DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH
One of the most entrenched myths that dramatic authors need to contest and adjust to is the Shakespeare myth, a long-lasting and all-pervasive influence that Shakespeare’s name and texts have exerted since the late 16th century, being perceived as “represent[ing] truths that transcend particular cir...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
University of Montenegro
2014-11-01
|
| Series: | Logos et Littera: Interdisciplinary Approaches to Text |
| Subjects: | |
| Online Access: | http://www.ll.ac.me/Issue%201/LL%201,%202014,%20Ciric%20Fazlija.pdf |
| id |
doaj-5402805506c545139948390f8ecb7634 |
|---|---|
| record_format |
Article |
| spelling |
doaj-5402805506c545139948390f8ecb76342020-11-24T23:30:43ZengUniversity of MontenegroLogos et Littera: Interdisciplinary Approaches to Text2336-98842014-11-01114356 DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETHIfeta Ciric-Fazlija0University of SarajevoOne of the most entrenched myths that dramatic authors need to contest and adjust to is the Shakespeare myth, a long-lasting and all-pervasive influence that Shakespeare’s name and texts have exerted since the late 16th century, being perceived as “represent[ing] truths that transcend particular circumstances” (Sinfield, 1998: 129). In order to be actively involved in the “making of culture” (Sinfield, 1998: 128) and for the purpose of establishing and (re)defining one’s own position within and against the canonical (trans)national texts, many British dramatists, including Tom Stoppard, have alluded to, quoted, or incorporated portions of Shakespeare’s plays within their own, or even reconstituted them completely. This paper discusses the manner in which Stoppard appropriates Shakespeare’s Hamlet and Macbeth – probably his best known and most frequently staged and adapted tragedies – in order to question the importance of both the author and his work within the context of contemporary culture and society. http://www.ll.ac.me/Issue%201/LL%201,%202014,%20Ciric%20Fazlija.pdfBritish dramaWilliam ShakespeareHamletMacbethTom StoppardDogg’s HamletCahoot’s Macbethpastiche |
| collection |
DOAJ |
| language |
English |
| format |
Article |
| sources |
DOAJ |
| author |
Ifeta Ciric-Fazlija |
| spellingShingle |
Ifeta Ciric-Fazlija DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH Logos et Littera: Interdisciplinary Approaches to Text British drama William Shakespeare Hamlet Macbeth Tom Stoppard Dogg’s Hamlet Cahoot’s Macbeth pastiche |
| author_facet |
Ifeta Ciric-Fazlija |
| author_sort |
Ifeta Ciric-Fazlija |
| title |
DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH |
| title_short |
DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH |
| title_full |
DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH |
| title_fullStr |
DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH |
| title_full_unstemmed |
DE-MYTHOLOGIZING THE BARD: APPROPRIATION OF SHAKESPEARE IN TOM STOPPARD’S DOGG’S HAMLET, CAHOOT’S MACBETH |
| title_sort |
de-mythologizing the bard: appropriation of shakespeare in tom stoppard’s dogg’s hamlet, cahoot’s macbeth |
| publisher |
University of Montenegro |
| series |
Logos et Littera: Interdisciplinary Approaches to Text |
| issn |
2336-9884 |
| publishDate |
2014-11-01 |
| description |
One of the most entrenched myths that dramatic authors need to contest and adjust to is the Shakespeare myth, a long-lasting and all-pervasive influence that Shakespeare’s name and texts have exerted since the late 16th century, being perceived as “represent[ing] truths that transcend particular circumstances” (Sinfield, 1998: 129). In order to be actively involved in the “making of culture” (Sinfield, 1998: 128) and for the purpose of
establishing and (re)defining one’s own position within and against the canonical (trans)national texts, many British dramatists, including Tom Stoppard, have alluded to, quoted, or incorporated portions of Shakespeare’s plays within their own, or even reconstituted them completely. This paper discusses the manner in which Stoppard appropriates Shakespeare’s Hamlet
and Macbeth – probably his best known and most frequently staged and adapted tragedies – in order to question the importance of both the author and his work within the context of contemporary culture and society. |
| topic |
British drama William Shakespeare Hamlet Macbeth Tom Stoppard Dogg’s Hamlet Cahoot’s Macbeth pastiche |
| url |
http://www.ll.ac.me/Issue%201/LL%201,%202014,%20Ciric%20Fazlija.pdf |
| work_keys_str_mv |
AT ifetaciricfazlija demythologizingthebardappropriationofshakespeareintomstoppardsdoggshamletcahootsmacbeth |
| _version_ |
1725540638969036800 |