Search results for "Shakespeare"
showing 9 items of 89 documents
"Mens sana in corpore sano": The Rhetoric of the Body in Shakespeare’s Roman and Late Plays
2010
Forgetful Audiences in Julius Caesar
2012
On note dans Jules César une récurrence d'épisodes où la mémoire du spectateur défaille, quand des personnages oublient une scène à laquelle ils viennent d'assister ou la retiennent de façon approximative. Cet article s'intéresse aux manifestations dramatiques et méta-théâtrales de ce phénomène, et avance que ces scènes d'oubli sont pour l'auteur le moyen de démontrer le caractère fuyant de la mémoire empirique et de proposer que le théâtre, plutôt que la salle de classe, constitue un terrain propice à l'exercice de cette mémoire. Julius Caesar exhibits a pattern of audience forgetfulness, when characters forget scenes they have just witnessed, or when they remember them imperfectly. This p…
A Midsummer Night's Dream - Untako vai unelmaa? : Paavo Cajanderin ja Lauri Siparin Shakespeare-suomennosten vertailua
2003
"The toenails on the other hand never grow at all" : the functions of wordplay in Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead
2015
Huumori on hyvin yleisesti käytetty tehokeino niin arkisessa kielenkäytössä kuin populaarikulttuurissa ja kirjallisuudessakin. Yhtenä huumorin lajina voidaan pitää erilaisia sanaleikkejä, joissa leikitellään kielen monitulkintaisuudella. Sanaleikeissä on usein kaksi, tai jopa useampi, merkityksen taso, joiden yhtäaikainen ymmärtäminen johtaa sanaleikin tajuamiseen. Tom Stoppardin vuoden 1966 näytelmä Rosencrantz and Guildenstern Are Dead on tunnettu absurdi komedia, jossa esiintyy reilusti sanaleikkejä, joten se soveltuu erityisen hyvin juuri tämänkaltaisen huumorin tarkasteluun. Tässä näytelmässä Shakespearen Hamletin sivuhenkilöt Rosencrantz ja Guildenstern ovat päähenkilöinä omassa tarin…
‘‘This is my home, too’’: Migration, spectrality and hospitality inRoberta Torre’s Sud Side Stori (2000)
2011
The article explores Roberta Torre’s film Sud Side Stori (2000), an extravagant Italian re-vision of Romeo and Juliet set in the Sicilian city of Palermo which displays awareness of the global circulation of the story of the two ‘‘star-crossed lovers’’. In the film, which combines neo-realist cinematographic techniques with the artificial style of the musical, Shakespeare’s young lovers become Toni Giulietto, a lousy local rock singer, and Romea Wacoubo, a beautiful Nigerian prostitute who falls in love with him when she sees him standing on his balcony. Not unlike West Side Story, the inter-racial passion between Toni and Romea exacerbates pre-existing ethnic conflicts. It is opposed not o…
Shakespeare, Art and Artifice: An Interview with Stuart Sillars
2019
Ahead of the publication of his forthcoming book, Shakespeare Seen: Image, Performance and Society (Cambridge, 2018), Stuart Sillars sat down for an interview with Perry McPartland. The discussion revisited a number of topics that Sillars has explored in his various publications on Shakespeare, including Shakespeare’s aesthetic strategies of transformation, the relationship his work takes to the visual, and the uses to which Shakespeare puts aesthetic artifice. The interview was conducted in two parts over a very nearly adequate Skype connection in the summer of 2018.
Introduction: #SocialmediaShakespeares
2016
In their introductory essay, Maurizio Calbi and Stephen O’Neill explore the interrelations between social media and Shakespeare(s), providing a theoretical consideration of both categories that ultimately moves toward an argument for their rhizomatic intersections. Shakespeare increasingly "becomes" through social media (in a Deleuzian sense), and indeed, forms of social media are rearticulated through Shakespeare. The essay also guides the reader through this special issue in which the contributors variously map, define, scrutinize, and challenge social media, Shakespeare and their uncanny convergences http://www.borrowers.uga.edu/current
"Ihana, hyvä, tosi, siinä kaikki" : transferenssi kirjallisuudentutkimuksessa
2019
“Never shake thy gory locks at me” (Macbeth, III.iv.50-51): Objecting to Gestures in Macbeth
2018
International audience; Shakespeare's Macbeth displays a pattern of characters objecting to gestures, be it others' or their own. This includes Macbeth refusing to shake hands with his opponent before the battle, his words to Banquo's ghost quoted in the title above, Banquo's own puzzlement at the weird sisters' placing a finger over their lips, the doctor's suspicions at Lady Macbeth's rubbing her hands and sleepwalking, as well as Malcom's request that Macduff not pull his hat over his eyes. In many of these cases, gesture is pitted against speech, which seems to undermine the classically-derived ideal of "suit[ing] the word to the action, the action to the word" (Hamlet, 3.2.16-18). This…