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Rebel Shakespearean Sequels : = Challenging Legacy through Continuity in Selected Modern Plays = Rebellische Shakespeare-Fortsetzungen : Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Rebel Shakespearean Sequels :/
Reminder of title:	Challenging Legacy through Continuity in Selected Modern Plays = Rebellische Shakespeare-Fortsetzungen : Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken.
remainder title:	Rebellische Shakespeare-Fortsetzungen :
Author:	Ibraheem, Noha Mohamad Mohamad.
Description:	1 online resource (226 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-05, Section: A.
Contained By:	Dissertations Abstracts International85-05A.
Subject:	Remakes & sequels. -
Online resource:	click for full text (PQDT)
ISBN:	9798380715379

Rebel Shakespearean Sequels : = Challenging Legacy through Continuity in Selected Modern Plays = Rebellische Shakespeare-Fortsetzungen : Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken.
Ibraheem, Noha Mohamad Mohamad.

Rebel Shakespearean Sequels :Challenging Legacy through Continuity in Selected Modern Plays = Rebellische Shakespeare-Fortsetzungen : Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken.Rebellische Shakespeare-Fortsetzungen :Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken. - 1 online resource (226 pages)

Source: Dissertations Abstracts International, Volume: 85-05, Section: A.

Thesis (Ph.D.)--Freie Universitaet Berlin (Germany), 2023.

Includes bibliographical references

Modern sequels are one of the most prominent creative responses to classical literature nowadays. Not only do they comprise the two concepts of legacy and franchise, but they also challenge the traditional notions of authorship and originality and highlight the role of the reader. However, one question remains: Why do sequels keep being written? This thesis attempts to answer this question via a hypertextual analysis of four modern Shakespearean dramatic sequels written with varied sequelisation strategies to The Merchant of Venice, a Shakespearean comedy, and Macbeth, a Shakespearean tragedy. Merchant's two sequels are David Henry Wilson's Shylock's Revenge (1989) and Albert Ramsdell Gurney Jr.'sOvertime: A Modern Sequel to The Merchant of Venice (1995) while the two sequels to Macbeth are Noah Lukeman's The Tragedy of Macbeth Part II: The Seed of Banquo (2008) and David Greig's Dunsinane (2010). This thesis argues that despite their acknowledgement of Shakespearean influence and universality, modern sequel writers challenge Shakespearean originals in their sequels by criticising various dramatic and thematic aspects. Though their sequels tamper with Shakespearean dramatic legacy, modern sequel writers seek to unite their sequels with this legacy. They also want to prove that Shakespearean originals and their modern sequels complete one another; while Shakespearean originals are the solid base upon which those sequels are built, those sequels update their Shakespearean originals to keep speaking to upcoming generations. The thesis exhibits how each of the four sequels challenges its original in its own way. Shylock's Revenge devises modern compromises which resolve the feud between Christian mercy and Jewish legalism and present usury as equivalent to modern banking. In addition, it allows Shylock his revenge, gives him the upper hand over the Christian Venetian community and highlights his human side as a family man. Portraying its Portia as a caricature of an imbecilic WASP full of many foibles pertinent to her 1960s New York context, Overtime mocks her portrayal in Merchant as a wise and intelligent lady. The play also features Shylock as a savvy businessman who reconciles with Antonio and unites with Portia, Lorenzo as a philo-Semite and Antonio as a courageous homosexual who stands up for his sexual identity. Macbeth II argues that tyranny does not end with Macbeth's death. It will keep emerging as long as the lust for more power exists. Hence, Macbeth II portrays Malcolm as Macbeth's replica. It also comprises a myriad of complex female characters who are given more space to express themselves as opposed to Macbeth's Lady Macbeth who is eclipsed towards Macbeth's end. Dunsinane rewrites the history (or rather story) of the Macbeths from a pro-Scot perspective to clear the name of both Macbeth and his Lady. Moreover, it probes into war trauma by making Siward - Macbeth's minor character - its protagonist and foregrounding his young English troops by presenting them as the true sufferers of the consequences of war.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380715379Subjects--Topical Terms:

1473204
Remakes & sequels.
Index Terms--Genre/Form:

554714
Electronic books.

Rebel Shakespearean Sequels : = Challenging Legacy through Continuity in Selected Modern Plays = Rebellische Shakespeare-Fortsetzungen : Herausforderndes Erbe Durch Kontinuitat in Ausgewahlten Modernen Stucken.
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502 $a Thesis (Ph.D.)--Freie Universitaet Berlin (Germany), 2023.
504 $a Includes bibliographical references
520 $a Modern sequels are one of the most prominent creative responses to classical literature nowadays. Not only do they comprise the two concepts of legacy and franchise, but they also challenge the traditional notions of authorship and originality and highlight the role of the reader. However, one question remains: Why do sequels keep being written? This thesis attempts to answer this question via a hypertextual analysis of four modern Shakespearean dramatic sequels written with varied sequelisation strategies to The Merchant of Venice, a Shakespearean comedy, and Macbeth, a Shakespearean tragedy. Merchant's two sequels are David Henry Wilson's Shylock's Revenge (1989) and Albert Ramsdell Gurney Jr.'sOvertime: A Modern Sequel to The Merchant of Venice (1995) while the two sequels to Macbeth are Noah Lukeman's The Tragedy of Macbeth Part II: The Seed of Banquo (2008) and David Greig's Dunsinane (2010). This thesis argues that despite their acknowledgement of Shakespearean influence and universality, modern sequel writers challenge Shakespearean originals in their sequels by criticising various dramatic and thematic aspects. Though their sequels tamper with Shakespearean dramatic legacy, modern sequel writers seek to unite their sequels with this legacy. They also want to prove that Shakespearean originals and their modern sequels complete one another; while Shakespearean originals are the solid base upon which those sequels are built, those sequels update their Shakespearean originals to keep speaking to upcoming generations. The thesis exhibits how each of the four sequels challenges its original in its own way. Shylock's Revenge devises modern compromises which resolve the feud between Christian mercy and Jewish legalism and present usury as equivalent to modern banking. In addition, it allows Shylock his revenge, gives him the upper hand over the Christian Venetian community and highlights his human side as a family man. Portraying its Portia as a caricature of an imbecilic WASP full of many foibles pertinent to her 1960s New York context, Overtime mocks her portrayal in Merchant as a wise and intelligent lady. The play also features Shylock as a savvy businessman who reconciles with Antonio and unites with Portia, Lorenzo as a philo-Semite and Antonio as a courageous homosexual who stands up for his sexual identity. Macbeth II argues that tyranny does not end with Macbeth's death. It will keep emerging as long as the lust for more power exists. Hence, Macbeth II portrays Malcolm as Macbeth's replica. It also comprises a myriad of complex female characters who are given more space to express themselves as opposed to Macbeth's Lady Macbeth who is eclipsed towards Macbeth's end. Dunsinane rewrites the history (or rather story) of the Macbeths from a pro-Scot perspective to clear the name of both Macbeth and his Lady. Moreover, it probes into war trauma by making Siward - Macbeth's minor character - its protagonist and foregrounding his young English troops by presenting them as the true sufferers of the consequences of war.
520 $a Moderne Fortsetzungen sind heutzutage eine der wichtigsten kreativen Reaktionen auf die klassische Literatur. Sie umfassen nicht nur die beiden Konzepte des Vermachtnisses und des Franchises, sondern stellen auch die traditionellen Vorstellungen von Autorschaft und Originalitat in Frage und heben die Rolle des Lesers hervor. Eine Frage bleibt jedoch offen: Warum werden immer wieder Fortsetzungen geschrieben? Die vorliegende Dissertation versucht, diese Frage anhand einer hypertextuellen Analyse von vier modernen dramatischen Shakespeare-Fortsetzungen zu beantworten, die mit unterschiedlichen Fortsetzungsstrategien zu "The Merchant of Venice", einer Shakespeare-Komodie, und "Macbeth", einer Shakespeare-Tragodie, geschrieben wurden. Die beiden Fortsetzungen zu "The Merchant of Venice" sind David Henry Wilsons "Shylock's Revenge" (1989) und Albert Ramsdell Gurney Jr.s "Overtime: A Modern Sequel to The Merchant of Venice" (1995), wahrend die beiden Fortsetzungen zu "Macbeth" sind Noah Lukemans "The Tragedy of Macbeth Part II: The Seed of Banquo" (2008) und David Greigs "Dunsinane" (2010). In dieser Dissertation wird die These vertreten, dass moderne Fortsetzungsautoren, obwohl sie den Einfluss und die Universalitat Shakespeares anerkennen, in ihren Fortsetzungen die Shakespeare-Originale in Frage stellen, indem sie verschiedene dramatische und thematische Aspekte kritisieren. Obwohl ihre Fortsetzungen am dramatischen Erbe Shakespeares rutteln, versuchen moderne Fortsetzungsautoren, ihre Fortsetzungen mit diesem Erbe zu vereinen. Sie wollen auch beweisen, dass die Shakespeare-Originale und ihre modernen Fortsetzungen sich gegenseitig erganzen; wahrend die Shakespeare-Originale die solide Grundlage bilden, auf der die Fortsetzungen aufbauen, aktualisieren die Fortsetzungen ihre Shakespeare-Originale, um auch die kommenden Generationen anzusprechen. Die Dissertation zeigt, wie jede der vier Fortsetzungen das Original auf ihre eigene Weise herausfordert. "Shylock's Revenge" ist ein moderner Kompromiss, der die Fehde zwischen christlicher Barmherzigkeit und judischem Legalismus auflost und den Wucher mit dem modernen Bankwesen gleichsetzt. Daruber hinaus erlaubt es Shylock seine Rache, gibt ihm die Oberhand uber die christliche venezianische Gemeinschaft und hebt seine menschliche Seite als Familienvater hervor. Die Portia wird als Karikatur einer schwachsinnigen WASP mit vielen Marotten aus dem New York der 1960er Jahre dargestellt, wahrend sich "Overtime" uber ihre Darstellung als weise und intelligente Dame in Merchant lustig macht. Das Stuck zeigt auch Shylock als klugen Geschaftsmann, der sich mit Antonio versohnt und sich mit Portia vereint, Lorenzo als Philo-Semit und Antonio als mutigen Homosexuellen, der zu seiner sexuellen Identitat steht. "Macbeth II" argumentiert, dass die Tyrannei nicht mit Macbeths Tod endet. Sie wird immer wieder auftauchen, solange die Gier nach mehr Macht besteht. Daher stellt Macbeth II Malcolm als Macbeths Replik dar. Er enthalt auch eine Vielzahl komplexer weiblicher Charaktere, die mehr Raum erhalten, um sich auszudrucken, im Gegensatz zu Macbeths Lady Macbeth, die gegen Macbeths Ende in den Hintergrund gerat. "Dunsinane" schreibt die Geschichte (oder besser gesagt die Geschichte) der Macbeths aus einer pro-schottischen Perspektive um, um den Namen von Macbeth und seiner Lady reinzuwaschen. Daruber hinaus wird das Kriegstrauma erforscht, indem Siward - Macbeths Nebenfigur - zum Protagonisten gemacht wird und seine jungen englischen Truppen in den Vordergrund geruckt werden, indem sie als die wahren Leidtragenden der Kriegsfolgen dargestellt werden.
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