Taming of the Shrew

The present paper, firstly, is going to deal with my translation of a short passage of The Taming of the Shrew into the present English. I would like to notice an interesting observation made by Crystal that rather than the term translation, it is better to use a term simplification. According to his point of view the simplification is when 'long speeches are reduced to one or two basic points, or long words replaced by contemporary slang'. Immediately after the translation I will analyze the language used by Shakespeare, paying particular attention to the usage of nouns, verbs, pronouns and puns, and afterwards, I am going to explain my translation choices.

Feminist studies of all ages have focused on the characters in plays of Shakespeare in order to constitute a canonical tradition and to reflect the patriarchal era in which they were written. The representation of women in Shakespearean plays has been harshly criticized as misogynist and so attributing to the propagation of this misogynist attitude with their effect on the collective unconscious. The " blow-up movement " of feminism in the eighteenth century opened the way to various alternative feminist analyses of Shakespeare's plays. Among many feminist approaches, ecofeminism that derived from feminism and took its roots from ecocriticism appeared as a powerful alternative critique in the 1970s. Ecofeminist criticism mostly began with the purpose of analyzing male dominance over both nature and woman. As the relationship between nature and woman is a well-known phenomenon, ecofeminists analyze the place of male power over nature and women in literary works. In this study, the canonical works of Shakespeare will be analyzed parallel in light of this ecofeminist questioning. Domination of nature and woman by male ideology occurs in Shakespeare's The Tempest and The Taming of the Shrew interconnectedly. By looking at these plays, the general tendency of patriarchal power to constitute a dichotomy such as reason-unreason, civilized-primitive, and domestic-wild and to attribute the inferior characteristics to the other will be deconstructed. While in The Taming of the Shrew the shrew of the play, Kate, is referred to as a wild animal that must be dominated by male power, in The Tempest, nature with its occurrences is identified as wilderness that should be defeated. In this respect, this study will examine The Tempest and The Taming of the Shrew in terms of ecofeminism, which will bring the relationship between domination of nature and domination of woman by male power to the fore.

By examining Shakespeare’s interrogation of humanism as an effective form of training, this paper argues that Petruchio’s use of humanist methodology achieves a degree of success that has gone unrecognized by critics. The domestic sphere in this play functions as a critical space in which different modes of training, both humanist and otherwise, can be tested. The success of humanist methodologies in the domestic sphere not only highlights their effectiveness as a mode of discipline and education, but also reveals humanism’s fundamental lack of gendered priorities. That is to say, if Petruchio makes Katherine subject to his will, she is so as the citizen is subject to the monarch, not as women are subject to men. A system originally developed for the education of boys works equally well to educate women.

The central case study of this paper is the 1985 production of The Taming of the Shrew in Ankara State Theatres directed by Yücel Erten, which was a production where a male non-Anglophone director successfully subverted the play into a tragedy. In 1985 Yücel Erten, as a director working in State Theatres, was given the task of staging The Taming of the Shrew by the general coordinator of the State Theatres of that time, Turgut Özakman. Here, it is important to note that Yücel Erten did not chose this play to stage on his own – he was given the task and turning down the appointed play would have been an improper move within the institutional framework of the State Theatres. Under these unique institutional conditions Erten took on the task of staging the play, which he saw as ideologically flawed especially within the circumstances of contemporary Turkey. Therefore he decided to subvert the play into a tragedy with one momentary twist at the end: In the final scene of Erten’s production, Katharina comes on stage carrying a shawl in her hands to give her last monologue (where she explains how to be a good and obedient housewife) and when she finishes this last monologue, she lets go of the shawl to reveal that she actually cut her wrists and is about to die. This last twist made the production remarkable among the worldwide production histories of The Taming of the Shrew, and Erten’s production became the only Shakespeare production from Turkey which ever created a debate among the international Shakespeare performance scholars.

http://cup.columbia.edu/book/chinese-shakespeares/9780231148481

For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun's search for a Chinese "Shakespeare," and from Feng Xiaogang's martial arts films to labor camp memoirs, Soviet-Chinese theater, Chinese opera in Europe, and silent film, Shakespeare has been put to work in unexpected places, yielding a rich trove of transnational imagery and paradoxical citations in popular and political culture.

This article discusses the adaptation film, Shakespeare Retold: The Taming of the Shrew, as compared to original play, The Taming of the Shrew, by Shakespeare by highlighting the different modern perspective of the film. Likely to be interpreted as a valuable addition to the play with the ending it proposes and the way it handles the issue of taming, the film brings the play to the attention of the modern audience by clarifying the vague details and contextualising it in the modern English. In this respect, the article aims to bring the film and the play into focus by introducing a fresh and lively re-interpretation of The Taming of the Shrew to the Shakespearean drama studies.

Theatre Reviews Section of Multicultural Shakespeares, Dec 2014. Section includes my pp.81-97 review of: The Taming of the Shrew, Globe to Globe, dir. Haissam Hussain, 26-27 May 2012.
Also pp. 98-110, Saffron Walkling's review of Coriolanus at the Edinburgh International Festival, dir. Lin Zhaohua, 20-21 August 2013.

The central thematic and formal principle in The Taming of the Shrew is its conversion of oppositions into dialectics, so that initially adversarial relationships or hierarchies become vehicles of reciprocal exchange. This is accomplished in the relationship between Kate and Petruchio, in the relationship between the Induction and the main play, and ultimately in the relationship between the ending and the "missing" ending.

We argue for the relevance of a contemporary return to Shakespeare because his work prompts thinking about the Body Politic, perhaps the most vivid and enduring image in speech describing political community ever proposed. Through his works, Shakespeare helps us to think about both parts and wholes in a political context, and about the proper relationship between the parts and the whole. Indeed, there can be no greater account or anatomy of the Body Politic in the English language than what one discovers in Shakespeare's plays and poetry...

This article discusses the adaptation film, Shakespeare Retold: The Taming of the Shrew, as compared to original play, The Taming of the Shrew, by Shakespeare by highlighting the different modern perspective of the film. Likely to be interpreted as a valuable addition to the play with the ending it proposes and the way it handles the issue of taming, the film brings the play to the attention of the modern audience by clarifying the vague details and contextualising it in the modern English. In this respect, the article aims to bring the film and the play into focus by introducing a fresh and lively re-interpretation of The Taming of the Shrew to the Shakespearean drama studies.

Named the Writer of the Millennium, Shakespeare has come full circle and become a cliché, embraced by marketers and contested by intellectuals. Similar narratives about China’s rise in global stature have been told with equal gusto, championed and denounced in turn by optimists and critics. If Shakespeare now has worldwide currency, how is the sense of belonging and betrayal configured chronologically and spatially? The old news—our journalistic familiarity with Shakespeare’s provenance in global contexts—calls for careful reconstruction of a historical foundation for theorization.

    For well over 180 years, East Asian writers, filmmakers, and theater directors have also engaged Shakespeare in their works in a wide range of contexts. The ideas of Shakespeare and China have been put to work in unexpected places.

    It is my hope that Chinese Shakespeares’ localization of the meanings of Shakespeare and China will break down the critical impasse surrounding cross-cultural entanglements, a crucial step toward reinventing the interpretive energy that has been dulled by ideological investments in various conventions of authenticity informed by notions of the original and the derivative. It is important that Chinese Shakespeares as a new interpretive subject be analyzed so as to dislodge what China means and how Shakespeare is customarily interpreted, because multilocation perspectives bring to light the unpredictable and exciting fabric of cultural life that rarely conforms to institutional divisions of knowledge production. This displacement is necessary to keep roads passable and bridges open between different forms of cultural production and knowledge.

Katherina’s final speech at the end of Act 5.2 in The Taming of the Shrew has long caused confusion among scholars for its perceived condemnation of women, directing that wives are “bound to serve, love, and obey,” their bodies “Unapt to toil and trouble in the world.”  This paper proposes that Katharina's words may have had a real-life analogue in the depiction of Katharine Parr in Foxe's Book of Martyrs that Shakespeare could have drawn. Examining the historical analogue helps unravel the paradoxes of Katharina's speech as that of a women all too politically aware of the impact of her words on her own life.

Even though Shakespeare’s plays were initially performed by all-male casts, they were designed to appeal to diverse audiences. Many modern adaptations reimagine those plays as expressions of gender nonconformity. Over the past decades, prominent films and theater works have fostered new public conversations about the politics of appropriating gender identities in Shakespeare’s plays around the world. This chapter makes an intervention in both transgender and Shakespeare studies by reading traditionally binary characters as transgender to shed new light on performances of gender identities in a global context. Viola as Cesario, for instance, is a trans masculine character, as she does not cross-dress for entertainment or mischief. She never recovers her “maiden’s weeds” at the end of Twelfth Night. We could deploy transgender theories to examine other cases as well, such as the practice of cross-gender casting (Julie Taymor’s 2010 film The Tempest), gender-bending performances (contemporary productions of Jacob Gordin’s 1898 play The Jewish Queen Lear), and postgender adaptations, in which gender is not treated as a meaningful denominator of characterization (Michelle Terry’s 2018 Globe productions). Performance theories inflected by transgender studies destabilize the line between normalcy and the deviant in and beyond scripted performance. ::::: https://rowman.com/ISBN/9781683933601/Performing-Shakespearean-Appropriations-Essays-in-Honor-of-Christy-Desmet

The essay aims to offer a thorough analysis of the influence exerted by Ludovico Ariosto's I Suppositi on William Shakespeare's The Taming of The Shrew through George Gascoigne's translation, Supposes, and to underscore how crucial a painstaking study of sources can prove to the understanding, in a historical perspective, of the depth and complexity of Shakespeare's theatre. First, the article briefly introduces the Italian commedia erudita and I Suppositi, and examines the changes to the source text made in translation by Gascoigne. Then, a survey is provided of some of the most important critical stances on the topic. Finally, an analysis of the various elements which Shakespeare borrowed from his source (characters, plot, verbal echoes) shows how he refashioned them in order to expand their dramatic potential as well as to make his comedy an apt ground for reflection on ethical themes of great topicality in Elizabethan society.

Edited volume with chapters by George Anastaplo, Joseph Alulis, Tim Burns, Nessaer Behnegar, Pamela Jensen, Peter Meilaender, Nalin Ranasinghe, Dustin Gish, B. J. Dobski, Tim Spiekerman, Laurence Nee, Robert Schaefer, and David Nichols.

Metaphors animate Shakespeare’s corpus, and one of the most prominent is the image of the body. Sketched out in the eternal lines of his plays and poetry, and often drawn in exquisite detail, variations on the body metaphor abound in the works of Shakespeare. Attention to the political dimensions of this metaphor in "Shakespeare and the Body Politic" permits readers to examine the sentiments of romantic love and family life, the enjoyment of peace, prosperity and justice, and the spirited pursuit of honor and glory as they inevitably emerge within the social, moral, and religious limits of particular political communities.

The lessons to be learned from such an examination are both timely and timeless. For the tensions between the desires and pursuits of individuals and the health of the community forge the sinews of every body politic, regardless of the form it may take or even where and when one might encounter it. In his plays and poetry Shakespeare illuminates these tensions within the body politic, which itself constitutes the framework for a flourishing community of human beings and citizens—from the ancient city-states of Greece and Rome to the Christian cities and kingdoms of early modern Europe. The contributors to this volume attend to the political context and role of political actors within the diverse works of Shakespeare that they explore. Their arguments thus exhibit together Shakespeare’s political thought. By examining his plays and poetry with the seriousness they deserve, Shakespeare’s audiences and readers not only discover an education in human and political virtue, but also find themselves written into his lines. Shakespeare’s body of work is indeed politic, and the whole that it forms incorporates us all."

This article aims at analysing how fear is represented in Shakespeare’s
Taming of the Shrew. Although a first interpretation of the play hints at the fact that fear should be found mainly in Kate, many critics have claimed that this emotion is embodied by other characters as well, especially by Petruchio, who mirrors male anxiety and violent behaviour during the Renaissance. Petruchio’s violence hints at a third reading, which suggests that both Kate and he may be ‘subjects’ and ‘objects’ of fear as they both cause it and feel it as ‘refractions of reality’ and onstage as characters.

Can we entertain the idea that The Taming of the Shrew can be performed and received as comedy in the post-Women’s March US? If so, would the laughter be empathetic and solidary rather than callous? The answer lies in physical theater which is uniquely poised to activate elements of farce in the play. Shrew is one of the Shakespearean comedies that tends to clash with modern sensibilities and is therefore generally considered challenging to stage. The Synetic Theater’s version reminds us that, after all, the foundation of this play is farce, a play-within-a-play to mock the worldview of Christopher Sly the drunkard and to entertain the impersonated lords who derive voyeuristic pleasure from watching Sly gawking at Shrew. The so-called play-within-a-play could also be a fanciful dream of the inebriated Sly. The Synetic Theater’s ninety-minute dance, musical, and visual feast rendered the comedy in vibrant colors—without spoken words. There was no induction or framing scene, though a fair amount of extratextual material had been introduced.

Explores the various dramatic, poetic and narrative versions of the popular 'taming of the shrew' story, from the Middle Ages to the Restoration, in the light of new historical work on the place of early modern women in society. ... Items in UHRA are protected by copyright, ...

Writing back in 1997, W.B. Worthen observed that "actual stage performance" had been largely "omitted from the catalogue of 'discourses' that inform criticism" (Shakespeare and 154). Now over twenty years later, the situation has changed. Yet despite the field-wide investment in performance, the viewing and analysis of live productions remains a curiously unexamined convention in Shakespeare pedagogy. This article begins to address this gap by discussing a course where students study several plays and then view live performances of each one. Coming from the context of literary studies, the article proposes an approach to live performance that bridges students from literary to performance analysis. It argues for presenting performances as "situated interpretations." After defining this term, the author presents a sequence of lessons and assignments that help students to learn this concept and ultimately to write nuanced, critical analyses of the productions they have viewed. The article is relevant to instructors of Shakespeare and drama who teach live performance. It also ends with a call for more work on teaching with live performance, including with digitally-mediated live performances broadcast to cinemas or on YouTube.

O objetivo do artigo foi analisar a telenovela brasileira em múltiplas plataformas a partir da semiótica da comunicação estética por meio de um breve exercício de decomposição estrutural. Após introdução a respeito da telenovela brasileira em múltiplas plataformas e explanação sobre as linguagens da arte, é apresentada a decomposição de tema arquetípico relacionado à disputa entre os sexos e presente em diversas obras. O artigo conclui que a telenovela brasileira multiplataforma é processo em andamento, fenômeno sistêmico inacabado em que a análise dos sistemas modelizantes proposta pela semiótica da cultura mostra-se como percurso válido de compreensão de uma linguagem que surge de manifestações culturais e técnicas de nossa época. 

O objetivo do artigo foi analisar a telenovela brasileira em múltiplas plataformas a partir da semiótica da comunicação estética por meio de um breve exercício de decomposição estrutural. Após introdução a respeito da telenovela brasileira em múltiplas plataformas e explanação sobre as linguagens da arte, é apresentada a decomposição de tema arquetípico relacionado à disputa entre os sexos e presente em diversas obras. O artigo conclui que a telenovela brasileira multiplataforma é processo em andamento, fenômeno sistêmico inacabado em que a análise dos sistemas modelizantes proposta pela semiótica da cultura mostra-se como percurso válido de compreensão de uma linguagem que surge de manifestações culturais e técnicas de nossa época.

Ideologies about race, gender, and class shape Shakespeare's plays and their afterlife on stage and on screen. We will do close readings of racial tensions and gendered representations in the plays and select performances. The class will reflect on the meanings of racial, ethnic, and gender diversity, identity formation, nationalism, and the distribution of power in societies.

In a conversation with playwright and actor Kate Hennig, scholar Alexa Alice Joubin (George Washington University) offers ways of looking at The Taming of the Shrew and female characters in Shakespeare's plays from our 21st-century perspective. ::::  https://www.stratfordfestival.ca/AtHome

Herbal Madu Anak Pintar,Herbal Madu Untuk Anak,Madu Herbal Anak Pintar,Madu Herbal Buat Anak,Madu herbal Untuk anak 1 Tahun,Madu Herbal Untuk Anak Batuk,Madu Herbal Untuk Kecerdasan,Herbal Madu Untuk Anak Cerdas,Jual Herbal Madu Anak,Herbal Madu Anak Murah

ASUPAN TUMBUH KEMBANG SIKECIL

Tahap Perkembangan Balita Merupakan Hal Yang Penting Untuk Selalu Di Follow-Up, Anak Kecil Masih Merngalami Proses Pertumbuhan Serta Perkembangan. Dua Proses Ini Merupakan Hal Yang Penting Bagi Masa Depan Anak, dan Peranan Bunda Serta Ibu-Ibu Sangatlah Utama. Tapi Seringkali Banyak Hambatan tentang Tumbuh Kembang Sikecil, Karena Asupan Nutrisi, Suplemen, Makanan dan Vitamin Yang Kurang Tepat.

Vitamin dan Nutrisi Bersama-Sama dengan Mineral, Merupakan Zat-Zat Yang Diperlukan Oleh Tubuh dalam Jumlah Kecil Tetapi Asupannya Harus Teratur dan dalam Jumlah Yang Pas, Agar Tubuh Dapat Tumbuh dan Berfungsi Secara Normal.

Setiap Orang Tua Terutama Para Bunda dan Ibu-Ibu, Menginginkan Anak Yang SEHAT, CERDAS, KUAT Dan TUMBUH KEMBANG Yang Baik.

Berbagai Pilihan Nutrisi, Suplemen, Dan Multivitamin Dengan Harga Yang Sangat Terjangkau Serta Kompetitif, Bisa Didapatkan SEGERA Di Toko Online Kami:

Head Office : JL.Raya Ringroad Barat, Dusun Ngawen Rt 5/Rw 12 Desa Trihanggo Kec.Gamping Kab.Sleman Yogyakarta


Pesan SEKARANG Disini:
Ibu. Reza Maharani

Telp/Sms: +62813.3730.5776 (T-Sel)
PIN BBM: 5EC84659
Whatsapp: +6281.33.730.5776 (T-Sel)

AMAN| HIGENIS| KUATILAS TERJAGA| TERJANGKAU

pusatmultivitaminanak.blogspot.com

Few scholars have addressed Arabic adaptations of The Taming of the Shrew, though it remains among the most popular Shakespearean comedies in the Arab world. The first Arabic performance of Shrew in Egypt in 1930 marked a significant landmark in the history of Arab Shakespeares, as the translator rendered the play in colloquial Egyptian Arabic, rather than in the formal, classical Arabic accessible to the educated elite. As such, the play offered the uneducated Egyptian public – and women in particular – unprecedented access to this work of Shakespeare. Instrumental to the adaptation’s success was Fāṭima Rushdī, owner and lead actress of the company that performed this first Arabic Shrew. In this and other roles as one of Egypt’s first renowned Shakespearean actresses, Rushdī not only effectively recast Shakespeare in an Egyptian mould, but also cast Egyptians in a Shakespearean mould, with effects that still echo today.