by Laurence Olivier, Orson Welles, Roman Polanski and Kenneth Branagh #ShakespeareLives / www.bfi.org.uk/shakespeare / www.shakespearelives.org Embargoed until 11:00 Monday 25 January 2016 As the world celebrates Shakespeare 400 years after his death, the BFI, the British Council and Ian McKellen today unveiled BFI Presents Shakespeare on Film. With no other writer impacting so greatly on cinema, this programme explores on an epic scale how filmmakers have adapted, been inspired by and interpreted Shakespeare’s work for the big screen. It incorporates screenings and events at BFI Southbank (April-May) and UK-wide, newly digitised content on BFI Player, new DVD/Blu-ray releases and film education activity. As part of Shakespeare Lives, the British Council and the GREAT Britain campaign’s major global programme for 2016, celebrating Shakespeare’s works and his influence on culture, education and society, the BFI has also curated an international touring programme of 18 key British Shakespeare films that will go to 110 countries – from Cuba to Iraq, Russia to the USA – the most extensive film programme ever undertaken. -
The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information
Cambridge University Press 978-1-108-42116-4 — The Cambridge Companion to Shakespeare on Screen Edited by Russell Jackson Index More Information INDEX Note: Performance versions of Shakespeare’s plays are listed under the play’s title by date and medium (film, stage, etc.). Where applicable, the new title of the version is noted in brackets. A Fistful of Dollars (film, 1968), 175 Apocalypse Now (film, 1979), 123 A Midsummer Night’s Dream Armin, Robert, 75 (play), 67, 134, 137, 141, 144 Arnshtam, Lev, 93 film, 1909, 24 As You Like It film, 1935, 29–30, 134–5, 136–8 (play), 67 film, 1969, 134, 136–8 film, 1908, 13 film, 1996, 134, 137–8 film, 1936, 67, 73, 76 film, 1999, 134, 139–40 film, 1992, 68, 75–6 stage, 1994, 137 film, 2006, 68, 70–1, 77, 226, 231–2 television, 2005, 71, 74 stage, 1998, 225 A Place Calling Itself Rome (play, 1973), 121 Asbury, Kelly, 95 A Streetcar Named Desire (film, 1950), 34 Ashford, Rob, 232 A Thousand Acres (novel), 162 Auslander, Philip, 44 A Trip to the Moon (film, 1902), 174 Ayliff, H.K., 18 Abela, Alexander, 100 Ackroyd, Barry, 120 Bale, Christian, 140 Acosta, Armando, 95 Ball, Robert Hamilton, 22 Adaptation (film, 2002), 37 Bara, Theda, 16, 24 Agustí, Clara Escoda, 126 Barbican (theatre), 49 Aldridge, Ira, 100 Barker, Martin, 40, 47 All is True (film, 2018), 5, 234 Barnes, Jennifer, 32 All Quiet on the Western Front (film, Barrie, J.M., 16, 174 1930), 174 Barrit, Desmond, 138 All’s Well That Ends Well Barthes, Roland, 28 stage/livestream, 2010, 50 Barton, John, 105 Almeida (theatre, London), 120 Bate, Jonathan, 130 Almereyda, -
MAKIBEFO a Film by Alexander Abela Based on William Shakespeare’S Macbeth
MAKIBEFO A film by ALEXANDER ABELA based on William Shakespeare’s Macbeth MAKIBEFO A film by Alexander Abela based on William Shakespeare’s Macbeth Malagasy and English | 73 minutes | black & white | PAL 4:3 (1:1,66) Director, producer, script and cinematography: Alexander Abela Production: Blue Eye Films Sound: Jeppe Jungersen Editor: Douglas Bryson Original music: Bien Rasoanan Tenaina & Donald Cast: Martin (Makibefo) Noeliny (Valy Makibefo) Gilbert Laumord (The narrator) Randina Arthur (Bakoua) Jean-Félix (Danikany) Boniface (Kidoure) Jean-Noël (Makidofy) Bien Rasoanan Tenaina (Malikomy) Victor (The witch doctor) and the people of Faux-Cap, Madagascar Subtitles: Swantje Hartmann (Español) Philipp Hinz (Deutsch) Miguel Ramalhete Gomes (Português) “In a land washed by the ocean, a tribe of people lived in sight of sands and crashing waves. Their king was a noble king, who gave his people peace and harmony. And amongst his subjects many were good and true. But none more so than Makibefo. Indeed, it was the king who entrusted Makibefo to capture a fugitive and bring him back to the village. On the way, Makibefo, in the company of a trusted friend, met a witch doctor, who told him that though the king was merciful he was also weak. He prophesied that a time would come, as surely as the tides, when peace and harmony would no longer sweeten the lives of the peo- ple. The witch doctor looked deep into the eyes of Makibefo and saw that the gods had singled him out as a future leader. Makibefo’s wife, too, had understood the ancient symbol: Her husband had been blessed by the gods. -
International Journal Vol.41.6 APPROPRIATING SHAKESPEARE: ISSUES
KNOWLEDGE – International Journal Vol.41.6 APPROPRIATING SHAKESPEARE: ISSUES Zorica Jelić College of Contemporary Arts, Belgrade, Serbia, [email protected] Abstract: Shakespeare is an active literary force whose works have been revised over and over again during the twentieth century on stage and on film. The so called Bardbiz has proven to be profitable across the planet mainly due to the "universal" nature of his plays, i.e., the social and psychological issues that he raises and which resonate equally in anglophone and non-anglophone cultures. Yet, a distinction must be made between appropriations and adaptations. For the purpose of this paper, this distinction is based on the one that Julie Sanders proposes. This paper focuses on the potential problems that appropriations, which are loose reinterpretations of the original text, may bring. The paper shows scenes from films that have adapted Shakespeare's plays in one way or another. The aim of this comparison is to show how adaptations work with the text and bring it to life, while appropriations often distort the original and leave the viewer with a false representation of the original play. There is a genuine and valid concern that future generations will know of distorted versions of Shakespeare's plays and believe them to be the same as the text. The problem arises with loose appropriations, which have become popular in the movie industry worldwide. For people who have read Shakespeare's plays, it is not a problem to recognize the differences and changes in the original text. However, for younger generations, especially Millennials and those born after them, these appropriations can be misleading. -
Bending the Bard: Cinematic Twists on Shakespeare with Well Over 400
OFFICE 934 SW SALMON ST MAIL 1219 SW PARK AVE PORTLAND, OR 97205 TEL 503.221.1156 VISIT NWFILM.ORG Bending the Bard: Cinematic Twists on Shakespeare With well over 400 film and TV adaptations made of his works—more than 80 of Hamlet alone— William Shakespeare is credited as being the world’s most filmed author. And though they’re now synonymous with “high” culture, his works were always intended as popular entertainment, which is perhaps why Shakespeare and cinema have always so successfully aligned. Even when his words are amended, transposed, or pared away entirely, Shakespeare’s stories, characters, and imagery are able to translate seamlessly between countries and cultures around the world. In this spirit, and to commemorate the 400th anniversary of his death, Bending the Bard: Cinematic Twists on Shakespeare presents seventeen “unconventional” cinematic adaptations of Shakespeare’s plays. Freed from restrictions of a certain time, location, or even language, the filmmakers in this series have created works that both reflect and transcend their immediate cultural origins. The films span eight countries and seven decades of filmmaking, with genres ranging from sci-fi, Western, queer cinema, war propaganda, musical, and horror. to a samurai Macbeth, a Bollywood Othello, and a Finnish neo-noir Hamlet set in a rubber duck factory. Bringing together well-known classics alongside lesser-seen adaptations, Bending the Bard celebrates these unique, inventive films as well as the powerful way in which Shakespeare’s universal stories have become a shared global language. Friday, September 9, 8 pm Throne of Blood, Japan, 1957 dir. -
Macbeth Programme
World Shakespeare Congress Prague - July 2011 Seminar Shakespeare on the International Screen: Macbeth Convenors Victoria Bladen (Queensland) Sarah Hatchuel (Le Havre) Nathalie Vienne-Guerrin (Montpellier) Home Sweet Home: Visual Representation of Domestic Spaces in Macbeth. Gayle ALLAN, Trinity College, University of Melbourne; La Trobe University Fleance/Macbeth: The Return of the Repressed William C. CARROLL, Boston University Instruments of Darkness: Witches and the Supernatural in four versions of Macbeth Warren CHERNAIK “…[M]ethought/ The wood began to move” (5.5.33); Looking Towards Birnam or Whatever Happened to Witches, Daggers and Woods in Akira Kurosawa’s Throne of Blood (1957), Alexander Abela’s Makibefo (1999) and Mark Brozel’s Macbeth (2005): film style or the poetics of Displacement Anne-Marie COSTANTINI-CORNEDE Macbeth on screen: a bibliography José Ramón DÍAZ FERNÁNDEZ “Look how our partner’s rapt”: Externalizing Rapture in Orson Welles’s Macbeth (1948, 1950) Pascale DROUET, University of Poitiers “A Barren Sceptre”: Generation, Generations, and Destiny in Maqbool Andrew FLECK, San Jose State University Symbolic and thematic impoverishment in Polanski’s Macbeth Charles R. FORKER Phantom of the cinema: Macbeth’s ghosts in the flesh Dominique GOY-BLANQUET, Université de Picardie Plucking from memory a rooted sorrow : arts of healing and the sufi Qawalli in Vishal Bhardwajs’s Maqbool Lalita HOGAN Witches and Ghosts in modern times lost? How to negotiate the supernatural in modern adaptations of Macbeth Pierre KAPITANIAK, Université Paris 8 Macbeth’s “Universality”: Approaching “Interculturalism” and Pedagogy Dr. Manjushree S. KUMAR, Jodhpur, India Happily Never After? Women Filmmakers and the Tragedy of Macbeth Courtney LEHMANN Macbeth’s Witches: Nurses, Waitresses, Feminists, Punk Gore Groupies? Susan O’MALLEY, City University of New York “I have no words …”: Dancing Macbeth Elinor PARSONS, De Montfort University, Leicester Shakespeare on the International Screen: Macbeth Adele SEEFF Kurosawa’s Throne of Blood: An Interpretive Commentary Robert N.