Shakespeare’s Brave Women and Brave World--A Topological Study of His Juliet,Portia and Cordelia

Juliet,Portia and Cordelia are three heroines in plays of King Lear,Romeo and Juliet and The Merchant of Venice written by Shakespeare.Although they are endowed with various personalities,the three women have all shown a brave trait in their character,which makes them become the representatives of brave women.Deformation and equivalence are two important terms used to describe the deduction of topological spaces.From a topological perspective,the thesis purports to study and interpret the distinctive and vivid artistic images of Juliet,Portia and Cordelia,finding that their diverse artistic images and similar bravery are in response to the transformation and equivalence in literary metaphorical topological spaces.It helps to explain the reason why Shakespeare had created so many colorful female images.In this sense,this paper provides a new point of view and a new mechanism to interpret Shakespeare’s plays.

The Topological Deformation of Brave Female Images in Shakespeare’s Plays:A Case Study of Juliet,Portia and Cordelia in Zhu Shenghao’s Translation

The female images in Shakespeare’s plays are diverse and colorful,showing the typological deformation value of topology.The brave female women in his plays,such as Juliet in Romeo and Juliet,Portia in The Merchant of Venice,Cordelia in King Lear,are the same type and equivalent topological deformation.In artistic terms,the three women of the same type with their own characteristics are the deformed topological space under the principle of equivalence,which is embodied vividly in the source text.This thesis purposed to investigate whether the translation of Zhu Shenghao also reflected the equivalent deformation of Shakespeare’s original text.This study texts the validity of the target text from the source text,proves the evaluation mechanism and function of topology in the process of translation and explains how the translation is equivalent to the original.

Locomotion Paradigms of Topological Space in Shakespeare’s Double Falsehood

In the 16th and 17th century,Britain was constantly strained by sporadic plagues,famines,fires and political conflicts.As a response in literature,Shakespeare has constructed an annular locomotion paradigm in Fletcher and his collaboration work Cardenio.Be more specific,the locomotion routes can be exemplified in Möbius strip,a rhizome system,a reciprocating juxtaposition between the foreground and the background,either of which finally runs to an annular schema.The annular in narration corresponds with The Globe theater and the round world.Shakespeare may express his expectation and prospect for the uprising bourgeoise and the newly found world by the resurrection theme in literature.

Shakespeare＇ s Sonnets Dated

By using echoes in some sonnets to lines in certain plays, emphasizing those echoes which were not later repeated, and by applying dates to those plays, in 1926 Elizabeth Beckwith tentatively dated a third of the 154 in the entire sonnets cycle. Her belief was that an unintentional authorial pattern of usage would be less subjective than other approaches to dating the sonnets. Yet, by use of dates from external allusions later applied by Prof. Leslie Hotson and other scholars, this author suggests that it may be possible to extend the total number of datable sonnets to over half of the cycle. However, Beckwith did not use dates for the plays which were later to become a standard dating scheme accepted by most scholars today, and so adjustments of her dates would change the dates she awarded to many of her selected sonnets. This author suggests that even the standard dating scheme is flawed, particularly if Shakespeare was dead when the Sonnets were published in 1609. He suggests another dating regime that meshes quite well with both Beckwith＇s 52 and an additional 27. Thus, the result for the 79 sonnets is to avoid certain problems in the distribution that Beckwith＇s method generated. The net result is what Beckwith termed ＂a skeleton around which the remaining sonnets can be safely built＂, but for over half rather than only a third of the cycle. This author suggests a half＂skeleton＂ is more indicative of the chronology for the whole sonnets cycle than only a third.

Media Representing Shakespeare： Adaptation, Inter-Textuality, and Gender

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.

Political Reality and Nature in Shakespeare's King Lear

King Lear is considered to be Shakespeare's greatest tragedy.Using analysis of the play and the contemporary politics of Jacobe an time,this paper examines how this play serves its traditional role as a"mirror for princess"play and how a broader dimension provided by a Christianized natural law is available for the exploration of possibilities of human experiences.

Shakespeare Inherits and Further DevelopsAristotle's Tragic Theor

本文结合亚里士多德的悲剧理论 ,探讨了莎士比亚悲剧创作对亚氏理论的继承和发展。并从悲剧的主要根源、悲剧人物和悲剧效果三方面对莎士比亚的若干悲剧进行分析 ,试在阐明莎氏的悲剧观。尽管同亚氏一样 ,莎士比亚同样重视剧中人物行为的发展与刻画 ,但他的作品更体现出人物性格是导致悲剧的主要原因 ;就人物而言 ,莎剧中主人公一般都是善良并有许多优点的 ,但不同于亚氏 ,莎士比亚的确承认这类主人公 ,如麦克白等 ,亚里士多德显然是把他们排除在悲剧之外的 ;在莎氏的笔下 ,亚里士多德“悲剧必须能引起怜悯与恐惧”

Amiable Shakespeare Versus Satirical Jonson?——A Contrastive Myth between Shakespearean and Jonsonian Comedies

Shakespeare and Ben Jonson have frequently been paired up for comparison in studies of early modern English drama.Conventional views about Shakespeare’s and Jonson’s comedies evolved and crystallized in the seventeenth,eighteenth and nineteenth centuries.People believed or were led to believe that Shakespeare’s and Jonson’s comedies were in clear opposition:Shakespeare’s comedies were sweet,romantic,amiable,popular and entertaining,whereas Jonson’s were based on an abstract theory of humors,cold,satiric,pedantic,and moralizing.Only in the last century did these oppositions begin to change,but too slowly.This paper calls those binary oppositions into question.It tries to present a more truthful picture of these two playwrights and their comedies through an examination of some of their works.It argues that some of those oppositions are stereotypes and should not be taken seriously by contemporary Shakespearean and Jonsonian scholars.

King Lear's“look with thine ears”and Shakespeare's Grammar School Training

About Shakespeare's classic learning, Ben Jonson's"small Latin and less Greek"has long been regarded precise and pertinent. This essay, however, is to explore the other part of the picture. In King Lear, Shakespeare has shown adroit application of Elizabethan rhetoric devices like hypallage, polyptoton and anadiplosis. It denotes his somewhat rigid grammar school training especially in oratory, which partly explains his classism.

The Comparison of Shakespeare's Sonnet 18 and Baima's Your Beauty

Shakespeare is one of the most brilliant playwrights and poets in the Middle Ages. Shakespeare's sonnets created during 1592 to 1598 is not only one of the greatest achievements of his, but also a great leap forward to sonnet itself. With the development of sonnets, Chinese poets begin to learn from western traditional sonnets. Among these poets, Bai Ma is a typical representative. This thesis aims to make a comparison between western traditional sonnets and Chinese sonnets to find out their similarities and dissimilarities through studying Shakespeare's and Bai Ma's respective magnum opuses, and to further promote the literary communication of the East-West.

Tradition and Distinctiveness in Shakespeare's Sonnets

The paper introduces the tradition of English sonnets, and explores how Shakespeare inherits the tradition and developshis own distinctiveness in his sonnets.

My Appreciation of Situational Irony in Shakespeare's Tragedies

This thesis carefully appreciated situational irony in some of Shakespeare's tragedies successively,and classified situational irony into four kinds:discrepancy between appearance and reality,expectation and fulfilment,intention and outcome,the actual circumstances and appropriateness.In the analysis of the first kind of situational irony,especially,the thesis focused on Antony and Cleopatra,together with Julius Caesar,questioned the common idea,and stated that Antony's failure was not because of his passion towards Cleopatra.Cleopatra was only his screen to cheat the world,an excuse of his " face-saving failure".

Shakespeare and Shylock: Behind the Contradictory Construction of the Jew

The character of Shylock in the Merchant of Venice is both intriguing and compelling. Hateful and greedy as he is on the onehand, yet suffered and pathetic on the other. Shakespeare is quite considerate in creating the character. This paper explores the possibili-ties behind Shakespeare, contradictory construction of Shylock.

Challenges and Achievements: Teaching Shakespeare's Sonnet 34 to a Third Year "English Literature" Class

The teaching of Shakespeare’s sonnet 34, among others, was attempted in order to counterbalance an overabundance of "survey" courses and to take the students deeply into a single major writer a poet again to counterbalance an overabundance of courses on prose writers. Sonnet 34 provided a few challenges in several archaic words, and in some Christian terms, but dealing with these left the students in a good position to successfully ingest and enjoy this and other sonnets.

TRUE KINGLY HONOUR IN SHAKESPEARE′S HENRY IV PART I

Honour, one of the eternal themes in Shakespeare, is again in the spotlightin Henry IV Part I. In this play, the rivalry between Prince Hal and Hotspuremerges actually out of their cravings for the title of royal honour and valour.Hotspur appears to be formidable, courageous and energetic. He is exactly

Shakespeare an Ironist (Ⅱ)

Oxford English Dictionary gives its second definition under the word "irony":"a condition of affairs or events of a character opposite to what was, or might naturally be, expected; a contradictory outcome of events as if in mockery of the promise and fitness of things." Here I would like to classify Situational Irony into four kinds.

Tokyo Arts Festival, 2017, and International Shakespeare Productions

In 2017,the Tokyo Arts Festival invited theatre directors from three geographical locations to direct Shakespeare’s plays:The British director John Caird directed Hamlet,the Romanian director Silviu Purcārete directed Richard III,and the Belgian director Ivo Van Hove directed a Dutch Othello.They approached Shakespeare’s plays from unique perspectives,using their own native or Japanese language,working with Japanese and foreign actors and staff.They were performed in Tokyo and watched by various audiences.This paper examines the interactive effect of international theatre and the Tokyo Arts Festival and argues that Shakespeare,being a common currency in the world,functions as media for the Festival,and vice versa.While the Festival provides opportunities and support for foreign directors and companies,staging of international Shakespeare productions raises the profile of the Festival and promotes artistic and cultural programmes and exchange internationally.The audience also has much to gain:the Festival allows them to experience cultural differences and a reflection of themselves or of the world in works of art.The paper argues that the differences created in the international Shakespearean productions and realized and experienced by the audience are the essence of the theatre and meaning and value of the Festival.

Samuel Johnson on Shakespeare:“A Poet of Nature”

Though many scholars and critics have made efforts explaining its connotation and influence from philosophical,religious and historical perspective about Samuel Johnson’s statement that Shakespeare is“A Poet of Nature”,it is still worthy of discussion.As a Neoclassical critic,Johnson revealed Shakespeare’s genuine faculties through comparison with Homer following John Dryden and Alexzander Popeto illustrate the dramatic writing process.Then Shakespeare’s genius in natural acquisition of human nature and literature tradition,adaptation and concatenation to make something novelty,and selection of original language and characters is exemplified to analyze mixed genre,irregular structure,natural dialogue and characters under the principle of general nature.

Last Shakespeare Plays Directed by Yukio Ninagawa： Possessed by the Power of Theater

Yukio Ninagawa （1935-2016） was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa＇s direction from a global/local perspective with a special focus on several last works directed by him： Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director＇s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed.

Shakespeare＇s Language Strategies in Hamlet

This study investigates the language strategies used by Shakespeare in The Tragedy of Hamlet, Prince of Denmark （1603）. Emphasis is given to the type of language or register Shakespeare provides his characters with in order to give them genuine or assumed identities. The linguistic register of the three major characters of Claudius, the Ghost, and Hamlet is explored in light of the Elizabethan cultural context. This concern with these three characters stems from the basic assumption of the paper that the play is a struggle between Claudius and the Ghost over Hamlet. Claudius speaks the language of a monarch which is informed by the code of society; the Ghost, who used to speak such language of sovereignty while alive, speaks a language of the dead informed by a newly acquired experience not familiar to human beings. On the other hand, Hamlet＇s use of language is the most peculiar in the play. His register keeps changing according to his tragic growth and his readiness for action. The study indicates that the language functions Shakespeare utilizes in Hamlet are numerous. Language is used creatively for a variety of purposes in addition to communication. The playwright employs language as a shield for self-defense, a tool for defining and hiding identity and misleading and manipulating others, a means of search for reality, and a tool for punishment, among other functions. The study findings invite further research into Shakespeare＇s use of language in his plays. No detailed in-depth studies of Shakespearean language and its implications exist.