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
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
Anxieties about writing and privacy are often at the heart of Edith Wharton’s fiction. In the two works discussed in this thesis, Wharton’s early novels The Touchstone (1900) and The House of Mirth...Show moreAnxieties about writing and privacy are often at the heart of Edith Wharton’s fiction. In the two works discussed in this thesis, Wharton’s early novels The Touchstone (1900) and The House of Mirth (1905), private letters written by women acting outside the domestic sphere, a woman writer and an adulterous wife, play a central role. Wharton uses these letters to explore the boundaries between the private and public spheres and to ask questions about the position of woman writers at the turn of the nineteenth and twentieth centuries, whether they can function in the public realm and make themselves heard, or are destined to remain in the private sphere and be silent. The principal female characters in The Touchstone and The House of Mirth are, in a sense, both “authors” who are unable to break free from the limitations of their lives. In spite of their moral superiority, they remain subordinate to men who misread their writing, with disastrous consequences. Although Wharton criticises the male-dominated society of early twentieth-century America, she suggests that woman writers had better stayed within their domestic confinement, and, as a consequence, that private letters by women had better be burnt than published.Show less
Bachelor thesis | Film- en literatuurwetenschap (BA)
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The purpose of this dissertation is to establish to what extent the wolf and the hunter in Little Red Riding Hood stories have, over time, developed into complex characters that will allow for a...Show moreThe purpose of this dissertation is to establish to what extent the wolf and the hunter in Little Red Riding Hood stories have, over time, developed into complex characters that will allow for a wide variety of masculine role models. To achieve this, four versions of the tale have been analysed and compared: “Le Petit Chaperon Rouge” by Charles Perrault, “Rotkäppchen” by the Brothers Grimm, “The Company of Wolves” by Angela Carter, and Princess of the Silver Woods by Jessica Day George. This dissertation is meant as an addition to the existing feminist discourse on gender and fairy tales and the theoretical framework exists mainly of historical context to Perrault’s version of the story, Judith Butler’s theory of gender as a construct, Alexander Boon’s definition of the hero figure as masculine role model, and Riki Lane’s views on the relation between nature and nurture. Concluded, these male role models have become more complex, but they still offer only a limited array of masculine role models accepted by contemporary mainstream culture. It is important for this to change and more research into this topic is advisable.Show less
This thesis argues and explains how Blackstar and No Plan cleverly use intertextuality as a tool to explore and explain Bowie’s notions of mortality and resurrection.
When translating a book into a film script, and subsequently into a film, often aspects of the story are changed either because of different interpretations of the story or with the sole purpose of...Show moreWhen translating a book into a film script, and subsequently into a film, often aspects of the story are changed either because of different interpretations of the story or with the sole purpose of changing the source text to fit the new medium (Sanders 2). This thesis will critically explore differences between Michael Crichton’s Jurassic Park (1990) and The Lost World (1995) and their 1993 and 1997 film adaptations. In doing so, it will show that changes made during the adaptation process were caused, on the one hand, by commercial pressures within the film industry, technical concerns, and the director’s artistic vision, and, on the other hand, by new scientific discoveries in the field of paleontology.Show less
This BA thesis analyses female figures in Irish fairy tales and folklore as collected by W.B. Yeats to establish how women were represented in these stories. By analysing Carl Gustav Jung’s...Show moreThis BA thesis analyses female figures in Irish fairy tales and folklore as collected by W.B. Yeats to establish how women were represented in these stories. By analysing Carl Gustav Jung’s archetypal literary criticism, this thesis explores archetypes with the focus on the Mother and the Maiden. This thesis gives close readings of several Irish fairy tales that were selected from Yeats’s anthologies with the purpose of examining figures of the Maiden and the Mother that can be found within fairy tales more closely. Both archetypes can be chiefly be found in the passive figures of the daughter and mother, and it is this passivity that makes them into ‘good’ women. Whereas the figure of the stepmother is far from passive, but her aspirations are always associated with her malevolent nature. The passivity of these female characters is not just unique to Yeats’s fairy tales, but can be generally found in other fairy tales and folklore.Show less
This thesis aims to argue that the child’s perspective elicits sympathy, empathy, and humor in order to evoke moral criticism in Henry James’ What Maisie Knew and Harper Lee’s To Kill a Mockingbird...Show moreThis thesis aims to argue that the child’s perspective elicits sympathy, empathy, and humor in order to evoke moral criticism in Henry James’ What Maisie Knew and Harper Lee’s To Kill a Mockingbird. The dissertation consists of three chapters. The first chapter focusses on how the young girl’s perspective evokes moral criticism through sympathy in James’ Maisie. Through a close reading of the novel, this section argues that the child’s point of view brings forth sympathy through a representation of the protagonist’s beleaguered benevolence and that this feeling, in turn, is amplified by the young girl’s growing awareness. In contrast, chapter two provides an analysis of the moral criticism induced as a result of the reader’s empathy with Scout in Mockingbird. The segment displays how the child’s perspective invites the reader to empathize with the young protagonist. Furthermore, it presents how Scout’s moral development highlights the amorality of the Maycomb community. The final chapter contains an exploration of the satirical sense in both James’ Maisie and Lee’s Mockingbird. The chapter analyzes how the young girl’s perspective elicits irony and thereby criticism of characters in the novels.Show less
