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Different Representations of Love in the Works of William Shakespeare
JANDAČOVÁ, Petra
This diploma thesis is concerned with different representations of the theme of love in William Shakespeare's works. The first part of the thesis deals with Shakespeare's biography and it points out the author's most prominent career and literary accomplishments in order to establish a context and time frame of his poetic and dramatic works. Consequently, there are explored different ways how the theme of love was approached throughout various historical and literary eras with particular attention to the development of English literature and the evolution of love poetry. In the main part of the theses, there are explored different ways how Shakespeare portrayed and understood the nature of love in his literary works. The concept of love in Shakespeare's repertoire is analysed with regard to the genres of his poetic works, namely narrative poems and sonnets, and his plays, specifically comedies, tragedies, and romances. For each of the genres there are chosen several individual plays or poems, which are then interpreted in connection to how they portray and relate to the theme of love.
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Posibilities of working with William Shakespeares work in teaching literature at high school
Mrázová, Michaela ; Hník, Ondřej (advisor) ; Hausenblas, Ondřej (referee)
1 Graduation thesis conserns possibilites of working with William Shakesperes work in teaching literature at high school. Its essence is veryfiing proposed activities in praxis and reflexion of results achieved. Methods that I propose in this thesis results from creative teaching conception and are inspired by creative methods. Source publications for proposed activities are The Merchant of Venice and Othello, the Moore of Venice. In the thesis I summarize term of creativity, conception of creative teaching and its goals. I attend to possibilities and difficulties of application of this conception in teaching literature. Common goal of those activities is to get pupils in direct contact with literature and its interpretation by attractive and understandable way. I give reason for proposed activities by partial goals that I want to forfill with them, I introduce description and instructions for use. In reflections I evaluate the process, reaching goals, possibilities of evaluating and possible organization troubles. Conclusions of the thesis are derivated from results of activities, observation and pupils reflections. I see benefit of my work in gaining experience and findings for my further praxi 2
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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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Shakespeare's Drama and Homosexuality
Mašková, Barbora ; Znojemská, Helena (advisor) ; Nováková, Soňa (referee)
Slowly developing since the 1980's, queer theory became a very important sphere of gender studies of the end of the 20th century and affected not only the very perception of gender categories, but also intepretations of these in texts. The thesis concentrates on queering of the dramatic works of William Shakespeare, describing relations which can be broadly characterized as homosexual - romantic or sexual attraction between members of the same sex, including homoerotic or homosocial aspect of these relationships. After establishing the textual grounds for these readings the text goes on to describe various stagings in theatre, television and film of Anglophone and Czech origin. In order to achieve representative illustration of the problem the established division of Shakespeare's drama is maintained, dividing the plays into three categories - comedies, tragedies and historical plays. One play of each of these categories is then discussed further. These are The Merchant of Venice for comedies, Othello for tragedies, and Richard II as a representative of historical plays. In the Merchant of Venice the discussed relationship is the one of Antonio and Bassanio, examining the possible motivation for Antonio's incredible generosity towards his young friend. The most famous homosexual interpretation of the...
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Wordplay in Shakespeare's Romeo and Juliet
Šťastná, Jana ; Ženíšek, Jakub (advisor) ; Malá, Markéta (referee)
Bakalářská práce "Překlady slovních hříček v Shakespearově Romeovi a Julii" se problematikou překládání Shakespear zaměřením na slovní hříčk žto typický prvek Shakespearova dramatického díla. Prostřednictvím konkrétních příkladů z této práci analyzovány české překlady slovních hříček na bastitových překladových strategií a lingvistických mechanismů, jejichž hlediska aplikovatelnosti Delabastitových teoretických poznatků na konkrétní slovní hříčky v
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William Shakespeare's Star Wars: Verily, A New Hope; translation and stylistic analysis of Ian Doescher's play
Kabešová, Karolína ; Ženíšek, Jakub (advisor) ; Chalupský, Petr (referee)
This bachelor thesis consists of three parts - the introduction, the translation of the first act of William Shakespeare's Star Wars: Verily, A New Hope and stylistic analysis of the translation. The first part focuses on the introduction of the three works related to the topic of this thesis - William Shakespeare's Hamlet, the film Star Wars Episode IV: A New Hope, and Ian Doescher's book. The practical part consists of the original text and its back-to-back Czech translation. The third part is an analysis of the translation, namely those passages that are challenging in terms of linguistic finesse and idiosyncratic style.
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Shakespearean chorus/prologue: its functions and effects in the play
Ohlídalová, Anna ; Znojemská, Helena (advisor) ; Hilský, Martin (referee)
The aim of this BA Thesis is to analyse and compare Shakespeare's prologues and choruses according to their formal features (narrative strategies, Chorus persona, and distribution in the play) and their position and function in the individual plays. The introductory chapter will briefly comment on the use of the chorus and prologue in Elizabethan drama, providing the context for subsequent specific analysis of Shakespeare's plays. The discussion will open with the analysis of the earliest of the containing this feature plays, Romeo and Juliet. This will provide a basis for categorising and documenting the development of the above characteristics, which will then be compared with other Shakespeare's prologues and choruses from all the genres of his plays. The other compared plays are Henry VIII, Midsummer Night's Dream, Troilus and Cressida, Pericles, Prince of Tyre, and Henry V.
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Hamlet on Film: The Screen History of the Man Who Could Not Make Up His Mind
Krejčířová, Kateřina ; Nováková, Soňa (advisor) ; Beran, Zdeněk (referee)
The thesis deals with the film adaptations of William Shakespeare's Hamlet; a multi- layered and deeply ambiguous play. Its innate ambiguity pushes directors to take widely differing stances. The thesis looks at different approaches and contrasts their effectiveness. The aspects of the play different directors chose to highlight and with what result is also taken into consideration. By close watching of selected adaptations, the thesis observes the impact of different aspects of the films such as the acting styles, casting, setting and music. The role of the elements unique to film is also examined. Among them are close-up, distance and camera angle, the tempo of editing, and juxtaposition of shots and the use of flashbacks. The thesis discusses the general issues connected with adapting play-texts into the medium of a film. It will also focus on instances within the particular adaptations that demonstrate the shift between the two means of convening a story. The thesis will be limited to the English language adaptations with one exception: Grigori Kozintsev's 1964 version based upon Boris Pasternak's translation into Russian. The thesis pays close attention to the way Kozintsev uses the film to capture the dynamics of a totalitarian state and its impact on society. He highlights the notion of...
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Cross-gender casting of tragedies by William Shakespeare
Mašková, Barbora ; Nováková, Soňa (advisor) ; Hančil, Jan (referee)
Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...
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Comparison of Various Film Adaptations of William Shakespeare's Hamlet
Varga, Jan ; Higgins, Bernadette (advisor) ; Ženíšek, Jakub (referee)
The aim of this thesis is to compare various film adaptations of William Shakespeare's Hamlet and to comment on the different style of their adaptation of the original play. A brief description of this Shakespeare masterpiece and of related films and their style followed by a depiction of particular characters and how the movies interpret them will lead to the comparison of the movies within individual motifs. Four film adaptations will be compared: the black-and-white version by Laurence Olivier (1948), Franco Zeffirelli's Hamlet starring Mel Gibson (1990), the four-hour Hamlet directed by Kenneth Branagh (1996) and modern version directed by Michael Almereyda (2000).
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