In this thesis report traces I detail the process from the conception of the idea through the arduous development and finally the final product of Wayne Cheong’s narrative screenplay. Also included are the numerous revisions that have resulted from his involvement in this project. / text

<p>In the essay “William Kennedy’s Ironweed: Francis Phelan’s Purgatorial Journey Back Home” I intend to show that William Kennedy has borrowed his narrative structure and symbolic language in the novel Ironweed from The Divine Comedy. I will also try to show how William Kennedy has used these allusions to enhance the imagery of Ironweed and the protagonist Francis Phelan’s wandering through the novel, and his return home. To accomplish this I will present a detailed comparative analysis of William Kennedy’s Ironweed and Dante Alighieri’s The Divine Comedy.</p><p>I will begin by showing that Kennedy establishes the protagonist Francis Phelan as a Dante-like figure and a sinner who needs to go through purgatory to redeem himself. Moreover, Kennedy uses Dante Alighieri’s Divine Comedy’s landscape to enhance the imagery of a journey back home, and by showing that each chapter represents a different level on Mount Purgatory Kennedy makes Albany a symbol of the mountain itself. Details such as the mentioning of the seven deadly sins are also there to make the reader think of Dante and thereby reinforcing the image of The Divine Comedy’s landscape in Francis Phelan’s New York, Albany.</p><p>I also demonstrate that Kennedy borrows his symbolic structure from Dante Alighieri’s Divine Comedy. For example, the intricate ending of Ironweed where several parallels can be drawn to Purgatory and Paradise reinforces the impression of Francis Phelan’s happiness, that is, a reader who is familiar with The Divine Comedy will appreciate and understand Francis Phelan’s happiness and the journey he has accomplished even more.</p>

No description available.

The Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.

This revision of Shakespeare's The Comedy of Errors is in no way intended to take the place of a serious study of the original work. It is, rather, a revision to make the play a suitable stage vehicle for high school and college drama groups which would otherwise shun it because of the language difficulties involved.

A series of scenes taken from Greek theatre were collaborated and chosen to form what became known as An Evening of Greek Theatre. Along with the normal challenges of creating a production, such as memorization, blocking, costuming, and others, came challenges that were unique to this particular one. The training we are most familiar with is in the confines of realism, and this particular production had little to do with realism. The stylization created an amalgamation of techniques, which became a functional process used to create An Evening of Greek Theatre. Along with these problems were other ones, such as dealing with the mythological significance of the characters and the stigmas that go with them. This, too, provided a breeding ground for creativity and experimentation. All this came together to form a successful and rewarding production.

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo. / The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text.

No description available.

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo. / The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text.

Placing archetypal "underdogs" or "losers" in the roles of protagonists allows and encourages the viewer to identify with them or understand them as an idealized Other, though the audience may differ from the failure protagonist in social class, gender, or any other condition. In film, one of the most persuasive and ubiquitous media of the 20th century, underdog and weakling characters germinated in early popular comedies such as those by Charlie Chaplin and the other silent clowns. Using Chaplin's filmography to illustrate the underdog's ironic supremacy, this thesis aims to unravel the initial values and expectations inherent in Hollywood underdog comedy films, trace these components to their paradoxical political and economic roots, and draw conclusions on their social and economic consequences.