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Espinoza, Vaca Ana Luisa. "Designing a Playground for Romeo and Juliet." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27913.
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The production of Romeo and Juliet took place at the Telus Theatre in Vancouver from 21st to the 30th of January 2010 as part of the UBC 2009-2010 program. It was directed by Catriona Leger, costumes by Carmen Alatorre, lighting by Conor Moore, original music by Mischelle Cuttler and Patrick Pennefather. Set design was done by myself as the main topic for this thesis.
The word playground in the title points to both the play culture associated with the theatrical event as well as well as the physical space for play. Building off of the notion of the childhood playground, I sought to illuminate the theatrical space as one which is literally a place of play-not only as a space in which one views a play, but also a space for actors to physically play (that is to explore and create). The stage would not be a constricting place which limits the actors movements, but rather, a flexible and open space to perform ( a necessity, given the physicality of the show). The playground is for kids as the playground is for buffoons in my set.
As I desired to deviate from the traditional notions of theatrical space, I also sought to break the conventions of traditions of Shakespearean staging, creating a non specific place or time and inviting the spectators into the sense of festivity. The shape of the theatre in combination with the design allowed for the actors to use the whole space whether it is in or between the audience, on top of a balcony or in the grid. Since this side-play was a necessary factor in eliminating the fourth wall, the space needed to be a seem-less integration between audience and actor to facilitate such interaction. Thus, the set was designed to crawl into the audience's space. By extending the existing architectural elements of the theatre and working them into the design the theatre became an unencumbered, expansive space for play.
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Wilson, Deborah Annette. "Prokofiev’s Romeo and Juliet: history of a compromise." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061231843.
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Josefsson, Sonja. "Romeo och Juliet som drama och film." Thesis, Karlstads universitet, Centrum för språk- och litteraturdidaktik, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5310.
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We read different kind of texts every day. We can for example choose to read a book or to watch a film. While we read we can receive and interpret texts. That’s means, for example, that we can have different envisionments about the drama and the film based on it. Based on Langer’s reception theory about “envisionments”, I’ve wanted to examine and clarify the differences and similarities of envisionments between two texts. I have mainly examined and focused on Romeo and Juliet as drama and film. My study is comparative and qualitative. The background for my examination is found in “a broader concept of text” as described in School Curriculum – Swedish for upper secondary school, and the research of Olin – Scheller and Johansson. According to the conclusions in my study we can have varying conceptions of different texts as readers. The result of my study has shown that the interpretation and our envisionments could be different and depends on how the text is narrated. Envisionments in a drama text depend on the images we create without ourselves while reading the text. The drama can also be seen on a theatre and then can our envisionments depend on how it is presented by the theatre actors. In the film text our envisionments depends on the visualisation, sound and sound effects, colours and perspective of camera etc
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Grosh, Joanna R. "Sacrificial figures in Romeo and Juliet, Othello, and Lear /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487678444258777.
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Westling, Måns. "A Qualitative Descriptive Translation Study of Shakespeare's Romeo and Juliet." Thesis, Stockholm University, Department of English, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8055.
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This essay is a qualitative descriptive translation study concerning two translations of Shakespeare’s Romeo and Juliet into Swedish. The purpose of the study is to investigate the translational behaviour of the translators and the translation norms that govern this behaviour.
By thoroughly analysing stretches of the play, the study will attempt to locate translation shifts (linguistic changes) that occur in the translation from the source text to the target text. These changes are connected with the translators’ fidelity towards e.g. the metre of the verse or the sense transfer of puns. The analysis also comprises a survey of the translation norms that the translators adhere to. These norms, stated by the translators themselves, are connected to their translation approach. Thus, the study will reveal the differences of translation behaviour and analyse them from a wider perspective. The translations were made around 1840 and in 1982, respectively. The considerable space in time in itself suggests that linguistic differences will occur. However, the study will also find differences as regards the purposes of the translations. The older translation appears to be performed in a tradition of fidelity to the written text and its literary qualities, whereas the modern translation clearly has the purpose of being used for the stage performance. The latter is stated by the translator himself, who also argues that Shakespeare is to be considered drama and not literature.
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Brouthers, Carolyn Zoe. "Prokofiev's Romeo & Juliet and Cinderella: A Comparison of Leads." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308069446.
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Wilson-Terrell, Trisha. "Music's narrative function in Baz Luhrmann's William Shakespeare's Romeo + Juliet /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Santos, Diandra Sousa. "ALI É O LESTE E JULIETA É O SOL: ROMEU E JULIETA RENASCEM EM ANIME NA TERRA DO SOL NASCENTE." Instituto de Letras, 2015. http://repositorio.ufba.br/ri/handle/ri/27108.
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A dissertação intitulada Ali é o leste e Julieta é o Sol: Romeu e Julieta renascem em anime na Terra do Sol Nascente se insere no campo dos Estudos de Tradução e toma como objeto de pesquisa o texto dramático Romeu e Julieta (1594) escrito por William Shakespeare e sua tradução em anime, Romeo x Juliet, escrito por Reiko Yoshida, dirigido por Fumitoshi Oizaki, desenhado por Hiroki Harada e lançado no Japão em 2007. Entendendo a tradução como atividade cultural e criativa e o tradutor como sujeito cultural que sempre dialogará com seu contexto ao produzir sua obra, a pesquisa analisa de que forma os tradutores de Romeo x Juliet transformam o texto shakespeariano e criam um novo texto considerando as idiossincrasias do formato de chegada e a rede de expectativas do público-alvo, estabelecendo, ao mesmo tempo variados diálogos não apenas com Romeu e Julieta, mas também com diversas outras peças shakespearianas. A fim de conduzir tal discussão, nos concentramos, em um primeiro momento, no texto de partida e seu contexto de produção a partir das reflexões de Vivien Kogut (2003), Anthony Burgess (1996), Barbara Heliodora (2008), Marjorie Garber (2004) e David Benvington (2004). Em seguida, abordamos o universo dos mangás e animes, suas histórias, características e convenções com base nas considerações de Timothy Craig (2000), Afonso Moliné (2004), Paul Gravett (2006), Cristiane Sato (2007) Robin Brenner (2007) e Kinko Ito (2008). Por fim, nos dedicamos à análise dos aspectos selecionados em Romeo x Juliet e para isso utilizamos reflexões de pesquisadores como Gilles Poitras (2001), Dani Cavallaro (2010a; 2010b), Robert Stam (2006) Tiphanie Samoyault(2008) e Cristina Carneiro Rodrigues (2000).
The dissertation entitled Ali é o leste e Julieta é o Sol‟: Romeu e Julieta renascem em anime na Terra do Sol Nascente is within the field of Translation Studies and comprises, as its research objects, the dramatic text Romeo and Juliet (1594), by William Shakespeare and its translation into the anime Romeo x Juliet, written by Reiko Yoshida, directed by Fumitoshi Oizaki, designed by Hiroki Harada, and released in Japan in 2007. This research aims at analyzing how the translators transform the Shakespearean text into a new one considering the particularities of the final format as well as the target audience expectations, while establishing a variety of dialogues not only with Romeo and Juliet but also with other Shakespearean plays. Therefore, it is of great importance here to understand the translation process as a cultural and creative activity and the translator as a singular individual who will always establish connections with his context to produce his work. To unfold this discussion, we focus at first on the source text and its context of production along with the reflections developed by Vivien Kogut (2003), Anthony Burgess (1996), Barbara Heliodora (2008), Marjorie Garber (2004) and David Benvington (2004). Then, we approach the world of manga and anime, their history, features, and conventions based on considerations by Timothy Craig (2000), Alfonso Moliné (2004), Paul Gravett (2006), Cristiane Sato (2007) Robin Brenner (2007) and Kinko Ito (2008). Finally, we develop an analysis of selected aspects from Romeo x Juliet based on the works of researchers such as Gilles Poitras (2001), Dani Cavallaro (2010a; 2010b), Robert Stam (2006) Tiphanie Samoyault (2008) and Cristina Carneiro Rodrigues (2000).
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Minutella, Vincenza. "Reclaiming Romeo and Juliet : Italian translations for page, stage and screen." Thesis, University of Warwick, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429718.
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Luong, Van Nhan. "Translation in Vietnam : a case study of Shakespeare's Romeo and Juliet." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/377678/.
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Translation is not simply a transmission from one language to another language, but the bridge connecting languages, cultures, and people around the world throughout history, from past to present, in time and space. In the mutual relationship with literary systems, translation in some cases is the pioneer orienting domestic literature from stylistics, genres to content. Translation in Viet Nam, however, has never been studied systematically, and at present is like a chaotic market in which the rhythm of three main factors, translation, proof-reading, and criticism are marching to different tunes. The thesis focuses on evaluating the functions and contributions of translation in the development of literature and society in Vietnam. Besides, the thesis uses Shakespeare’s Romeo and Juliet as a case study to clarify problems in translation in Vietnam. The results synthesized from the formulation of research questions have revealed that translation in Vietnam is absolutely a great transformer of culture and a fertilizer of Vietnamese literature. The case study Shakespeare’s Romeo and Juliet has pointed out that present problems of translation in Vietnam are the shortage of criticism which consequently produces many poor quality translations called ‘disasters’, and of classic books for high education and research. Within deep analysis into the sematic features of the Vietnamese translation of Shakespeare’s Romeo and Juliet in comparison to its Shakespeare’s English, the thesis has concluded that this translation, which has been used popularly in schools over fifty years, is no longer suitable for present audiences. It is, therefore, encouraged to re-translate the text. The thesis besides providing a whole picture of translation in Vietnam and insights into the practice of translating Shakespeare’s Romeo and Juliet into Vietnamese, is a valuable source for Vietnamese translation scholars to indicate strategies for the development of translation in Vietnam, and for Vietnamese translators to re-translate not only other plays of Shakespeare but also classical works of the world.
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Hultgren, Clara. "Creating Character: Romeo, Juliet and didactic challenges with improvised modern scenes." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182778.
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This essay describes an action research project conducted twice in the same high school with second year students within the subject English. Students are often unwilling or unable to relate to Shakespeare and his language. It is boring, they say. It is difficult, inaccessible and has nothing to do with us, they say. But how is falling in love unrelatable and boring? How are gangs and families far away from today's society? Romeo and Juliet is relatable and as current today as it was 400 years ago. The subject English in the Swedish curriculum requires different literary time periods and dramatic text as well as living conditions, attitudes, values, traditions, social issues as well as history, politics and culture from the world where English is used should be integrated into the teaching. Which means that Shakespeare is perfect. Teaching English using drama is a challenge with students who do not see themselves as ‘actors’, the didactic challenges themselves being of interest in this essay. Students are asked to create a modern devised version of William Shakespeare’s Romeo and Juliet where they work on character using for example Stanislavsky’s methods and improvisation. The aim is to see which didactic changes need to be made for character work and performance to be effective, run smoothly and be fun. The aim is also to better understand how it feels for the students to take on a character. The results show the importance of relevance for the students, leading them slowly into using drama as a method. The play has to be relatable and have a connection to the students own lives. In conclusion, in-depth character work linked to improvisation and devising is important for the development of character.
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Molyneux, Lisa Ann. "A costume design for a production of Shakespear's Romeo and Juliet." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303330309.
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Poston, Joshua Evan. "A Lighting Design Process for a Production of Romeo and Juliet." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492520454587452.
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Ennis, Elizabeth Susan. "Don't Fall in Love: Designing Costumes for Shakespeare's Romeo and Juliet." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/488826.
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TheaterM.F.A.
The purpose of this thesis is to recount the creative process used when designing the costumes for Temple University’s Spring 2018 production of Romeo and Juliet. This process begins with a thorough reading of the play and moves through the phases of research, planning, and implementation of the author’s designs. Subjects discussed include historical fashion of the early Italian Renaissance, the challenges of working with costume rental companies, and the collaborative nature of costume construction. The author will reflect on the struggles and successes of her contribution to the production.
Temple University--Theses
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Quinn, Anthony Leo. "Juliet : a role in four movies." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10580.
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Over a period of sixty years, between 1936 and 1996, there were numerous filmed versions of Shakespeare’s Romeo and Juliet, but four in particular were made for and obtained a worldwide commercial release. George Cukor’s lavish production of 1936 with Norma Shearer as Juliet was the first feature length, big budget, ‘talkie’ of Shakespeare’s play to be made by a major studio and aimed at the cinema going public. Shearer remains, to this day, the only actress of the modern age who was a major film star when cast in the role of Juliet. In direct contrast to this, Renato Castellani’s Anglo Italian neo-realist, retrospective 1954 adaptation featured an unknown Susan Shentall, who had never acted before filming and, on completion of the film, retired and never acted again. Franco Zeffirrelli’s sweeping 1968 production with Olivia Hussey as Juliet was a worldwide commercial success and is still revered by many as being the authoritative film experience of the play. Baz Luhrmann’s1996 version, with Claire Danes playing opposite Leonardo DiCaprio, was initially decried as an affront to Shakespeare’s masterpiece and the director was accused of sacrificing the text for a highly stylised and bombastic shallow content. It is only recently that this film has been viewed by critics and academics alike in a more sympathetic and positive manner. These films, taken individually, present to us a particular performance of the ‘Juliet’ of Shakespeare’s text; but in addition to this they allow us a comparative study of the portrayal of Juliet as a celluloid reflection of the idealised woman shaped by the progressive demands of the contemporary phallocentric society in the western world. Patricia White examined this reflection theory in Feminism and Film and, in turn, referred to the studies of Molly Haskell and Marjorie Rosen in the early 1970s, and quoted them on the basis that film ‘reflects social reality, that depictions of women in film mirror how society treats women, that these depictions are distortions of how women ‘“really are” and what they “really want” ’(White 118). The theory explores the supposition that women are repeatedly and systematically portrayed in a catalogue of images that compels the viewer to see and accept them in a typology of roles which, according to White, reinforces the phallocentric ideology of women as an array of ‘virgins, vamps, victims, suffering mothers, child women and sex kittens’(White 118). A question that therefore arises and which is central to this thesis is how, specifically, has Juliet been portrayed in film? Has the Juliet of the screen been nothing more than an object of visual stimulation, an object of the scopophilic gaze and male sexual fantasy? If this is the case, how does this vary in each of the filmed versions listed? We must also consider how Juliet exists in relation to other characters in the play beyond her direct involvement with Romeo. Juliet’s role is pivotal within the play even though she does not have the most lines. She has a direct influence on Mercutio and his relationship to Romeo, even though Juliet and Mercutio fail to exchange a single line of dialogue in the entire play. Juliet’s relationship with Romeo is altered dramatically in the aftermath of Mercutio’s death. Juliet’s life is also influenced by her relationships with others such as the Nurse and Friar Laurence, each of whom will abandon her at some point in the play. How are these relationships played and interpreted in each of the films in question? One cannot write extensively of Juliet if one limits oneself to writing exclusively of her. Each of these characters and how they are portrayed needs also to be examined. So too must the directors, all male, be examined in some detail. How much do they alter the Juliet of Shakespeare’s text and for what purpose?
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Stoppe, Sebastian. "Das "Red Curtain"-Kino : Baz Luhrmanns Filme "Romeo + Juliet" und "Moulin Rouge" /." Marburg : Tectum-Verl, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2786065&prov=M&dok_var=1&dok_ext=htm.
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Stoppe, Sebastian. "Das "Red curtain"-Kino Baz Luhrmanns Filme "Romeo + Juliet" und "Moulin Rouge"." Marburg Tectum, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2786065&prov=M&dok_var=1&dok_ext=htm.
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Way, Geoffrey. "Wherefore art thou, Romeo? a study of three late twentieth-century film adaptations and approporiations [sic] of Romeo and Juliet /." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1181666374/.
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Ailles, Jennifer L. "Queering the queer(ed) pomosexual "readings" of Shakespeare's adaptation of Romeo and Juliet /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ55647.pdf.
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Smith, Jennifer S. "Freshmen English students' perceptions of suicide before and after reading Romeo and Juliet." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000smithj.pdf.
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Prytz, Ann-Louise. "Den älskande kvinnan i Shakespeares dramatik : En dramatikanalys av dramerna Othello och Romeo och Juliet med fokus på Desdemona och Juliet." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39171.
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The essay The loving women in Shakespeare’s dramas is based on the fact that the dramas are performed circa 400 years after they were written. That makes it intresting to examine the caractars, and especially the female parts, and particularly the loving woman. To fulfill that, I have inquired Desdemona in Othello and Juliet in Romeo and Juliet. I have used eight parts of the drama analysis modelled by Birthe Sjöberg as the main research methode. The scientific aim is to investigate the loving woman in two plays of Shakespeas dramaproduction, Othello and Romeo and Juliet. The question at issue is, how does the female parts in Shakespeare’s tragedies looks like when it comes to the loving woman? The research questions are – how are Juliet and Desdemona allowed to act? How does their love look like? How do they act? How are they as persons? What are important for them? When you investigate Juliet and Desdemona, you reach their husbands as well, so they become a part of the analysis. Are Juliet and Desdemona shaped by conventions, free will or by nature? These questions are discussed with help of Judith Butler’s theory of socialconstructivism. Desdemona and Juliet are both very loving and free to act. Both are very beautiful and Desdemona is much appreciated as a person. Desdemona is happily married until Jago enters the scene and demands revenge because of a post he didn’t get. Romeo and Juliet are happy together but theire families destroy for them. Desdemona and Juliet are shaped by their genus that their surroundings force upon them. Both women act upon the constraints they face. Desdemona trys to obey and Juliet plays dead to escape the marriage with Paris. The analysis shows that the female part is oppressed by the culture of honour and by social circumstances as the family feud in Romeo and Juliet. Love does not survive and triumph over oppression. The patriarchate wins over emancipation, especially in Othello. Desdemona is strangled by her husband Othello and therefor she is a victim of patriarchate. The men also suffer from the patriarchate, their love can’t be free and they also die in the end.
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Fredman, Jenny. "(Un)"Like Romeo and Juliet" : The Theme of Love in John Fowles' The Collector." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-935.
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Leger, Catriona. "Adventures in non-traditional approaches to classical text : directing William Shakespeare’s Romeo and Juliet." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27912.
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Adventures in non-traditional approaches to classical text: directing William
Shakespeare’s Romeo and Juliet examines the preparation, pre-production and rehearsal process behind staging Romeo and Juliet in the round that the Telus Studio Theatre, January 21-30, 2010.
As outlined in the following pages, my core objective was to explore and apply principles of Le Jeu, a physical and game-based approach to theatre as taught by Jacques Lecoq and Philippe Gaulier, to a classical piece of text. Elements of the production and rehearsal process were also to include Bouffon, Clown and French Melodrama. In addition, my aim was to experiment with gender-role reversal in the traditionally patriarchal society outlined in the text. In the rehearsal hall my focus was on giving the actor the freedom to dream, play and experiment beyond the confines of traditional approaches to text. In performance this production was framed as a company of grotesques performing the greatest love story of all time in a live cabaret setting.
This paper includes biographical information on the playwright, a directorial
analysis of the script, a journal chronicling the entire production process from thesis proposal submission through to the run of the show and a short reflection on the process concluding with final thoughts on the production.
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Rothschild, Fleur. "Recovering Romeo and Juliet : a study of critical responses to the play from 1597." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265757.
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Fugett, Damon I. "Visual metaphors and the construction of meaning: An analysis of Baz Luhrmann's “Romeo + Juliet”." Scholarly Commons, 2004. https://scholarlycommons.pacific.edu/uop_etds/2748.
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This thesis examines the rhetorical significance of visual metaphors as they occur in film. In particular, it provides a rhetorical analysis of Baz Luhrmann's film William Shakespeare's: Romeo + Juliet . The thesis analyzes how religious visual metaphors construct meaning by creating visual narratives that are just as powerful as spoken or written metaphors. The thesis relies on Gozzi's (1999) three levels of metaphors—surface, deep, and meta-metaphors—for the analysis of visual metaphors surrounding Father Lawrence and images of Christ that appear in Luhrmann's film. The analysis indicates that the visual surface metaphors of Father Lawrence depict a central character that is seedy, weak, and inactive. The visual surface metaphors of the images of Christ depict this religious figure as omnipresent yet impotent. The analysis indicates that the visual deep metaphors of Father Lawrence define this character as infirmed and culpable for the tragedy of the film. The visual deep metaphors of the images of Christ define him as infirmed and confined. Taken together, the surface and deep visual metaphors contribute to the development of a meta-metaphor in Luhrmann's film that depicts the Catholic religion as dark. Ultimately, the visual surface, deep, and meta-metaphors contained in Luhrmann's film contribute to the construction of meaning. They provide reasons for the character's inadequacies, establish narratives that are not part of the literal narrative as presented in Luhrmann's film and Shakespeare's original work, and provide a postmodern religious audience with substantial visual narrative with which they can identify.
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Aebischer, Pascale. "Representing personal violence and suffering in Shakespeare's Titus Andronicus, Romeo and Juliet, Hamlet, and Othello." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322602.
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Lazzaris, Fabiane. "Cyberspace is a stage : Romeus & Julietas, a multiplatform adaptation." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/148975.
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A presente pesquisa explora uma adaptação amadora em contexto escolar de Romeu e Julieta para as redes sociais desenvolvida em comunidades em risco na cidade de Bagé, Rio Grande do Sul, na região de fronteira entre Brasil e Uruguai. O objeto de estudo é a adaptação multiplataforma Romeus & Julietas, uma reinterpretação da história dos jovens amantes em ambiente digital. Cada ato da peça é mostrado ou contado em uma plataforma diferente (através de textos, imagens e sons) e o leitor navega a adaptação preenchendo lacunas e reconhecendo as referências aos personagens arquetípicos e, assim, tecendo a história. A hipótese dessa pesquisa é que a adaptação pode ser uma ferramenta para aproximar a obra de Shakespeare do público e que as mídias digitais podem ser usadas como instrumentos para possibilitar a criação de adaptações amadoras. O objetivo dessa pesquisa é descrever como a adaptação multiplataforma Romeus & Julietas é apresentada e interpretar e explicar as escolhas adaptativas focando nas questões provocadas pela própria adaptação. O objeto de estudo exigiu uma abordagem metodológica multidisciplinar, que foi ajustada conforme o propósito desse trabalho. A pesquisa iniciou através de uma perspectiva descritiva para que fossem geradas ideias e, depois disso, a abordagem formal e cultural foram integradas. Por fim, a adaptação multiplataforma Romeus & Julietas apresenta um comentário crítico contextualizado e aborda a história dos amantes arquetípicos criativamente.The present research explores a student amateur adaptation of Romeo & Juliet to social networks developed by at risk communities in Bagé, a city in the border region of Brazil and Uruguay. The object of study is the multiplatform adaptation Romeus & Julietas, which is a reinterpretation of the young lovers’ story in a digital environment. Each act of the play is shown or told in a different platform (through texts, images and sounds) and the reader needs to navigate through the adaptation filling in the gaps, recognizing references to the archetypical characters, and connecting the dots between the parts of the story. This dissertation raises the hypothesis that adaptation might be a tool to make Shakespeare’s work more accessible to people and that digital media can be used as an instrument to make an amateur adaptation happen. The objective of this dissertation is to describe how the multiplatform adaptation Romeus & Julietas is presented and to interpret and explain the adaptational choices by focusing on issues raised and provoked by the adaptation itself. The object of study required multi-disciplinary methodological approaches, which were adapted to the purpose of this research. The research started from a descriptive perspective in order to generate ideas and integrate formal and cultural approaches. In conclusion, the multiplatform adaptation Romeus & Julietas provides a contextualized critical commentary and accesses the star-crossed lovers’ archetype creatively.
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Chao, U. Si. "A study of two Chinese translations of Romeo and Juliet in the light of norm theory." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1780839.
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Rawlins, Rebecca. "The Effect of Social Network Disapproval on Partners' Dating Relationship: The Romeo and Juliet Effect Revisited." DigitalCommons@USU, 2006. https://digitalcommons.usu.edu/etd/2543.
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By using online self-report data provided by 41 undergraduate students and their dating partner(N = 82), this study examined the potential curvilinear relationship between four social network sectors (own parents, own friends, partner's parents, and partner's friends) and romantic dating partners' relationship characteristics (perceptions of partner's agreeableness, love, satisfaction, commitment, and ambivalence). After controlling for the effects of age, relationship duration, and social network overlap, the hierarchical regression analyses provided little support for the Romeo and Juliet Effect, that is, the negative association between social network approval and characteristics of the dating relationship. Instead, the study mostly replicated the positive linear relationship of social network approval with various relationship characteristics reported in the literature on social network approval. A few curvilinear relationships between social network approval and characteristics emerging from the relationship with the dating partner were found, however. A curvilinear association existed between perceptions of the partners' agreeableness and perceived social network approval from own parents, own friends, and partner's parents.
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Hurtgen, Joseph. "Shakespeare's Use of the New Testament: Biblical Intertexuality in As You Like It and Romeo and Juliet." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/281.
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This thesis examines structure in Shakespeare to show how his plays Romeo and Juliet and As You Like It intertextually relate to the Bible in such a way that allows them to elicit order. Shakespeare's plays contain dramatic structure, imagery, themes, and character relationships influenced by the New Testament. In order to understand how Christian elements find their way into texts, the first chapter demonstrates the function of intertextuality, how plots and words evoke others, and how Shakespeare frequently borrows from many sources. Biblical sources, as well as many others, are ubiquitous in Shakespeare. The first chapter then examines Northrop Frye's and Tzvetan Todorov's Structuralist models to show continuities between plot structures. This allows for an examination of the relationship between similarly constructed texts. One of the similarities is how the dramatic structure of Shakespeare's plays resembles the structure of Jesus' teaching in the gospels, moving from traditional ideas of righteousness to righteousness achievable only through faith. The second chapter examines similar themes and images prevalent within the two plays and the gospels. For instance, love, and specifically the bond of love in marriage, is a central theme in both Shakespeare and the New Testament. While human love is often imperfect and based heavily on eros, it points to the perfect agape love around which the kingdom Jesus spoke is organized. Among the most important of the images found in both the studied texts and the Bible are light (with all its uses) and the destruction of the beautiful. Through use of oppositional images and ideas such as fate and free will, order in reality is seen as interplay between positive and negative forces. This is not to say that yin-yang is the modicum for making sense out of existence, for the opposition does not have to balance perfectly between the two sides, nor do the disparate elements have to contain traces of the other; rather, sense of self or plot is created by the presence of opposing forces. The third chapter analyzes the similarity between character relationships in the plays and the gospels. In both are found sets of oppositional characters. The presentation of characters with negative traits more clearly underscores the good traits within other characters. In As You Like It, relationships are allegorical for the love between God and man. Rosalind and Celia address each other as intimates when they are close friends in the court, but in the forest, as Rosalind's love for Orlando develops, she directs her intimate language away from Celia. In Romeo and Juliet the lovers' relationship represents Christ and the Church. The characters function to further themes and images as they are often emblematic, or representative of, particular emotions or ideas. Shakespeare developed his plays using many Christian elements, many of which are so integral to the plot and movement of the play that they are rarely left out of a critical analysis. However, other subtle Christian elements included in the plays are easy to overlook, as they necessitate a working knowledge of scripture and theology. This thesis delves into many such elements within As You Like It and Romeo and Juliet.
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Rhee, Beau La. ""All the world's a stage" (re)familiarizing Shakespeare : a study of Romeo and Juliet in the East and West /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380536.
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Crouch, Makenzi Ilse. "Shakespearean tragedy and the Internet-disseminated short film : adaptations of 'Hamlet' and 'Romeo and Juliet' on YouTube and Vimeo." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/43350/.
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Significant changes and advances in technology in the twenty-first century, and the rapid evolution and development of the internet in particular, have shaped the production, publication, and consumption of, and access to, a wide range of media. For adaptors of Shakespeare, such advances can be exploited as new and innovative ways through which to interpret, perform, and understand Shakespeare. This thesis argues that a possibility space emerges from the restrictions of video-sharing sites such as YouTube and Vimeo, enabling the creation and online distribution of original internet-disseminated short film adaptations of Shakespeare on a scale — and with a potential audience — previously unimaginable to those without significant financial resources. I explore the effect that the enforced brevity of the possibility space has on filmmakers’ adaptations of Shakespeare and ask how this space enables newly creative and innovative approaches to adapting Hamlet’s ‘to be or not to be’ speech, Ophelia’s image (and death), and a distilled Romeo and Juliet narrative. I aim to show that a generally circulated cultural memory of Hamlet and Romeo and Juliet is crucial for this kind of short-form adaptation, as the brevity of the format relies on audience familiarity with the images and texts deployed to fill in any gaps. I demonstrate that image-based adaptations, such as Ophelia’s death, are predominantly reductive due to a strong visual tradition that results in repeated reproduction of the same image, whereas text-based adaptations, such as Hamlet’s speech, allow exploration and amplification due to the nebulous nature of the text and exploitation of the possibilities of film; the Romeo and Juliet love story, bound up in both text and image, is more visually resonant than adaptations of Hamlet’s speech, but less so than those of Ophelia’s death. Ultimately, I conclude that although the possibility space always exists, it is not always leveraged in the same way: it can, and does, offer internet-disseminated short filmmakers the opportunity to approach familiar Shakespearean material in new and innovative ways, but this creative potential can be overlooked in favour of static, mimetic replication that uses Shakespeare to confer legitimacy without writing back.
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Weindelmayer, Laura Celeste. "Rappahannock River Edge." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31352.
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Inherent in river is a dual nature: it is a dynamic, flooding entity which never moves but causes movement. This cord which ties the lands and towns along its edges also ties the individual town to the water. The river's character becomes apparent through the life of the town and the provision through trade and industry. River, in this case, has a more static quality as it becomes a constant, a known factor in the life of a man. The dynamic of river shows forth when its character changes faces to overtake the town which grew from its edge. In this thesis, an 1800 foot site along the Rappahannock becomes the stage which responds to the actions of a river.Master of Architecture
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Berner, Cameron. "A Rose by Any Other Name: Shakespeare and the Cinematic Bridge of Love." Miami University Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1240926671.
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Conte, Carolina Siqueira. "STAR-CROSSED LOVERS." Ohio University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou992357892.
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Kopciak, Zachary J. "URINALS, SWORDFIGHTS, AND DILDOS: EXPERIMENTING WITH MASCULINE GENDER AND SEXUALITY IN AN ADAPTATION OF JOE CALARCO’S ADAPTATION OF SHAKESPEARE’S ROMEO & JULIET." Ohio University Honors Tutorial College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1323795680.
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Ryen, Lisa. "“O, she is rich in beauty; only poor that when she dies, with beauty dies her store” : Rosaline in Shakespeare’s sixteenth-century play Romeo and Juliet and Rebecca Serle’s young adult novel When You Were Mine." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-40553.
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This essay conducts a comparative analysis of the importance of the character Rosaline and the differences in her portrayal in two works: William Shakespeare’s 1590s play Romeo and Juliet and Rebecca Serle’s young adult novel When You Were Mine (2012). The essay especially looks into Rosaline’s importance for Romeo and Juliet’s relationship in the play and the novel. In relation to the play the essay also briefly discusses Franco Zeffirelli’s film adaptation Romeo and Juliet (1968) to show why it is important to keep Rosaline in the story. I argue that Shakespeare and Serle make use of the genres within which they work to tell slightly different versions of the story and Rosaline’s place in it. More specifically, I show how the literary and formal conventions of the genres affect the story by highlighting specific features, characters and events, which results in two works suited for different target audiences. In the end it is clear that Shakespeare’s Romeo and Juliet is made for a Renaissance audience, while When You Were Mine is written for today’s young adults.I den här uppsatsen genomför jag en jämförande analys gällande karaktären Rosalines betydelse och olikheterna i hennes skildring i två verk: William Shakespeares 1590-talspjäs Romeo och Julia samt Rebecca Serles ungdomsroman When You Were Mine (2012). Uppsatsen undersöker speciellt Rosalines betydelse för Romeo och Julias relation i pjäsen och romanen. I förhållande till pjäsen diskuteras kort Franco Zeffirellis filmadaption Romeo och Julia (1968) för att visa på Rosalines nödvändighet i pjäsen. Jag hävdar att Shakespeare och Serle drar nytta av de olika genrerna de skrivit inom för att berätta två något annorlunda historier och att detta påverkar Rosalines plats i dem. Mer specifikt visar jag hur de olika genrernas litterära och formella konventionerna påverkar historien genom att lyfta fram specifika funktioner, karaktärer så väl som händelser, vilket leder till två olika verk som passar olika målgrupper. I slutändan är det tydligt att Shakespeares Romeo och Julia gjordes för en renässanspublik, medan When You Were Mine skrevs för dagens ungdomar.
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Emanuelsson, Linn. "Shall I Compare Thee To Textbooks? : The Selection and Tasks Associated with Shakespeare in Upper Secondary Textbooks." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-50383.
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This essay has investigated the use of Shakespearean texts as well as tasks associated with those texts in upper secondary textbooks. The investigation looked at both which texts of Shakespeare’s are most frequent and how students are supposed to work with the texts. Furthermore the textbooks cover 20 years (1995-2015) and as such the study also analysed whether or not the selection and tasks have changed, i.e. whether they remain the same today as they did 20 years ago. The findings indicated that Hamlet and Romeo and Juliet were the two most frequent texts and that the tasks have gone from being individual to focusing on group work. The analysis also showed that while Shakespeare during the beginning of the 20 year period was the most dominant or sole author mentioned, this role has been reduced during more recent years. The conclusions drawn concerning the findings emphasise the syllabi and how they influence the content and format of the textbooks as well as the importance of canonicity.
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Curvelo, Amanda Carvalho Mendes. "Do Teatro aos Quadrinhos: um estudo semiótico da tragédia de Romeu e Julieta." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6229.
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Previous issue date: 2013-03-19Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Recently, the graphic novels authors have been interested in adapting works of the literary canon. The world-famous tragedy Romeo and Juliet, written by William Shakespeare in 1595, was translated over time for different artistic languages, including the Comics language. This transposition of signs, from an art form into another, is known as intersemiotic translation. According to Jakobson (1995: p.65), intersemiotic translation means the interpretation of verbal signs through the non-verbal signs systems. Later, Plaza (2003) based on Jakobson work adds that the intersemiotic translation can also be applied from a sign system to another, for example, the verbal art to the music, dance, film or painting. Therefore, in order to study this transposition process into comics, we have selected three Romeo and Juliet adaptations, raised from different cultures a British, a Japanese and a Brazilian ones. Supported by the theories of Semiotics of Culture, Peircean semiotics, the theory of carnivalization and theory of adaptation, this research is going to investigate how the signs of theatrical language were translated into the language of comics, and also the influence of culture on these semiotic operations.
Nos últimos anos, os criadores de histórias em quadrinhos (HQs) vêm se interessado por adaptar obras do cânone literário. A tragédia mundialmente conhecida de Romeu e Julieta, escrita por William Shakespeare em 1595, foi traduzida ao longo do tempo para diversas linguagens artísticas, dentre elas, a linguagem das HQs. Essa transposição de signos, de uma determinada forma de arte para outra, é conhecido como tradução intersemiótica. Segundo Jakobson (1995: p.65), a tradução intersemiótica consiste na interpretação de signos verbais por meio de sistemas de signos não-verbais. Posteriormente, Plaza (2003) bebendo da fonte de Jakobson, acrescenta que a tradução também pode ser feita de um sistema de signos para outro, por exemplo, da arte verbal para a música, a dança, o cinema ou a pintura. Portanto, com o objetivo de estudar esse processo de transposição e ressignificação da peça para as HQs, selecionou-se três adaptações da tragédia de Romeu e Julieta, com raízes em diferentes culturas uma inglesa, uma japonesa e uma brasileira. Com o respaldo conceitual das teorias da Semiótica da Cultura, da Semiótica Peirceana, na teoria da carnavalização e na teoria da adaptação, esta pesquisa investigará como os signos da linguagem teatral foram traduzidos para a linguagem das HQs e a influência da cultura nessas operações semióticas.
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Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.
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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.
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Lee, Insoon. "Shakespeare-Inszenierungen in Korea seit 1970 : eine Untersuchung zur interkulturellen Rezeption anhand exemplarischer Aufführungen von Hamlet und Romeo und Julia /." München : Verl. Dr. Hut, 2008. http://d-nb.info/98822934X/04.
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Braun, Ana Karina Borges. "O tratamento da polissemia em traduções da obra Romeu e Julieta de William Shakespeare." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140319.
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Esta dissertação se propõe a apresentar um estudo comparativo de traduções da obra Romeu e Julieta, de William Shakespeare, no que diz respeito à polissemia, entendida como uma condensação de significados em um só significante e que constitui uma fonte potencial de inequivalência na tradução. Nesta obra, é representada pelas expressões de duplo sentido com conotação obscena, aqui, denominadas jogos de linguagem. A análise se sustenta nos pressupostos teóricos da tradução, com base nos estudos das teóricas Rosa Rabadán e Hurtado Albir, compreendida como um processo interpretativo e comunicativo através do qual um texto fonte não é apenas traduzido à língua alvo, como também inserido em um novo contexto sócio-cultural, tendo em vista sua finalidade específica e seu público alvo. O objetivo é estudar a tradução da polissemia nesta obra, através da comparação e da análise das soluções encontradas em três de suas traduções para o português: Beatriz Viégas-Faria (1998), Bárbara Heliodora (2004) e Elvio Funck (2011). A metodologia consiste, primeiramente, no levantamento e na análise em inglês de passagens com jogos de linguagem que evidenciem a polissemia, aqui delimitadas às falas do personagem Mercúcio. Em segundo lugar, a metodologia consiste na comparação das diferentes soluções oferecidas pelos tradutores à questão da potencial inequivalência que os jogos de linguagem possam representar. A partir dessa comparação e da análise dos jogos de linguagem, espero evidenciar que a tradução dos jogos de linguagem requer um tratamento cuidadoso no que diz respeito à reprodução de sua função comunicativa da comicidade através da exploração do tema da sexualidade. Portanto, a análise do tratamento dado à polissemia pelos tradutores permitirá, também, conhecer seus efeitos na produção de textos da língua alvo e refletir sobre a melhor maneira de reproduzi-los, de modo a propor estratégias para enfrentar esse tipo de problema de tradução que também levem em conta a necessidade de uma adaptação ao contexto social ou à cultura em que serão inseridos e à finalidade de cada tradução.This thesis proposes a comparative study of different translations of Romeo and Juliet by William Shakespeare concerning the polysemy, defined as a condensation of more than one signified in the same signifier and potential source of equivalence in translation represented in this literary work specifically by double meaning expressions with obscene connotation named jogos de linguagem (language games). The analysis is based on theoretical assumptions of translation that define it as an interpretative and communicative process based on the studies of Rosa Rabadán and Hurtado Albir in which the text of a source language is not only translated into the target language, but also inserted in a new social and cultural context considering its specific purpose and its target audience. It aims at studying the translation of polysemy in this literary work through the comparison and analysis of three of its translations into Portuguese. They are Beatriz Viégas-Faria’s translation, published in 1998, Bárbara Heliodora’s translation, published in 2004, and Elvio Funck’s translation, published in 2011. Firstly, the methodology consists of researching and analyzing some passages with double meaning expressions that display examples of polysemy in the source text, focused on Mercúcio’s speech as a matter of time and organization. Secondly, it consists of comparing different solutions of translation concerning matters of potential non-equivalence the jogos de linguagem may represent. Through this analysis and comparison, I hope to evince that the translation of the jogos de linguagem requires a careful treatment concerning the reproduction of the communicative function of comicality through the exploration of sexuality. Therefore the analysis of the translators’ treatment of polysemy will also allow us to know its effects in the production of texts of the target language and to reflect on the best way of reproducing them in order to propose strategies to solve this kind of translation problem considering the necessity of an adjustment towards the social and cultural context in which they are inserted and the purpose of each translation.
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滝川, 睦., and Mutsumu TAKIKAWA. "Queen Mabはどこから来たのか - Romeo and Juliet におけるQueen Mab speechをめぐって-." 名古屋大学文学部, 2004. http://hdl.handle.net/2237/9289.
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Jae, Hwan Jung. "DANCING AMBIVALENCE: A CRITICAL ANALYSIS OF MARK MORRIS' CHOREOGRAPHY IN DIDO AND AENEAS (1989), THE HARD NUT (1991), AND ROMEO AND JULIET, ON MOTIFS OF SHAKESPEARE (2008)." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/167997.
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DancePh.D.
Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world.
Temple University--Theses
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Banks, Amy Camille Connelly. "Shakespeare's Leading Franciscan Friars: Contrasting Approaches to Pastoral Power." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8931.
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A popular perception persists that the Franciscan friars of Romeo and Juliet and Much Ado About Nothing bear heavy blame for the results of the play, adversely for Friar Lawrence and positively for Friar Francis. The friars do formulate similar plans, but their roles vary significantly. I contrast their approaches using Michel Foucault's definition of pastoral power, with Friar Lawrence as an overly manipulative friar controlling the lovers in spiritual matters, and Friar Francis as a humble military friar returning from the Wars of Religion to share his authority with others. This distinction--especially with Friar Lawrence appearing chronologically first--demonstrates Shakespeare as more fluid in religious themes, contrary to a significant body of scholarship that asserts Shakespeare's pro-Catholic sympathies.
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Yenser, Helen E. "LINDA LAND: A Short Story." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1001.
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“LINDA LAND” is a short story about a man who created an amusement park based on Hell, and his teenage son, who has developed a crush on the preacher’s daughter. Though there are many real-life muses that inspired the story—like Simon Rodia, the artist behind the Watts Towers—the four main literary sources are William Shakespeare’s play, “Romeo and Juliet,” Karen Russell’s novel, “Swamplandia!,” Sylvia Plath’s poem, “Mirror,” and Charlie Kaufman’s screenplay, “Adaptation.”
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Reis, Junior Hildeberto da Silva. "PRIVATE ROMEO: AMOR, HOMOEROTISMO E SEXUALIDADE NUMA TRADUÇÃO DE ROMEU E JULIETA." Instituto de Letras, 2017. http://repositorio.ufba.br/ri/handle/ri/26388.
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A trajetória temática de representação homossexual no cinema produz uma força de presença, que aos poucos desfaz a condição de simulacro há muito atribuída ao sujeito não-heterossexual. O filme Private Romeo (2011), dirigido por Alan Brown, é exemplo de um produto midiático, cuja proposta só é possível em face do rastro de produções que o antecedem. Trata-se de uma tradução intersemiótica da peça Romeu e Julieta, escrita por William Shakespeare, no século XVI. A releitura do diretor Brown apresenta dois jovens soldados de um colégio militar estadunidense – um ambiente cuja atmosfera de opressão valoriza determinados valores ligados à moralidade social em detrimento da expressão do individual – no instante de descoberta do desejo sexual mútuo. Tal proposta fílmica funciona como crítica ao contexto heteronormativo dentro do sistema militar norte americano, rígido e moralista, no qual, durante muitos anos, existiu uma política institucionalizada e constitucionalizada de discriminação, proibindo militares homossexuais de assumirem sua identidade sexual. A adaptação fílmica Private Romeo traduz o texto dramático Romeu e Julieta, com uma proposta de desconstrução de paradigmas sobre homoafetividade, identidade sexual e papeis de gênero, saindo de um modelo de discurso heteronormativo, no qual o texto dramático shakespeariano está inserido, já como uma repetição em diferença do tema ocidental do amor proibido, e propõe novas expressões sobre moral, corpo e linguagem. Esta dissertação sugere uma análise da narrativa do filme em questão a partir, principalmente, da leitura das discussões introduzidas por Judith Butler (2016) e Eve Kosofsky Sedgwick (1990), sobre a discussão em torno das identidades sexuais e papéis de gêneros regulamentados por e no mundo ocidental; Michael Foucault (1999), sobre a sexualidade; Jacques Derrida (1995), com a discussão sobre rastro, escritura e diferença na tessitura dos textos; Gilles Deleuze (2000), com a proposta de reversão da hierarquização platônica modelo-cópia-simulacro. A construção do casal protagonista dentro dos aspectos e da concepção do filme de 2011 é o recorte tomado para a análise, tendo em vista o perigo da universalização, normatização e higienização da história de sujeitos não-heterossexuais, que, no filme, é contada através das vozes canônicas das personagens criadas por William Shakespeare. Nesse sentido, Private Romeo, como produto da leitura crítica da anterioridade, é objeto capaz de propor análise e discussão sobre a potência positiva de um grupo social cuja identidade sexual é rotulada como um tipo de simulacro platônico. Em outras palavras, discute-se o caráter de desvio atribuído e regulado pelos aparatos sociais para os sujeitos e as relações não-heterossexuais e suas identidades sexuais.
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Korcsolan, Judit. "Teaching Shakespeare’s Romeo and Julietin L2 adult education : A qualitative study on teachers’ and students’ opinions on Shakespeare and his language as a topic in the EFL classroom in formal and non-formal adult education." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-11576.
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This essay presents a literary study for adult students of English at English A level at Komvux (municipal adult education) and Vuxenskola (a study association for adult non-formal learning). It has its basis in the question whether reading Shakespeare in the original version is suitable for language learners as form, and is beneficial as content. The classic play Romeo and Juliet by Shakespeare features in the course book Read and Log on used by the English A group at Komvux in my chosen municipality. The primary aims of the study were to explore teachers’ attitude and views on teaching literature – the classics in general, and Shakespeare in particular – to adult language learners, and students’ reactions and opinions about a lesson on Shakespeare and Romeo and Juliet in the original language with regards to content and usefulness.
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Willems, Christiaan H. "Technological challenges : aesthetic solutions : the impact of technology upon the creative process in the context of the adaptation of non-verbal, solo stage performance to television." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35874/1/35874_Willems_1996.pdf.
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The research study is a self-reflexive analysis of the creative processes of the artist in a particular context - that of the adaptation of solo non-verbal performance
created for the stage, to the television screen, utilising advanced video production techniques. Utilising this work as a case study enables the detailed analysis of specific artistic aspects of the adaptation process, how this process was influenced by the different technological medium of television, and how this shaped the final television work. The purpose of the study is not to illustrate the technical aspects of the production, although these are briefly addressed to provide background and contextual information. The principal focus and intention of the study is to illuminate the creative and artistic processes which take place in the mind of the artist as a response to the particular artistic challenges which arise when the basic art work is placed within the foreign context of a highly technological environment.
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Alfred, Ruth Ann. "The effect of censorship on American film adaptations of Shakespearean plays." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2733.
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