The Representation of Traditionally Marginalized Communities in Shakespeare Adaptation to a New Cultural and Historical Context: taking Ophelia (1962) and Yulia and Juliet (2018) as examples.

Shuyan Li

Abstract


By selecting Ophelia (Claude Chabrol, 1962) and Yulia and Juliet (Zara Dwinger, 2018), this thesis tries to discuss the
representation of traditional marginalized communities in Shakespeare adaptations, based on the specific analysis to the original. Two
different communities are involved in these two films. However, they all continue the spirit of humanitarianism which is paramount in
Shakespeare’s work.

Keywords


Global Shakespeare, Shakespeare adaptation, marginalized communities.


References


[1]Austin, G. (1999). Claude Chabrol. New York: Manchester University Press.

[2]Newman, K. (2009). Ghostwriting: Hamlet and Claude Chabrol’s Ophélia. Essaying Shakespeare (pp.77–84). Minneapolis: University of Minnesota Press.

[3]Marx, & Engels, F. (2018). The Communist Manifesto. In F. Engels (Ed.). Minneapolis: First Avenue Editions, a division of Lerner Publishing Group.

[4]Serafi mova, S. (2021, Jan. 5). Yulia and Juliet. Short Of the Week. Retrieved April 15, 2022, from https://www.shortoftheweek.com/2021/01/05/yulia-andjuliet/

[5]Shakespeare, W. (2019). Hamlet (Second Edition) (Norton Critical Editions). United States: W. W. Norton & Company.

[6]Shakespeare, W. (2016). Romeo and Juliet (First Edition) (Norton Critical Editions). W. W. Norton & Company.

[7]Suchland, J. (2011). Is Postsocialism Transnational? Signs: Journal of Women in Culture and Society, 36(4), 837–862.

[8]Vincendeau, G. (2009). Introduction: Fifty Years of the French New Wave: From Hysteria to Nostalgia. In P. Graham (Eds). The French New Wave (pp. 1-30).

London: BFI.




DOI: https://doi.org/10.18686/mcs.v5i2.1685

Refbacks

  • There are currently no refbacks.