Macbeth

En este trabajo se analizará en Shakespeare, sobre todo a partir de King Lear, aquellos rasgos que lo acercan al movimiento barroco -y su posible explicación desde el contexto histórico-, por comparación con los dramaturgos españoles y a partir de la conceptualización de Emilio Carilla sobre el estilo artístico. Desde Carilla, se prestará atención especialmente al desengaño, la quinta característica que el crítico argentino reconoce en el movimiento, para explicar cómo se manifiesta el "pesimismo" shakesperiano en las grandes tragedias del dramaturgo isabelino: "Hamlet", "Othello", "Macbeth" y, especialmente, "King Lear".

Flexible manufacturing system (FMS) is a centrally controlled manufacturing unit consisting of numerically controlled machine tools and material handling equipment. Selection of an appropriate FMS is a complicated task as it involves huge capital investment. Due to tough competition in the globalised market, decisions regarding these investments become crucial for the survival of any manufacturing industry. Decision for selection of an FMS is observed to be based on numerous conflicting tangible and intangible criteria. In this paper, the application of measuring attractiveness by a categorical-based evaluation technique (MACBETH) is illustrated by solving two real time FMS selection problems. In this method, semantic scales are used for pair-wise comparison of performance of the alternatives and also to determine the criteria weights. Further, each category of semantic scales is converted to normalised quantitative values and ranking of FMS alternatives is obtained by the weighted mean method. Even though, MACBETH method is well known for qualitative performance measures, it is also capable to deal with quantitative performance measures. The derived FMS rankings are observed to be quite satisfactory and well acceptable to the decision makers. Reference to this paper should be made as follows: Karande, P. and Chakraborty, S. (2013) 'Evaluation and selection of flexible manufacturing systems using MACBETH method', Int.

[Full text in Link https://rdcu.be/brKbD or Ask for A Copy] This article examines the representations of the supernatural in Shakespeare’s Macbeth, which served as a significant source for later horror literature. It shows that the play’s rhetoric of horror and of the supernatural depends on its shifting discourse of nature. Nature in Macbeth refers to an external, nonhuman nature of cosmic events and elemental figures (air, bubble and fire) as well as to an internal, human nature of “horrid” images and surmises. Supernatural elements derive from the ontological instability in both external and internal nature, and relate particularly to those actions or events, through which nature becomes disturbed and duplicated. As the imaginary dagger scene indicates, the most terrifying source of the supernatural in the play is the human-made image that duplicates nature internally.

Throughout the decades, the efforts of making Shakespeare's plays more accessible through translation have often met with significant opposition. Translating plays from Elizabethan-era English to a more contemporary English is not without controversy and sometimes leads to heated debate flare-ups. This paper attempts to explore the ongoing debate through the lens of both education and performance, analyze both sides of the debate for their legitimacy, and offer possible approaches to Shakespeare's text in the realm of educating students and entertaining audiences.

This book is a compilation of articles written by academicians residing in India and abroad, on some major texts which are studied in the course of undergraduate syllabi of English studies. The articles are on: Macbeth, Twelfth Night, The Jew of Malta, Look Back in Anger, Pride and Prejudice, Great Expectations, The Lagoon, The Fly, The Ox, Shooting an Elephant and Araby. Although the book is meant for students of undergraduate levels, researchers would also be benefitted from some of the topics of the articles.
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Una tragedia, un melodramma, un film: Macbeth. Tre autori: William Shakespeare, Giuseppe Verdi, Orson Welles. Una minuta costellazione di testi, ognuno dei quali ospita i testi precedenti, presentandosi come un tessuto di richiami, citazioni, rimozioni e vuoti non sempre istituiti secondo la logica di una derivazione localizzabile, di un’imitazione volontaria, ma spesso secondo una logica della disseminazione. Più del fatto che un testo ne riproduce un altro, deve essere considerato rilevante il fatto che ognuno di essi produce un senso relativamente autonomo nel momento in cui riattiva in tutto o in parte il senso dei testi che sono in esso disseminati, prima di innestare a sua volta del senso in quelli in cui viene successivamente in tutto o in parte disseminato.
I tre Macbeth vengono letti come altrettante epifanie di un unico testo, il cui significante, al di là delle metamorfosi che lo investono (dal linguaggio verbale a quello musicale a quello cinematografico), lavora incessantemente su se stesso in relazione a un ristretto numero di nuclei semantici. I tre autori vengono colti nell’atto di codificare, decodificare e surcodificare testi, cioè mentre scrivono, leggono e attraversano senza sosta la frontiera tra scrittura e lettura, portando a compimento qualcosa che non è né l’una né l’altra, qualcosa di instabile, di fuggitivo, che riunisce in sé i tratti dell’interpretazione, della citazione e della trasposizione. Ci appaiono cioè come autori-lettori che non solo decifrano, ma accumulano linguaggi, si lasciano instancabilmente attraversare da essi, divenendo a loro volta il luogo e la figura di quell’attraversamento.

Macbeth: Critically Annotated Shakespeare is the first in a series of books set to provide detailed critical explanations of the lines, along with hints on performances. The book is meant for students, teachers, scholars, researchers, and also for performers. A lot of the annotations look at how the parts should be performed, and they are mentioned by placing two star/ asterisk marks before the note number in the explanations. A visible advantage of the book is that the annotations are on the same page as the text, so that the readers don't have to flip through pages to look at the annotations and turn back to the text. The flow of reading is not disturbed as the annotations are on the same page. Besides giving annotations - which not only provide explanations of lines, but also offer character trait discussion and discussion of other issues, so that students will find lots of matter for academic needs - the book also provides background information on the playwright and the times, about his works in general, and then explores some topics related to the text, covered under Textual Analysis section. The references don't just list the works which have been cited, but also list other quality works which students can resort to (hence, I have not written 'Works Cited' but 'References'). Last but not the least, the illustrations enhance the knowledge of the readers and make the book a wonderful academic, and leisurely read, as well as a read for performers and directors.

While many recognize Macbeth as representative of King James I’s obsessions with absolutism and witchcraft, the play’s explorations of gender also reveal a tangible influence from the conversation surrounding the royal’s assumed femininity and hesitancy to drive England to war. More explicitly, Shakespeare’s play concerns the “womanly infirmity” of the Macbeths in their reluctance towards violence. Much like the unstable, newly-Jacobean England, the environment of Macbeth encourages a universal rejection of feminine weakness. However, the narrative path of Lady Macbeth exploits her attempt to overcome the rigid definitions of female behavior as a measure of her immorality in a way it does not for her husband. Moreover, only Lady Macbeth will meet a stereotypical conclusion by succumbing to hysteria, despite Lord Macbeth having more reason for a descent into madness. Thus, while the theatrical realm rejects general deviancy, Lady Macbeth exclusively faces a villainization founded upon the basis of sex.

This paper explores Macbeth's free will. Since all the prophecies come true in the play, it could be considered that Macbeth was predestined to all the events he experiences. However, it can also be considered that, being only fated to be king, Macbeth makes the premonitions occur the way they occur, being his decision to kill Duncan what triggers his tragedy. To defend this idea, I carry out a throughout analysis of Macbeth's and Lady Macbeth's extreme (self-)awareness, their calculating and speculative reasonings, and their haste for the crown, taking into consideration as well the idea of potentiality of good and evil.

William Shakespeare’s Macbeth is an intriguing and intricate tragedy which depicts the consequences of ambition and manipulation. The storyline of the play is intriguing on its own, presenting the audience with enough drama and action to keep them interested till the very end, yet it could be said that the real value of the play is set deeper than the action happening on the surface. The destabilization and disintegration of Macbeth’s psyche provide the primary vehicles of the play’s acts. This process offers the chance to examine the tragedy from the actions of the characters as well as from a psychological standpoint, which could shed new light on Shakespeare’s hailed tragedy by applying the findings of modern psychological research, thus going beyond the often argued points of Macbeth being a tragic hero, evil or a victim of his circumstances.

This essay addresses elements of Stoic thought made current by Philemon Holland’s 1603 translation of Plutarch’s Morals that identify a self-destroying tendency in nature. I show how the witches of Macbeth express these Stoic elements; how they exploit Macbeth’s Neostoic beliefs to make him an agent of their destruction; and how their ability to corrupt Macbeth should not impugn his stature as a tragic hero.

To a greater or lesser extent, the practices of rewriting and restaging a preexisting artefact imply some sort of movement, or – more technically – relocation. Remaining rooted in eleventh-century Scotland, David Greig's Dunsinane (2010) – commissioned by the Royal Shakespeare Company and first performed at the Hampstead Theatre, London – cannot be defined as a transposition diégétique or transdiégétisation (its Shakespearean source is not dislocated from its original spatio-temporal frame). However, this thought-provoking sequel to Macbeth (1606), whose title explicitly evokes the Bard's tragedy and the location of its final action, enters what Mary Louise Pratt would define as a 'contact zone'. In this light, Dunsinane becomes a site for intercultural clashes between Scottishness and Englishness, while simultaneously pointing at contemporary conflicts in Afghanistan and Iraq. Divided into four parts corresponding to the four seasons, Greig's piece is set in the aftermath of Shakespeare's play and opens with the English forces camouflaging themselves before attacking Macbeth's castle. Focusing on the figure of the English general Siward and his young soldiers invading a hostile land, the play imagines what happens after the tyrant's deposition and Malcolm's installation. Exploring the complex idea of place/space in this re-visionary appropriation of Macbeth, this article aims to show how a permeable, multifaceted, and protean country (un)written sous rature such as Scotland becomes a liminal and 'liquid' contact zone which is not only a battlefield for armies but also for cultures and ideas.

Table of Contents:

Introduction
Mark Alznauer

Part I: Tragedy

1. The Beauty of Fate and Its Reconciliation. Hegel’s The Spirit of Christianity and Its Fate and Goethe’s Iphigenia in Tauris
Douglas Finn (Villanova University)

2. Two Early Interpretations of Hegel’s Theory of Greek Tragedy. Hinrichs and Goethe
Eric v. d. Luft (Gegensatz Press)

3. Hegel and the Origins of Critical Theory. Aeschylus and Tragedy in Hegel’s Natural Law Essay
Wes Furlotte (Thompson Rivers University)

4. The Tragedy of Sex (for Hegel)
Antón Barba-Kay (Catholic University of America)

5. Substantial Ends and Choices without a Will. Greek Tragedy as Archetype of Tragic Drama
Allegra de Laurentiis (SUNY Stony Brook)

6. Freedom and Fixity in Shakespeare’s Tragic Heroes
Rachel Falkenstern (St. Francis College)

Part II: Comedy

7. Taking the Ladder Down. Hegel on Comedy and Religious Experience
Peter Wake (St. Edward’s University)

8. From Comedy to Christianity. The Nihilism of Aristophanic Laughter
Paul T. Wilford (Boston College)

9. Hegel and “the Other Comedy”
Martin Donougho (University of South Carolina)

10. The Comedy of Public Opinion in Hegel
Jeffrey Church (University of Houston)

Part III: History

11. Hegel’s Tragic Conception of World History
Fiacha D. Heneghan (Vanderbilt University)

12. Hegel on Tragedy and the World-Historical Individual’s Right of Revolutionary Action
Jason M. Yonover (Johns Hopkins University)

13. Philosophy, Comedy, and History. Hegel’s Aristophanic Modernity
C. Allen Speight (Boston University)

Contributors
Index

ÖZET Bu çalışmada William Shakespeare'in "Macbeth" oyunundaki otorite temsilleri, dönemin siyasi alanında önemli bir değişim yaratan ve çoğunlukla eleştirilen Niccolo Machiavelli'nin görüşleri kapsamında incelenmiştir. Niccolo Machivelli'nin Prens ve Söylevler eserlerinde ele aldığı lider özelliklerinin genel bir özeti sunulmuş ve oyunda iktidar mücadelesi içinde bulunan Duncan, Macbeth, Lady Macbeth, Malcolm ve Macduff karakterlerinin eylemleri bu özellikler doğrultusunda yorumlanmıştır. ABSTRACT In this work, William Shakespeare's representations of authority in the play of "Macbeth" were examined under the views of Niccolo Machiavelli, who created a significant shift in the political sphere of the period and was often criticized. A general summary of Niccolo Machivelli's leading features in Prince and Discourses works was presented and the actions of the characters Duncan, Macbeth, Lady Macbeth, Malcolm and Macduff, who are in the struggle for power, were interpreted in line with these features.

Gherardo Casale argues that the cinematic style crafted by Orson Welles for his productions of Shakespeare’s plays (Macbeth, 1948, Othello, 1950, and Chimes at Midnight, 1965) recreated an actualized poetic language that, through symbolic writing, retains the foundations of Shakespeare’s art. Although made at very different stages of his career and exhibiting diverse cinematic styles, Welles’s filmic adaptations of Shakespeare‐s plays share a peculiarity with many of his other works: an engaging incipit that sets the movie’s tone and mood in a uniquely powerful and assertive fashion, oftentimes deviating from the standard conventions of narration. From Citizen Kane (1941) to Touch of Evil (1958), Mr. Arkadin (1955) to The Trial (1962), Welles could have written an encyclopaedia about the opening sequences in the cinema. This essay closely examines these brief segments of film, and argues that they can provide a great deal of information on Welles’s strategies in adapting the ‘playhouse documents’ that we know as the works of William Shakespeare.

This article deals with Rupert Goold’s film version of Macbeth (2010). Based on a stage production, this film is set in an unspecified Soviet country. I will analyze Goold’s creation of a stage-to-screen hybrid recording framed as a surveillance film. Relying on Michel Foucault’s and Gilles Deleuze’s works as well as various contributions made by Cultural Materialist and New Historicist critics, I intend to explore the power relations in this surveillance film. I will also examine how the surveillance film conventions deployed by Goold turn the narrative into a meta-filmic event. This allows the viewer to perceive surveillance as part of the subject matter of the story and as inseparable from its narrative structure. Eventually, this will serve to explore how surveillance entirely transforms the filmscape. What begins as a film set in a surveillance society ends up as an environment dominated by a society of control.

This essay explores the archetypal analogy between Shakespeare's character of Macbeth and the Devil. As two figures who emerged from a position of favor to usurp their monarch's thrown (though one is more successful than the other), the comparison begs to be addressed. One can find most of the similarities between Macbeth and Satan in Judeo-Christian scripture, as well as in sections of the New Testament. To better address Macbeth's classification as an "archetype" of Satan, two more classic works written in separate time periods (Dante's Inferno and Milton's Paradise Lost) are also examined.

In his Lectures on Aesthetics, Hegel describes tragedy as a ‘collision’ between opposing notions of the good. Two moral paradigms, each internally consistent, yet each apparently incompatible with the other, struggle ‘to destroy one another in their mutual conflict.’ In Greek tragedy, these ‘two sides’ tend to be represented by a different characters: Antigone vs. Creon; Philoctetes vs. Odysseus; Orestes vs. the Eumenides.  Building on this basic concept of what tragedy is, but departing from Hegel’s sense of Shakespeare’s distinctiveness, I argue here that in Shakespeare’s tragedies, as in those of Seneca, the two sides of the ethical dilemma at the heart of the play’s interest tend to be presented, not as opposing characters, but instead within the psyche of a single individual: the so-called ‘tragic hero.’ They appear as contending moral paradigms, not necessarily each personified: rival imperatives, each grounded in a different emotional impulse. The tension between these two poles is most clearly expressed in the protagonist’s repeated, climactic soliloquies, which show him deciding between irreconcilable courses of action. Moreover, the two value-systems in question tend to be more or less the same across all four of the major tragedies: ‘pity’ vs. ‘ambition’; ‘kindness’ vs. ‘honour’; ‘mercy’ vs. ‘constancy.’ Over the course of their soliloquies, Macbeth, Othello, Hamlet, and Lear articulate and expose the incongruity Shakespeare discerns between Christianity and contemporary notions of honour: Christian compassion proves at odds with the desire to subjugate, dominate, and command.

Diese Masterarbeit behandelt die Faszination rund um das Thema Schurkerei im Film und Theater. Anhand von Faktoren wie Identifikation, Emotionalität und Empathie/Sympathie sowie der Analyse der Schurkenfiguren in den Filmen „Thor“, „The Avengers“ und „Suicide Squad“ und in den Werken „Betrayal“ von Harold Pinter und „Macbeth“ und „Othello“ von William Shakespeare zeigt sie auf, was den Begriff der Faszination für den Schurken in (fiktiven) Geschichten ausmacht und welchen Einfluss dies auf das Publikum und seinen Alltag nimmt.

Sul finire del Settecento, un costante imbarazzo critico frena l'incontro della cultura europea con il teatro shakespiriano, percepito come un ordigno il cui potenziale esplosivo deve essere disinnescato. Solo la cultura romantica neutralizzerà queste resistenze, sostituendo i paradigmi interpretativi del gusto come una nuova estetica del genio. Questo libro esamina i caratteri delle nuove tendenze letterarie e critiche che tra Sette e Ottocento prendono forma parallelamente all'ingresso del teatro shakespiriano nella cultura europea continentale restringendo la prospettiva dell'indagine entro i confini di un genere che ha in larga misura alimentato quelle tendenze: il melodramma.

This essay proposes an analysis based on Literary Semiotics in William Shakespeare’s King Lear, Macbeth and Othello. Few studies have been made in this area, not only because Semiotics is a much understudied area of Linguistics, but also due to the complexity of language in Shakespeare’s plays. This paper will begin with a small framework of Semiotics’ pioneers and will discuss the most basic notions of several semioticians (e.g. Saussure, Pierce, Jakobson and Eco). Moreover, the paper will explain how Semiotics and Structuralism were so influential in the development of Literary Theory.
In the tragedies mentioned,  the consistent repetition of several words is noticeable: nothing in King Lear, blood/bloody/bloodier in Macbeth and honest/honesty in Othello. These words have different meanings according to the context in which they are used. The same word can mean the exact opposite or have a sarcastic significance for the audience. A literary analysis is necessary to understand the alteration of meanings in the same word. With it, it is possible to have a better understanding of Shakespeare’s intent.

Keywords: William Shakespeare, Semiotics, Linguistics, Literary Analysis, Literary Theory

En este ensayo analizo cómo se construyen y destruyen los dos paradigmas sociales que imperan en la obra: orden y caos. La forma en la que ambos de estos se configuran es antitéticamente diferente. Si, por un lado, el orden se establece por medio de sutiles interacciones inter-personales entre los personajes, el caos se hace ver en términos inequívocos e innegables y lleva a una literal inversión del orden natural de las cosas. Uso el término de caos en su sentido teológico y desde un acercamiento sincrónico; para propósito de este ensayo el caos es la inversión o supresión del orden divino de las cosas.

This study examines the power of nature and the supernatural powers in Macbeth, the last and the shortest of Shakespeare’s great tragedies, and their influence on the course of events in the play. Macbeth is the one of Shakespeare plays that supernatural figures and elements take place at most. The mainstays of the play are developing events as a result of the prophecies of the witches, supernatural powers’ triggering human greed and as a result of this, deterioration, distortion and disorder occurring on the universal order. In this study, in which cases the harmony and balance of nature is impaired, what happens as a result of this deterioration and the perspectives of the people of Shakespeare’s era about the witches were examined with comments by famous critics.

Despite being nearly fifty-years-old, Roman Polanski's 1971 "Macbeth" is the most recent full-film version, and it stands the test of time. Overall, the acting, cinematography, and sets are high quality, and the screenplay, also written by Polanski, was nicely adapted from Shakespeare's play. In this movies review, I give a brief summary of the plot, followed by a synopsis of the film that highlights the adaptations made in transferring of the play to the screen. Lastly, I discuss Polanski's rhetorical choices: abbreviating some aspects in the play, while amplifying other aspects on screen.

Several villains are compared regarding ambition-driven violence, the ontological status of the supernatural, and the nature of evil. When the Earth changed from the center of the universe to a planet orbiting a star, Hell changed from a physical place at the Earth's center to a state of being. Faustus says " I think Hell's a fable " even while signing a contract with Hell's king; such conduct implies the unreason of the whole story. Might Hell prove to be " a fable, " just as Purgatory had recently done? Being extrinsic sequels to human conduct, Heaven and Hell alike make ethics impossible, as they supplant empathy from its place as virtue's central motive and replace it with reward-and-punishment. So if religious ideology is to be affirmed in the theatre despite this deep philosophical weakness at its core, any transgressors must either be visibly damned at death (Faustus), reduced to despair by the shallowness of ill-gotten gains (Macbeth), or defeated by other people's right conduct (Claudius and Macbeth). Before the Renaissance, Hell is a place, full of physical torments, and evil the Satanic influence that drove people there; later, Hell becomes a mere state of mind, and evil an ethical category, no longer a substance.

William Shakespeare has developed the plot of his play Macbeth through the effective use of transitions<br> to the major characters. Among them, the character that is most prone to regular transitions in life is the<br> central character of Macbeth. This research paper explores the trajectory of transitions through which<br> Shakespeare develops the plot of his play through the character of Macbeth concerning his changing<br> situations and positions. While analysing the play with the help of Schlossberg's Transition theory,<br> specifically through the concept of 4S's, the perspicacity of Macbeth's trajectory of different transitions in<br> the pattern of one after the other is visible throughout the play. With the help of textual and<br> interpretative analysis of the play, the situation, psychological aspects, support and strategies to cope<br> with the transition in Macbeth are explored in the research. Through the pers...

This is a very critical passage in which assert the theme that guilt will always recoil upon the culprit. A guilty conscious, a blameful, responsible feeling of culpability leaves Macbeth guilt ridden and full of remorse, which is crucial to the understanding of a Shakespearean tragedy. Macbeth, being the tragic hero, who receives more retribution than he deserve, instigates sympathy amongst the readers as he is tormented by his guilt, showing his honor and potential greatness and diverts himself from a villainous character. This passage is also important in the sense that it’s the beginning of Macbeth’s downward spiral as his guilt adds on to his paranoid and arbitrary trait, which in turn pushes him to commit more crime. There is a dark and eerie mood throughout the passage, which adds to the tension. In addition, the tone of Macbeth is solemn and conscience-stricken.

An article written for educational screen studies magazine Screen Education. This article investigates the narrative devices implemented by Polanski in his film adaptation of Shakespeare’s Macbeth (1971), with particular focus on the haunting and sinister themes portrayed, alongside the very personal tragedies faced by the filmmaker only years prior to the film's production.