The Tempest, written by William Shakespeare, is highly influenced by The Holy Bible, the western culture and literature source. This paper utilizes Northrop Frye’s mythic archetypal criticism theory to study the play...The Tempest, written by William Shakespeare, is highly influenced by The Holy Bible, the western culture and literature source. This paper utilizes Northrop Frye’s mythic archetypal criticism theory to study the play’s embodiment of the biblical archetypal model. Previous studies have only dealt with one aspect of the biblical archetype in The Tempest. This essay discusses that the characters, structure, plot, and imagery of The Tempest can all find the archetypes in The Holy Bible. It is found that the play is the Scriptures’ double to some extent, through which Shakespeare wants to spread biblical values such as morality and fraternity.展开更多
Despite that A Midsummer Night's Dreamand The Tempest were written at almost the beginning and the closing of Shakespeare's career respectively, they demonstrate a surprising similarity in so many ways. This a...Despite that A Midsummer Night's Dreamand The Tempest were written at almost the beginning and the closing of Shakespeare's career respectively, they demonstrate a surprising similarity in so many ways. This article intends to compare and analyze the two plays in terms of their similarities in technique, structure, characters as well as the application of a Chain of Beings.展开更多
Libya’s situation will remain uncertain for a long period of time after Muammar Gaddafi’s death The death of former Libyan leader Muammar Gaddafi on October 20 marked a turning point for the North African country.Th...Libya’s situation will remain uncertain for a long period of time after Muammar Gaddafi’s death The death of former Libyan leader Muammar Gaddafi on October 20 marked a turning point for the North African country.Three days later in展开更多
Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Boo...Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.展开更多
文摘The Tempest, written by William Shakespeare, is highly influenced by The Holy Bible, the western culture and literature source. This paper utilizes Northrop Frye’s mythic archetypal criticism theory to study the play’s embodiment of the biblical archetypal model. Previous studies have only dealt with one aspect of the biblical archetype in The Tempest. This essay discusses that the characters, structure, plot, and imagery of The Tempest can all find the archetypes in The Holy Bible. It is found that the play is the Scriptures’ double to some extent, through which Shakespeare wants to spread biblical values such as morality and fraternity.
文摘Despite that A Midsummer Night's Dreamand The Tempest were written at almost the beginning and the closing of Shakespeare's career respectively, they demonstrate a surprising similarity in so many ways. This article intends to compare and analyze the two plays in terms of their similarities in technique, structure, characters as well as the application of a Chain of Beings.
文摘Libya’s situation will remain uncertain for a long period of time after Muammar Gaddafi’s death The death of former Libyan leader Muammar Gaddafi on October 20 marked a turning point for the North African country.Three days later in
文摘Applying the theory of adaptation, Feminism, and Performance Studies, this paper explores the adaptation, inter-textuality, and gender in the three films The Tempest （2010） directed by Julie Taymor, Prospero＇s Books （1991） directed by Peter Greenaway, and Shakespeare in Love （1998） directed by John Madden, referenced to Gnomeo and Juliet （2011）, a cartoon animation. Both films of The Tempest show visual spectacle and technology images by CGI （Computer-Generated Cinematic Graphic Image） effect. The author argues the power struggle between Caliban and Prospero played by actress Helen Mirren, changes from post-colonial discourse in the male domain, to be more about the intellect contest between man and woman, and Taymor＇s adaptation is more focused on maternity than actor John Gielgud＇s on politics. Inter-textuality exists in Shakespeare in Love and Shakespeare＇s Romeo and Juliet, and Twelfth Night. Unlike the tragedy in the films, Gnomeo and Juliet ends happily as we can expect from most musicals and fairy tales. The inter-textuality of literature and art, dramatic plays, historical events, and biographical sketches are delicately intertwined. Media represent Shakespeare applied by Jean Baudrillard＇s ＂simulacra＂ and Richard Schechner＇s ＂simulation＂ to present the liminal threshold between reality, role-playing, and theatricality. Shakespeare represented by media rise to visual narratives.
