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Seminar paper from the year 2019 in the subject English Language and Literature Studies - Literature, grade: 1.7, University of Bonn, language: English, abstract: This term paper will focus on Kurzel’s adaptation, more precisely it will focus on one of Shakespeare’s most controversial characters: Lady Macbeth. Reading Shakespeare offers the reader the opportunity to interpret Lady Macbeth in different ways. While some adaptations present Lady Macbeth as an evil woman who has a masculine side, others present her more as a potent person and give her an empowering touch, there are also people who might see her as a victim of her devotion to her husband. Focusing on the female gender, this paper will analyse and compare how Lady Macbeth is presented and illustrated in Shakespeare’s original play and in Kurzel’s Adaptation. First, the paper is going to give a general overview on ‘Feminist Theory’ by introducing key terms that are significant for the analysis. Then it will give a short overview of the characteristics of an ideal Elizabethan woman. The main part will focus on two scenes in which Lady Macbeth is actively present. After deconstructing the selected Lady Macbeth scenes, in the source text and in the adaptation, it will compare them to each other. Therefore, the main part of this paper will analyse the character of Lady Macbeth by focusing on the female gender and comparing how she is represented in the book and in the movie. It will pay attention to the historical context, speech, gestures and mimics, but also on costumes and setting. William Shakespeare was an English poet and playwright, who wrote his poems and plays during the Renaissance. He is known for his various works of literature. “Sonnet 18”, Romeo and Juliet and Hamlet are only a few examples of his famous works. His unique plays are dealing with different topics, showing wide knowledge of human behavior, expressed through a vast range of characters. Shakespeare’s works are still read and taught not only in school and university but also play a role in our daily lives; his topics are still relevant today. According to the Guinness Book of World Records, Shakespeare’s plays and sonnets have been adapted into more than 420 films and TV-Movie versions. Macbeth was filmed 37 times. The most recent Macbeth adaptation is from 2015 by Justin Kurzel.
Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey’s male gaze and Rosemarie Garland-Thomson’s stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and ‘madness’ in global cinematic film, television film, and digital broadcast cinema in Shakespeare’s works. Shakespearean Drama, Disability, and the Filmic Stare argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare’s famous works.
Seminar paper from the year 2016 in the subject Didactics for the subject English - Literature, Works, grade: 1,7, University of Tubingen, language: English, abstract: The use of "Lady Macbeth" as a byname nowadays is very common, especially in politics. Her special role, her courage, pride and demeanour impress us in such a way that we still compare a fictional character to real women who have similar characteristics, like the First Lady for example. The power and influence the First Lady has on her husband the President is sometimes underestimated, as it also happened with Lady Macbeth in the tragedy. In the United States, the role of the First Lady is more important than anywhere else. During the election campaign, she supports and encourages her husband and also assists him in the presidency. Edith Wilson, for example, substituted for her husband Woodrow Wilson when he was ill in 1919, and adopted the executive power of the U.S. government. The reason Smith and Cook compare Mrs. Wilson and other First Ladies with Lady Macbeth is not arbitrary. Already in the original of Shakespeare’s The Tragedy of Macbeth, first performed in 1606, he represented Lady Macbeth as a very strong and influential woman and wife with a special firmness of character. The popularity of the character and the tragedy itself brought forth many different productions and adaptations. There are a lot of ways to understand, interpret and implement Shakespeare’s tragedies into movies and stage productions. Each production pursues its own concept in staging and how the story shall be presented. Therefore, the production company chooses a director and cast who can opine their conception in the best way. Hence they have the difficult and honourable task to implement this distinguished piece of work into a film or theatre production. Marion Cotillard and Samantha Spiro, who were both cast for a Macbeth production, are two completely different actresses in their mannerism, look and acting style, but the companies thought that they were perfectly suited for the role of Lady Macbeth and so they had the difficult task to play her. Marion Cotillard had already received many awards for her acting and became a very popular Hollywood actress during the final years. She played Lady Macbeth opposite Michael Fassbender in the 2015 film production by Justin Kurzel. Samantha Spiro played Lady Macbeth at the Globe theatre in London in 2013. This production was the directorial debut of Eve Best.
Seminar paper from the year 2016 in the subject Didactics for the subject English - Literature, Works, grade: 1,3, University of Tubingen, language: English, abstract: In the following, the original play will be compared to the film adaptations by Roman Polanski in 1971 and by Justin Kurzel in 2015. Additionally, the most important scenes and essential details in all three will be analyzed. Although technological progress affords humanity new possibilities in all sectors, be it communication systems, the news, education, bank transactions, or entertainment, it is inconceivable to dispense with books, letters or newspapers. Especially in the entertainment category, movies today are what novels were decades and centuries ago. They tell stories, history, sciences, etc. and like books they are grouped into various genres. By this observation they seem quite similar and the obvious difference is the textual information transfer of books compared to the audio-visual of movies. Not only “Macbeth”, but most of Shakespeare’s plays have been turned into films. His plays are surprisingly relevant in contemporary life and school. They are an integral component of general knowledge. The significance of “Macbeth” is obvious when you see how often it was reused. Already by 1908, the director Stuart Blackton produced the first film version of Shakespeare’s tragedy whereon many more followed, the best known by Welles, Kurosawa and Polanski. But how could these two famous directors transfer Shakespeare’s stage play into movies? Is the content adopted accurately or is it falsified? And what changes were accidentally or deliberately made?
"Murdering Ministers" integrates everything worth knowing about Shakespeare’s "Macbeth" from four centuries of criticism and performances, stage as well as film, in a scene-by-scene close reading that provides the reader with an exhaustive knowledge of the play and answers questions that have captivated us for centuries. Did Burbage, the first Macbeth, enter on horseback? When does the idea of regicide first occur to the Macbeths? Why does Macbeth withhold part of the witches’ prophecy from his wife? Is Banquo honest? Did Shakespeare believe in witchcraft? Why is the play cursed? What has happened to the baby that Lady Macbeth has given suck? Answers to this and much more come from actors, critics, and directors of countless productions since 1606. Moreover, "Murdering Ministers" is an expedition into the historical context of "Macbeth": the politico-religious turmoil of Jacobean England. It is hardly a coincidence that Shakespeare’s play of regicide and witchcraft followed hard upon an assassination attempt on James I, author of a manual on black magic and how to detect it – but did the playwright mean to praise or to provoke his king with the Scottish Play? Finally, the book questions the tradition of the play as an exclusively sombre tragedy with all humour confined to the brief appearance of the porter in Act II. Macbeth is, in fact, full of hilarious dramatic irony rarely explored or exploited since the early 19th century. Although it may be a stretch to call it a comedy, there is plenty to laugh at. It wouldn’t be Shakespeare otherwise.
This book reinterprets Macbeth by returning it to the context of its own time, recreating the theological and political crises of Shakespeare's era.
Part memoir, part lies, this imaginative tale is a story about loving a woman made of paper, about the wounds made by first love and sharp objects.
This book examines the child on Shakespeare's stage. As a life force, an impassioned plea for justice, a legacy, history, memory or image of love or violence, children are everywhere in Shakespeare's plays. Focusing on Shakespeare's unique interest in the young body, the life stage, and the parental and social dynamic, this book offers the first sustained account of the role and representation of the child in Shakespeare's dramatic imagination. Drawing on a vast range of contemporary texts, including parenting manuals and household and pedagogic texts, as well as books on nursing and maternity, child birth, and child rearing, The Child in Shakespeare explores the contexts in which the idea of the child is mobilised as a body and image on the early modern stage. Understanding the child, not only as a specific life stage, but also as a role and an abstraction of feeling, this book examines why Shakespeare, who showed little interest in writing for children in the playing companies, wrote so powerfully about them on his stage.
Traces the life and career of actor Robert Mitchum in a biography of one of Hollywood's biggest and most colorful stars.
Eric Hayot teaches graduate students and faculty in literary and cultural studies how to think and write like a professional scholar. From granular concerns, such as sentence structure and grammar, to big-picture issues, such as adhering to genre patterns for successful research and publishing and developing productive and rewarding writing habits, Hayot helps ambitious students, newly minted Ph.D.'s, and established professors shape their work and develop their voices. Hayot does more than explain the techniques of academic writing. He aims to adjust the writer's perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring paragraphs and essays, this guide to the elements of academic style does its part to rejuvenate scholarship and writing in the humanities.