http://hdl.handle.net/2160/1913 2013-05-22T03:45:42Z 2013-05-22T03:45:42Z Evans, Gareth Llŷr http://hdl.handle.net/2160/7874 2012-09-24T11:07:28Z 2012-08-01T00:00:00Z

Astudiaeth o'r Cysyniad o Theatr Ôl-Ddramataidd yng Nghyd-Destun Gwaith Cwmni Brith Gof a'i Ddilynwyr ac Aled Jones Williams Evans, Gareth Llŷr

2012-08-01T00:00:00Z Richards, Lisa http://hdl.handle.net/2160/7762 2012-01-30T14:11:52Z 2011-01-01T00:00:00Z

‘Siarad Sense’ (Talking Sense): Language use in the representation of teenagers in film 1990-2005 Richards, Lisa

2011-01-01T00:00:00Z Martindale, Sarah http://hdl.handle.net/2160/6126 2011-02-22T10:22:43Z 2011-01-01T00:00:00Z

An investigation of the status of ‘Shakespeare’, and the ways in which this is manifested in audience responses, with specific reference to three late-1990s Shakespearean films Martindale, Sarah The status of ‘Shakespeare’ is an incredibly intricate cultural construct, which is influenced by circumstantially contingent hierarchies of value, academic discourses, institutional processes, educational curricula, and media techniques. Having explored the context in which Shakespeare currently stands as an icon through the review of existing scholarship, this thesis employs a combined methodology to facilitate an investigation of some of the ways in which the playwright and his works are significant in contemporary culture, by specifically examining three late-1990s Shakespearean films and some particular types of audience responses. The case studies – Romeo + Juliet, Shakespeare in Love and 10 Things I Hate About You – are each analysed, according to their individual content and context, as cinematic products, which are understood in relation to Shakespeare and also many other cultural frameworks. It is acknowledged that Shakespeare has a particularly potent and established iconicity within academia and the education system, and it is argued that this position informs, but is also modified and challenged by, the filmic conceptualisations. These observations are enriched and developed by the findings of empirical audience research. Questionnaires were used to elicit a mixture of quantitative and qualitative information from secondary school teachers of Shakespeare, and from first year English and/or media undergraduates, about their experiences and opinions of Shakespeare in contemporary culture, especially Shakespearean films. Patterns identifiable in the data generated confirm that cinematic interpretations can transform the cultural currency of Shakespeare, reducing the distance between young people and the text by using familiar modes of address, but also point to tensions stemming from a disjunction of conventional evaluative criteria and the diverse ways in which Shakespeare now functions in mass culture. This work therefore contributes to debates about Shakespeare’s cultural status by examining the complex processes of negotiation of meaning that are discernable in these instances.

2011-01-01T00:00:00Z Mangold, Alexander C. http://hdl.handle.net/2160/5865 2010-11-11T14:27:52Z 2010-01-01T00:00:00Z

The Empty I Sarah Kane and the Aesthetics of the New Tragic Mangold, Alexander C. This study argues that Sarah Kane’s work for the theatre proposes a new tragic aesthetic for the contemporary stage which in many ways transcends the limited genre definitions with which her work is generally associated. By realising a rudimentary tragic dialectic between the traumatised subject and an invariably unattainable ‘other’, it is argued that Kaneian theatre describes a new tragic mode which is primarily based on the psycho(patho)logical suffering it portrays. The study suggests that Sarah Kane’s work introduces an aesthetic complex termed the ‘empty I’ which manifests itself through notions of ‘empty space’, ‘traumatic loss’ and ‘impossible love’. Via an in-depth reading of the plays, it shows that the playwright’s radical formal efforts are bound to an ongoing attempt to unite dramatic form with tragic content, and it is further argued that Kane’s plays implicitly criticise a growing culture of missing ontological stability and problematic interpersonal relations. The new tragic aesthetic defined this way proves to be as much about aesthetisised traumatic suffering as it laments a deficient form of contemporary subjectivity. The thesis concludes with the suggestion that Kane’s work implies a social rather than a theatrical reconciliation of the tragic disposition it depicts.

2010-01-01T00:00:00Z