This thesis analyses two Young Adult adaptations of Shakespeare plays (Hannah Capin’s Foul is Fair for The Tragedy of Macbeth and Dot Hutchinson’s A Wounded Name for The Tragedy of Hamlet), and...Show moreThis thesis analyses two Young Adult adaptations of Shakespeare plays (Hannah Capin’s Foul is Fair for The Tragedy of Macbeth and Dot Hutchinson’s A Wounded Name for The Tragedy of Hamlet), and examines how changes in the setting, the characterisation, and the community influence the agency of the female main character.Show less
This thesis investigates the Early Modern context of oath swearing and breaking within Shakespeare's Love's Labour's Lost. This thesis draws on John Kerrigan's work on oaths, as well as on Jonathan...Show moreThis thesis investigates the Early Modern context of oath swearing and breaking within Shakespeare's Love's Labour's Lost. This thesis draws on John Kerrigan's work on oaths, as well as on Jonathan Gray's work regarding oath's and the English Reformation. The context and rules of oath-theory will show that the oaths sworn by the men of the play have lost spiritual potency, rendering the oaths ineffective. However, the women of the play represent a new way of swearing in which the absent authority (i.e. God) in oaths can be replaced with intimacy and a hallowed human connection. This argument is based on Isabel Karremann's interpretation of Elizabeth Mazzola's "remains of the sacred" (Karremann 67). Subsequently, this thesis will question how Love's Labour's Lost and its oaths can be staged and have been staged in societies that have largely secularised.Show less
An analysis of how female character's are portrayed in the late '90s and early '00s adaptations 10 Things I Hate About You, She's the Man, and Never Been Kissed of the Shakespeare plays: Taming of...Show moreAn analysis of how female character's are portrayed in the late '90s and early '00s adaptations 10 Things I Hate About You, She's the Man, and Never Been Kissed of the Shakespeare plays: Taming of the Shrew, Twelfth Night, and As You Like It.Show less
This thesis establishes how Theater Rotterdam's Hamlet de Familievøørstelling (2018) successfully adapts the genre of the British Christmas Pantomime and simultaneously adapts Shakespeare's Hamlet....Show moreThis thesis establishes how Theater Rotterdam's Hamlet de Familievøørstelling (2018) successfully adapts the genre of the British Christmas Pantomime and simultaneously adapts Shakespeare's Hamlet. It shows furthermore how a Shakespeare adaptation can tap into new audiences through adaptation of the pantomime genre, displaying how valuable adaptations can be to reach new audiences.Show less
The plays by Shakespeare have been adapted countless times. However, the original plays are often themselves based on other stories, or historical accounts. The history plays, for example, are...Show moreThe plays by Shakespeare have been adapted countless times. However, the original plays are often themselves based on other stories, or historical accounts. The history plays, for example, are written on the basis of historical accounts. In this sense, they are already adaptations in their own right. This makes any adaptation of one of his plays a double adaptation; an adaptation of an adaptation. This thesis will take this notion as its starting point. It will take a look at how Shakespeare used his sources in Coriolanus, and after analysing this play, two adaptations for the screen will be analysed, Ralph Fiennes 2011 film and Robert LePage’s 2019 stage adaptation. The focus of the analyses will be on which themes are emphasised in a particular adaptation, and how these themes are informed by the times in which the work was created. Fiennes and LePage move the political arena away from the speeches Shakespeare uses in his play. Instead, they create a modernised, media arena becomes the place where politicians fight for control over Rome.Show less
This thesis will examine the way in which women in William Shakespeare's first tetralogy of history plays can be compared to women featuring in the second tetralogy.
This thesis analysis the roles of women in William Shakespeare’s Henry VI plays, and shows that they are allowed to step out of the position their sex would confine them to, but are at the same...Show moreThis thesis analysis the roles of women in William Shakespeare’s Henry VI plays, and shows that they are allowed to step out of the position their sex would confine them to, but are at the same time still restricted by the limitations their gender brings with it and punished for their attempts to leave these behind.Show less
This thesis deals with the meta theatrical devices Shakespeare uses throughout Hamlet, and the effects these devices have on the viewers of film adaptations of this play. The meta theatrical and...Show moreThis thesis deals with the meta theatrical devices Shakespeare uses throughout Hamlet, and the effects these devices have on the viewers of film adaptations of this play. The meta theatrical and meta cinematic distances the audience. The alienation of the audience allows them to reflect upon the events in a way that would not be possible without employing Brecht’s theory of alienation. THis thesis will examine the meta-theatrical elements in Hamlet, and show how these can be applied to alienate the audience.Show less
William Shakespeare’s A Midsummer Night’s Dream is, among many other things, a play that subtly criticises the patriarchal society in which it is set, advocating a more equal society instead, and...Show moreWilliam Shakespeare’s A Midsummer Night’s Dream is, among many other things, a play that subtly criticises the patriarchal society in which it is set, advocating a more equal society instead, and this interpretation is confirmed and built upon by Henry Purcell and Benjamin Britten in their respective operas based on the play.Show less
This study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911),...Show moreThis study will first analyse the historical background of Shakespeare in China, which begun with the introduction of the English author as a storyteller during the late Qing dynasty (1640-1911), followed by the publication of official translations in Chinese at the beginning of the twentieth century , the posterior abrupt tragic decrease of the studies under the Communists and its complete death with the beginning of the Cultural Revolution (1966-1976) , which did not allow Shakespeare to resuscitate until the end of the 70s . The second chapter will be focused on the methods of translations and the theories put forward between the end of the 19th century and the beginning of the 20th century in China, while the third chapter of this study aims at observing how Chinese translators overcame the historical, grammatical and cultural differences between Shakespeare and China, how they rendered the most important traits of the Shakespearean works in Chinese. To conclude, the fourth chapter will be concentrated on the comparison between the original English version of the famous drama of “Romeo and Juliet” and its Chinese.Show less
William Shakespeare (1564–1616) – as far as we know – wrote thirty-seven plays over a time period of twenty-three years (Hoenselaars 2012:xv–xxii), one could wonder if traces of the changing verb...Show moreWilliam Shakespeare (1564–1616) – as far as we know – wrote thirty-seven plays over a time period of twenty-three years (Hoenselaars 2012:xv–xxii), one could wonder if traces of the changing verb-morphology of the Early Modern English Period (1500–1700) should be found in his writing (Crystal 2004:3). One example of this changing verb morphology is that, during this period, the third-person singular present tense inflection -th fell out of general use and the -s inflection became a part of Standard English (Nevalainen 2006:89). This thesis discusses if Shakespeare’s verb morphology represents this morphological shift. To answer this question, this thesis analysed the verb morphology of third-person singular present tense verbs in three of Shakespeare’s plays, more specifically comedies, one from the beginning of his career, one from the middle and one from end, i.e. The Two Gentlemen of Verona (1589–1593) , Twelfth Night (1601–1602) and The Two Noble Kinsmen (1613–1615). This analysis has presented results that prove that the use of the -th inflection by Shakespeare in his plays decreased throughout his career.Show less
This thesis explore's Shakespeare's use of the second person singular pronouns 'you' and 'thou' in his Sonnets (1609). It focuses on the influence of addressees, rhyme, and invocation on...Show moreThis thesis explore's Shakespeare's use of the second person singular pronouns 'you' and 'thou' in his Sonnets (1609). It focuses on the influence of addressees, rhyme, and invocation on Shakespeare's choice in pronoun, using literary and linguistic theories. It concludes that the identity of the addressee was of most influence on Shakespeare's choice in pronoun, whereas rhyme was of little influence. Invoked identities, such as Time, a Muse or the Soul, are predominantly addressed using 'thou'.Show less
In 2017 Noordhoff Uitgeverij BV published a set of “Blackbird Classics” for the following academic year which included Oscar Wilde’s The Picture of Dorian Gray (1890), William Shakespeare’s Macbeth...Show moreIn 2017 Noordhoff Uitgeverij BV published a set of “Blackbird Classics” for the following academic year which included Oscar Wilde’s The Picture of Dorian Gray (1890), William Shakespeare’s Macbeth (1606), and Nathaniel Hawthorne’s The Scarlet Letter (1850). What is so telling about this set is that all three of these works are associated with the Gothic genre through similar tropes and themes. While finding Shakespeare in this set might raise a few questions, Desmet and Williams explain that to fully understand the Gothic it is important to recognise the genre’s “Shakespearean Origins” (2). Intrigued, I looked further into the publishing history of the Blackbirds and found many instances of Gothic and supernatural novels being published for high-school students. The list included many editions of The Picture of Dorian Gray, several books by Susan Hill, who wrote The Woman in Black (1983), and many other modern Gothics, and a simplified version of The Strange Case of Dr. Jekyll and Mr. Hyde adapted to be understandable for a younger reading audience. This discovery led me to ask the question what the appeal is of such works for the high-school classroom. Why does the main publisher of educational material for Dutch high schools persistently turn to Gothic classics and other dark supernatural fictions as teaching texts? What follows is a critical examination of what the genre of the Gothic, and specifically the three texts published for 2017 by Noordhoff, have to offer literary education in Dutch high-schools.Show less
In this thesis, two film adaptations of Shakespeare's Much Ado About Nothing, directed by Kenneth Branagh (1993) and Joss Whedon (2013), are analysed, each film representing a particular cinematic...Show moreIn this thesis, two film adaptations of Shakespeare's Much Ado About Nothing, directed by Kenneth Branagh (1993) and Joss Whedon (2013), are analysed, each film representing a particular cinematic tradition within the history of cinema. I argue that the main force at work in both adaptations is a complex nostalgia, one intrinsic to the very notion of 'heritage film' and likewise implicit in Whedon's indebtedness to American screwball comedy.Show less
This thesis will focus on persuasive non-factual rhetoric within three history plays (Julius Caesar [1599], Henry V [1599], and Richard III [1592]) as means to legitimise the characters‟ violent...Show moreThis thesis will focus on persuasive non-factual rhetoric within three history plays (Julius Caesar [1599], Henry V [1599], and Richard III [1592]) as means to legitimise the characters‟ violent behaviour. The main characters persuade other players, or are themselves persuaded, through private and public speeches, laced with fabricated rhetoric, into murderous actions. This non-factual rhetoric is masterfully applied in William Shakespeare‟s plays. Particularly in the historic plays written by Shakespeare, the reader can discern political manipulation to achieve personal goals throughout three different periods of time, demonstrating a pattern of false rhetoric through history.Show less
