Search results for: Macbeth

Authors: Feride Sumbul

Abstract:

Drama is a literary genre that mirrors the people and society and transfers the human nature and life to the reader or the audience within its own social-cultural structure. Each play takes on a new reality in the time and culture of the staging, and each performance actually brings a new interpretation to the play. Similarly, each translation adds a new meaning to the source text. In other words, the translated theatrical text transcends the boundaries of its language and culture and finds a new interpretation. Thus the translation of drama takes place as a transfer from one culture to another as a cross cultural communication. In this context, translating culture specific references play a key role in terms of reflecting cultural aspects of a target society. This study aims to explore the use of Venuti's translation principles of domestication and foreignization in the transfer of culture specific references in the Turkish translation of Shakespeare's Macbeth. Macbeth is to be compared with its Turkish version in terms of the transference of culture specific references such as religious, witchcraft, and mythological, which have no equivalent in the target language and culture. To evaluate these principles of Venuti, Davies’s translation strategies are also conducted. As a method, for the most part, he predominantly uses Davies’ method of ‘addition’ through adding extra information in the notes. For instance, rather than finding the Turkish renderings of them, the translator mostly chooses to transfer witchcraft references through retaining them in the target text, but he mainly adds extra information about the references in the notes. Therefore, the translator Nutku mostly uses Venuti’s translation principle of foreignization so that he preserves the foreignness of the theatrical text.

Keywords: drama translation, theatrical texts, culture specific references, Macbeth

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Authors: Jeong Hwa Ryong

Abstract:

Numerous characters appear in the works of England’s most prominent play writer, William Shakespeare. Most of the time, his male protagonists possess various and complex characteristics throughout the storyline of his work, making it interesting for the readers to analyze their actions in many different aspects. However, some critics argue that unlike male characters, Shakespeare’s female characters are rather more flat and one-sided, pointing out that they are either the extreme version of good or evil. Especially, it is a significant topic to discuss in the modern days, considering the fact that gender stereotype is now a sensitive issue. Starting from such argument, it is important to address their purpose of being in the play and suggest their meaning to the modern readers of today. In this context, this paper analyzes several female characters of Shakespeare’s work by closely examining their actions and lines. The characters analyzed are Ophelia from Hamlet, Cordelia from King Lear, Katherine from The Taming of the Shrew, Goneril from King Lear and Lady Macbeth from Macbeth. Nevertheless, some female protagonists of Shakespeare’s work do not fall in to this category and exceed the limitations of others. Therefore this paper proposes alternative characters such as Juliet from Romeo and Juliet and Portia from The Merchant of Venice that are rather more complex and difficult to include in just one category. By doing so, this paper critically analyzes the strengths and weaknesses of many female characters in Shakespeare’s play.

Keywords: female characters, gender stereotype, William Shakespeare

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Authors: Saniye Çeşmecioğlu

Abstract:

The importance of project sustainability and success has become increasingly significant due to the proliferation of external environmental factors that have decreased project resistance in contemporary times. The primary approach to forestall the failure of projects is to ensure their long-term viability through the strategic selection of projects as creating judicious project selection framework within the organization. Decision-makers require precise decision contexts (models) that conform to the company's business objectives and sustainability expectations during the project selection process. The establishment of a rational model for project selection enables organizations to create a distinctive and objective framework for the selection process. Additionally, for the optimal implementation of this decision-making model, it is crucial to establish a Project Management Office (PMO) team and Project Steering Committee within the organizational structure to oversee the framework. These teams enable updating project selection criteria and weights in response to changing conditions, ensuring alignment with the company's business goals, and facilitating the selection of potentially viable projects. This paper presents a multi-criteria decision model for selecting project sustainability and project success criteria that ensures timely project completion and retention. The model was developed using MACBETH (Measuring Attractiveness by a Categorical Based Evaluation Technique) and was based on broadcaster companies’ expectations. The ultimate results of this study provide a model that endorses the process of selecting the appropriate project objectively by utilizing project selection and sustainability criteria along with their respective weights for organizations. Additionally, the study offers suggestions that may ascertain helpful in future endeavors.

Keywords: project portfolio management, project selection, multi-criteria decision making, project sustainability and success criteria, MACBETH

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Authors: Seyedeh Azadeh Johari

Abstract:

For thousand years, the literature of the world has been mostly composed of men, and in all different forms of it, men have tried to propose their masculine desires, ideologies, and beliefs. What has been less written about or studied, however, was the role that female desire plays in the predominantly masculine society, and mostly the role of male desires was the key point in literature. Male writers have mostly shown their female characters either as stereotypes and void of dynamic characters, images of a meek person who bent to the will of her male superiors or as wicked or villains. The only exception was the kind of strong and courageous women who have mostly been masculinized by their authors, mostly male authors, as showing the valuable or important features of men, instead of women’s. These characters are transgendered by the author and have a gender identity or expression that differs from the sex to which they were assigned. This is the issue that is discussed in this project. We will refer to some examples of female characters who show masculine traits and characteristics.

Keywords: comparative literature, female, masculinized, transgendered

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Authors: Smriti Mary Gupta

Abstract:

This article intends to show strong facts of ‘Judeo-Christian myth’ and ‘Celtic myth’ in selected plays of William Shakespeare. Giving the vast proliferation of Shakespeare studies we examine the strong impact of Bible in his plays. Inevitably, for instance, the study of Shakespeare and the Bible overlaps the study of Shakespeare and religion, which justify the use of Judeo-Christian myth in his works. There is some evidence that Shakespeare had read and used the ‘Geneva Bible’ in his works. The glimpse of parables and references of Biblical myth can be seen very clearly in Macbeth, King Lear and Measure for Measure. Defining a religion based on myths is difficult because it is built upon a belief of large number of people in the society. The Judeo-Christian myth which is based on the Bible, Celtic religious myth will also be discussed in this paper which had a strong impact on the audience of sixteenth century and it is still continuing at the present time.

Keywords: Celtic myth, Geneva Bible, Judeo-Christian myth, Shakespearean plays

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Authors: Papazafeiropoulou Olga

Abstract:

The “Athens Dramatic Company” was one of the longest-running and most widely traveled troupes in the history of modern Greek theatre. The theatre company had been established since 1887, and the following: Euthychios Vonaseras, Eleni Kotopoulis, etc., like the founder of the troupe Theodoros Pofantis, referred to the distribution of the works presented in Patras: The price of a crime, The niece of her uncle, Agathopoulos, Amphitryon, The Two Sergeants, Lawyer and Actors, The Crusaders, The Daughter of Pantopolos, He Will Kill Himself, Macbeth, The Two Orphans, The Auction, Pistis Hope and Mercy, Love Attempt, The Crusaders, The lady is in Loutra, Markos Votsaris. In 1921, after peregrinations in Cyprus, Constantinople, Romania, Crete, Thessaloniki, Volos, Smyrna, the “Athens Dramatic Company” toured in Africa, where the Greek communities flourished. In 1923, the collaborations of troupe’s members and the repertoire varied several times, such as in Johannesburg, from where they traveled via Cape Town to Australia, where they presented the works: Dikaioma o Eros, Enochos, Psychokori, Kolokotronis. Atimoi, Voskopoula, Golfo, etc., while they impressed with the tragedy Oedipus Tyrannus, which was watched by Australians. Alongside the “Athens Dramatic Company” was also touring “Vrysoula’s Pantopoulos Troupe” and most of the members of the two troupes went to America, uniting their formation. In 1927, the old leader of “Athens Dramatic Company” (Theodoros Pofantis) decided to re-establish his troupe, but after unpleasant adventures, he passed away. In the year 1934, the Greek Dramatic Troupe of Athens revived with works including: The Man of the Day, A Dying Heart, A Dream Was and Gone, An Inspection, The Two Sergeants, The Mother, the Father-in-Law and the Non-existent Son-in-law, before finally expiring in 1935, after nearly 40 years of historical passage.

Keywords: athens, dramatic, company, universal, troupe

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