Szcenárium, 2021 (9. évfolyam, 1-8. szám)

2021-03-01 / 3. szám

Howard, jean E. “Crossdressing, The Theatre, and Gender Struggle in Early Modern England.” Shakespeare Quarterly. 39: 4, 1988, 418-440. Kisantal Tamás - Szeberényi Gábor. „Hayden White ’hasznáról és káráról’. Narratológiai kihívás a történetírásban." In Aaetas 1, 2001, 116-133. Kulcsár-Szabó Zoltán. „Intertextualitás: létmód és/vagy funkció?” Irodalomtörténet 4, 1995, 495— 541. Lanier, Douglas. “Will of the People. Recent Shakespeare Film Parody and the Politics of Popularization.” In Diana E. Henderson (ed.) A Concise Companion to Shakespeare on Screen. Wiley-Blackwell, 2006, 176-196. Lenz, Carolyn Ruth Switt - Green, Gayle - Neely, Carol Thomas (eds.) The Woman’s Part. Feminist Criticism of Shakespeare. Champaign: University of Illinois Press, 1984- Magyarics Tamás. „Klió és/vagy Kalliopé? A posztmodern amerikai történetírás néhány kérdé­se.” In Aetas 1, 1996. Orgel, Stephen. “Nobody’s Perfect: Or Why Did the English Stage Take Boys for Women?” in South Atlantic Quarterly 88:1, 1989, 7-29; Preed, Chloe K. ‘“I Am No Woman, F: Gender, Sexuality, and Power in Elizabethan Erotic Verse.” In E-pisteme 2:2, 2009, 46-57. Rozmovits, Linda. “New woman meets Shakespeare woman: the struggle over the figure of Portia in England in the late nineteenth and early twentieth centuries.” Women’s History Review, 4:4, 1995, 441-464. Schieiner, Winfried. “Male Cross-Dressing and Transvestism in Renaissance Romances.” The Sixteenth Century Journal. 19: 4, 1988, 605-619. Shapiro, Michael. Gender in Play on the Shakespearean Stage. Ann Arbor: University of Michigan Press, 1994. Thomas, Sidney. “The Earthquake in Romeo and Juliet.” In Modem Language Notes 64: 6, 1949. Werner, Sarah. Shakespeare and Feminist Performance. Ideology on Stage. New York: Rout­­ledge, 2001. Annamária Hódosy: Shakespeare in Love To the Fictitious Genesis of Romeo and Juliet In this study, Annamária Hódosy, a researcher of visual aesthetics, explores today’s most relevant issues for both the expert researchers of Shakespeare’s oeuvre as well as the lay audience of its theatrical and cinematic adaptations by analyzing the world-famous film, Shakespeare in Love (1998, d: John Madden). How do the real versus fictional life facts in the film relate to the stories depicted in the dramas, the tale of Romeo and Juliet in particular, the most popular adaptation of which is probably Zeffirelli’s 1968 film? Can the parallels between the heroes of Shakespeare’s dramas and the known or lesser-known and mysterious characters in the author’s biography be proved? In search of answers to these questions, the author exposes the background of certain Shakespeare in Love scenes, deepening today’s viewer’s knowledge and understanding of contemporary theatrical life and outstanding artists in London. Annamária Hódosy approaches the gender theme, which plays a central role in postmodern aesthetics, from the point of view of the contemporary theatrical tradition, which is known to have banned women from the stage. Representing the drama of breaking taboo, Shakespeare in Love provides an exceptional opportunity to show that theatre arts offer as likely as not the widest horizon to articulate the fashionable gender issue in a subtle manner. 68

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