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Reimagining desire and identity in the title characters of Hamlet and Richard III in a South African context
No full textThesis (Ph.D.(Drama and Theatre Arts))--University of the Free State, 2023During my Master’s studies in Theatre Directing at East 15 Acting School, London, a question regularly asked by my lecturer, Tony Clark, was: ‘If you were to direct a Shakespeare play now, why would you do it? What would the play say today?’ I started asking myself, ‘If I were to transpose a Shakespeare play into a modern context, what new perspectives and interpretations could be arrived at if I were to read it from a queer perspective? How would that influence the identity and desires of the characters and the interpretation thereof?’ The study aimed to examine what would happen if the sexuality of the characters Richard and Hamlet were changed by transposing and , into queer adaptations and how that would change the identity and desires of the title characters in the new adaptations. To do this, the study identified ‘unspoken or unconscious lesbian, gay, or queer presence’, or what will be referred to as queer cues, utilising the coding process of Constructivist-Grounded Theory in Hamlet and Richard III by William Shakespeare. Queer Theory has significantly impacted literary analysis. It has broadened the field’s focus beyond conventional binary conceptions of gender and sexuality. Using Queer Theory, one can study how gender and sexuality are disrupted and challenged in texts and how these categories are created and performed through language and narrative. Similarities exist between Queer Theory and Lesbian, Gay, and Queer Criticism (LGQC) as they both examine gender and sexuality. However, their approaches and points of focus are slightly different. While LGQC focuses on analysing particular cultural representations, Queer Theory deconstructs binary categories. One of the fundamental ideas of LGQC is the quest for textual evidence, or rather cues, in the literary interpretation of texts. In most cases, these cues are blatant homoerotic imagery and same-sex interactions, but sometimes these cues are subtle and create a homoerotic atmosphere in a heterosexual work. Several examples of subtle “unspoken or unconscious” cues exist, but this study predominantly focuses on . In Tyson (2006), is explained as portraying a strong emotional bond between characters of the same sex. The study aimed to examine which could be identified in the scripts through a and how that influenced the transposition of the scripts into new queer adaptations.
The focus of this study was mainly on . A preliminary analysis made it clear that after examining the characters’ interactions with each other, there were subtle queer cues evident in and . Other events and interactions were then analysed to see if they supported these cues. In my opinion, the results pointed to elements of between the relevant characters, which I interpreted as indications that Richard and Hamlet were gay men. As mentioned above, the study applied the coding process of Constructivist-Grounded Theory. The first step is Initial Coding, followed by Focussed Coding, where categories are refined, and then finally, theory development. The Initial Coding process and the process of identified in the scripts of and . For these to be identified, the study focussed on the concept of and queer interpretation, seeing that the main focus of this study’s inquiry was the relationship between Richard and Tyrrel, and Hamlet and Horatio. The study found that the scripts indeed supported a queer interpretation of and . During the Focused Coding process, other moments and events in the scripts were identified that can now be interpreted from a queer perspective. During the memo-writing process of Focused Coding, the characters of Tyrrel (in ) and Horatio (in ) were examined to establish how their interactions supported a queer interpretation. The last part of the coding process (Memo-Writing) was transposing and into queer adaptations, where Richard and Tyrrel and Hamlet and Horatio were placed in same-sex relationships. Nevertheless, when reading the queer adaptations, the study found that the queer interpretations of these plays could still not ‘present’ themselves in the scripts alone. A new question emerged: ‘How to present the in the new queer adaptations of and ?’ The study, therefore, included and , where it was found that the transposition to the stage was necessary to bring to life the ‘queer interpretations’ of the title characters. Clearly, the study needed to include actors’ performances to determine how the characters’ sexuality influenced their identities and desires. The actor’s interpretation and delivery of the lines, their gestures, and actions brought the queer interpretation of the scripts to the forefront.
___________________________________________________________________Ten tye van my meestersgraadstudie in Teaterregie aan East 15 Acting School, Londen, het Tony Clark, my dosent, gereeld die vraag gevra: ‘As jy nou ’n Shakespeare-toneelstuk sou regisseer, hoekom sou jy dit doen? Wat sou die toneelstuk vandag beteken?’ Ek het myself die volgende begin afvra, ‘As ek ’n Shakespeare-toneelstuk in ’n moderne konteks sou transponeer, tot watter nuwe perspektiewe en interpretasies sal dit lei as ek dit vanuit ’n queer perspektief sou lees? Hoe sou dit die identiteit en begeertes van die karakters en die interpretasie daarvan beïnvloed?’ Die navorsing het ten doel gehad om te ondersoek wat sou gebeur indien die seksualiteit van die karakters Richard en Hamlet verander is deur en te transponeer in queer aanpassings en hoe dit die identiteit en begeertes van die karakters in die nuwe aanpassings sal verander. Om dit te doen het die navorsing ‘nie-uitgesproke of onbewuste lesbiese, gay of queer teenwoordigheid’ geïdentifiseer, of waarna verwys sal word as queer aanduidings, deur die koderingsproses van die Konstruktivisties-gegronde Teorie in Hamlet en Richard III van William Shakespeare te gebruik. Die queer-teorie het literêre ontleding aansienlik beïnvloed.
Dit het die veld se fokus verder verbreed as konvensionele binêre opvattings van geslag en seksualiteit. Met behulp van die queer-teorie kan ’n mens bestudeer hoe geslag en seksualiteit in tekste ontwrig en uitgedaag word en hoe hierdie kategorieë geskep en uitgevoer word deur taal en narratief. Daar bestaan ooreenkomste tussen die queer-teorie en lesbiese, gay en queer kritisisme (LGQC), aangesien hulle albei geslag en seksualiteit ondersoek. Daar is egter wel ’n effense verskil in hul benaderings en fokuspunte. Terwyl LGQC op die ontleding van bepaalde kulturele voorstellings fokus, dekonstrueer die queer-teorie binêre kategorieë. Een van die fundamentele idees van LGQC is die soeke na tekstuele bewyse, of eerder leidrade, in die literêre interpretasie van tekste. In die meeste gevalle is hierdie leidrade blatante homo-erotiese beelde en selfdegeslag-interaksies, maar soms is hierdie leidrade subtiel en skep ’n homo-erotiese atmosfeer in ’n heteroseksuele werk. Daar bestaan verskeie voorbeelde van subtiele “onuitgesproke of onbewustelike” leidrade, maar hierdie navorsing fokus hoofsaaklik op homososiale binding. In Tyson (2006) word homososiale binding verduidelik as ’n sterk emosionele band tussen karakters van dieselfde geslag. Die doelwit van die navorsing was om te ondersoek watter queer aanduidings in die draaiboek geïdentifiseer kan word en hoe dit ’n invloed op die transponering van die tekste in nuwe queer aanpassings het. Die fokus van hiedie navorsing was hoofsaaklik op gay sensitiwiteit. ’n Voorlopige ontleding toon duidelik dat, nadat die karakters se interaksies met mekaar ondersoek is, daar subtiele queer leidrade in Richard III en Hamlet teenwoordig is. Ander gebeure en interaksies is toe ontleed om te sien of dit hierdie leidrade ondersteun.
Na my mening het die resultate gewys op elemente van homososiale binding tussen die relevante karakters, wat ek geïnterpreteer het as aanduidings dat Richard en Hamlet gay mans was. Soos hierbo genoem het die navorsing die koderingsproses van die konstruktivisties-gegronde teorie toegepas. Die eerste stap is Aanvanklike Kodering, gevolg deur Gefokusde Kodering, waar kategorieë verfyn word, en dan laastens, teorie-ontwikkeling. Die Aanvanklike Koderingsproses en die proses van bewuswording het queer leidrade in die draaiboek van Richard III en Hamlet geïdentifiseer. Vir hierdie queer leidrade om geïdentifiseer te word, het die navorsing gefokus op die konsep van homososiale binding en queer interpretasie, aangesien die hooffokus van hierdie navorsing se ondersoek die verhouding tussen Richard en Tyrrel, asook Hamlet en Horatio was. Die navorsing het bevind dat die draaiboeke inderdaad ’n queer interpretasie van Richard III en Hamlet ondersteun. Gedurende die Gefokusde Koderingsproses is ander oomblikke en gebeure in die werke geïdentifiseer wat nou vanuit ’n queer perspektief geïnterpreteer kan word. Tydens die memo-skryfproses van Gefokusde Kodering is die karakters van Tyrrel (in Richard III) en Horatio (in Hamlet) ondersoek om vas te stel hoe hul interaksie ’n queer interpretasie ondersteun. Die laaste deel van die koderingsproses memo-skryfproses) was om Hamlet en Richard III te transponeer in queer aanpassings, waar Richard en Tyrrel, asook Hamlet en Horatio, in verhoudings met dieselfde geslag geplaas is. Nietemin, wanneer die queer aanpassings gelees word, bevind die navorsing dat die queer interpretasies van hierdie toneelstukke steeds nie hulself in die draaiboeke alleen kon ‘voordoen’ nie. ’n Nuwe vraag het ontstaan: ‘Hoe om die queer leidrade in die nuwe queer aanpassings van Hamlet en Richard III aan te bied? Die navorsing het daarom Hamlet en Richard III ingesluit waar gevind is dat die transposisie na die verhoog nodig was om lewe te gee aan die ‘queer interpretasie’ van die hoofkarakters. Dit is duidelik dat die navorsing akteurs se vertonings moes insluit om te bepaal hoe die karakters se seksualiteit hul identiteit en begeertes beïnvloed het. Die akteurs se interpretasie en lewering van die dialoog, hul gebare en optrede het die queer interpretasie van die draaiboek na die voorgrond gebring.
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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