628 research outputs found
Romeo and Juliet: Program
No full textProgram for Romeo and Juliet, performed March 5-23, 2014. By Hans Christian Andersen. Adapted and directed by Paul Gelineau. Performed at the University of the Fraser Valley Theatre, Chilliwack, BC
Readings on Romeo and Juliet
No full textAn anthology of critical essays that provide a wide range of information and opinion about the sixteenth-century play "Romeo and Juliet," and it's author William Shakespeare
Juliet Mitchell and the Lateral Axis
No full textThis volume fills the gap in books dedicated to the ideas of ground-breaking theorist Juliet Mitchell. Essays from internationally renowned scholars address themes that cross-cut her oeuvre: equality, violence, collective movements, subjectivity, sexuality and power. Mitchell herself contributes a chapter and an afterward
Romeo and Juliet
No full textStill one of Shakespeare's best loved and most performed plays, Romeo and Juliet has become the definitive love story of Western literature. Its lyrical depiction of an ill-fated romance has stirred audiences and inspired more adaptations and imitations than any other Shakespearean work. Widely considered the epitome of articulate romanticism, Romeo and Juliet also contains a subtext of sexual politics and generational conflict that echoes in relevance to the present dayIn this study Cedric Watts uses both traditional and contemporary critical approaches to reveal the complexity underlying Shakespeare's romantic tragedy. Examining the scholarly problems raised by the play, Watts pays particular attention to its structure and ironic interplay of characterization. The author provides a detailed account of the sexual politics at work in the drama, examining the views it offers on arranged marriage, romantic love, and the treatment of women in society. Demonstrating the contrast of lyricism and bawdry in the play, Watts argues that Romeo and Juliet is a much more radical work than has previously been regardedWatt's cogent analysis reveals the many contrasting elements of Romeo and Juliet--its high comedy and bitter tragedy, sociable festivity and private raptures violent hatred and pacific understanding, impetuous youth and stubborn age, realistically expressive language and witty linguistic display. By examining the play's attempt to bridge these disparate aspects, this unique reading breathes new life into a work whose familiarity often causes modern audiences and readers to lose sight of its position as one of Shakespeare's masterpiece
Desdemona, Juliet and Constance meet the third wave
No full textAuthor original manuscript (pre-print)In this article, the author explores a product of Canadian theatre, the play Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald, and demonstrates how its continuing popularity may be due to an engagement with sexual politics and postmodernism the author considers fundamental to third-wave feminism
Romeo and Juliet study guide, 1980
No full texthttps://rdc.reed.edu/v1/resources/add118f2-45e4-4603-b120-20131de7ed43/thumb/128.jpgStudy guide for the Reed Theatre presentation of William Shakespeare's Romeo and Juliet with background about the author, the play, the publication of the plays, the Elizabethan Theatre, and criticism from articles by Van Doren and Debbie Stone
“The Ghost of the Pedantic Accuracy”: “Romeo and Juliet” by Shakespeare in Anna Radlova’s Interpretation
No full textThe article touches upon the most vital aspects in the discussion of the 1930s on the philologically accurate translation. The author analyses A. Smirnov’s and M. Morosov’s critical remarks to A. Radlova’s translation of “Romeo and Juliet” and reconstructs how Radlova translated this Shakespeare tragedy. The article sets forth the idea that the discussion on Radlova’s translation of “Romeo and Juliet” anticipates Radlova and Chukovsky’s debates. In relation to this the author explains why for the Collected Works of Shakespeare (1958–1960) A. Smirnov chose Shchepkina-Kupernik’s translation of “Romeo and Juliet” but not Anna Radlova’s one. Carried out for the first time, the comparative analyses of these texts allows to see in detail the difference in their interpretation of key terms in the theory of translation of that epoque. The author of the article evaluates Radlova’s interpretation of “Romeo and Juliet” on the basis of A. Smirnov’s claim that in the translation of “Othello” and “Romeo and Juliet” Radlova follows the same translation method. To disprove Smirnov’s idea, we take into consideration such requests of K. Сhukovsky as the oversimplification of syntax, that deforms Shakespeare’s intonation, the omission of important words (as well as the effacement of some small one-syllable words) for the sake of measure and line to line correspondence in translation, and the roughening of the original text. The articles proves that the only method used by Radlova systematically is the last one. Other defects were most probably smoothed out due to A. Smirnov’s corrections
Midwives’ emotion and body work in two hospital settings : personal strategies and professional projects
No full textMuch has been written in recent years of a ‘crisis’ in the recruitment and retention of
midwives in the NHS. The crisis has been attributed variously to burnout, a lack of
professional autonomy, a bullying culture, and an ideological conflict between the
way in which midwives wish to practise and the way they are required to practise
within large bureaucratic institutions, such as NHS Trusts. Negotiating these
experiences requires a significant amount of emotional labour by midwives, which
they may find intolerable. This thesis explores the strategies NHS midwives deploy
in order to continue working in NHS maternity services when many of their
colleagues are leaving. It examines the extent to which working in a midwife-led
service rather than a consultant-led service helps or hinders midwives’ capacity to
manage the emotional and ideological demands of their practice.
Ethnographic fieldwork was carried out in a consultant unit and an Alongside
Midwife-led Unit (AMU) in two NHS Trusts in England. The findings from
negotiated interactive observation and in-depth unstructured interviews with eighteen
midwives were analysed using inductive ethnographic principles.
In order to ameliorate the emotional distress they experienced, the midwives used
coping strategies to organise the people and spaces around them. These strategies of
organisation and control were part of a personal and professional project which they
found almost impossible to articulate because it ran contrary to the ideals of the
midwifery discourse. Midwives explained these coping strategies as firstly, necessary
in order to deal with institutional constraints and regulations; secondly, out of their
control and thirdly, destructive and bad for midwifery. In practice it appeared that the
midwives played a role in sustaining these strategies because they formed part of a
wider professional project to promote their personal and professional autonomy.
These coping strategies were very similar in the Consultant Unit and the Midwifery
Unit. A midwife-led service provided the midwives with a space within which to
nurture their philosophy of practice. This provided some significant benefits for their
emotional wellbeing, but it also polarised them against the neighbouring Delivery
Suite. The resulting poor relationships profoundly affected their capacity to provide a
service congruent with their professional ideals. This suggests that whilst Alongside
Midwife-led Units may attempt to promote a midwifery model of care and a good
working environment for midwives, their proximity to consultant-led services
compounds the ideological conflict the midwives experience. The strength of their
philosophy may have the unintended consequence of silencing open discussion about
the negative influence on women of the strategies the midwives use to compensate
for ideological conflict and a lack of institutional and professional support
Hill of Fools: a South African Romeo and Juliet?
No full textpreprintWhat kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind
Hill of Fools: A South African Romeo and Juliet?
No full textWhat kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind
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