[公告] 臺大莎士比亞專題演講
※ [本文轉錄自 NTU06DFLL 看板]
作者: sophia0603 (sophia) 看板: NTU06DFLL
標題: [公告] 臺大莎士比亞專題演講
時間: Thu May 17 21:17:27 2007
NTU Shakespeare Colloquium
臺大莎士比亞專題演講
Dr. Charles Ross
Professor of English
Chair of the Comparative Literature Program
Purdue University
美國普渡大學英語系教授、比較文學系主任
A distinguished scholar in classic, medieval and modern languages and
literatures, Dr. Ross is the author of Elizabethan Literature and the Law of
Fraudulent Conveyance: Sidney, Spenser, and Shakespeare, The Custom of the
Castle from Malory to Macbeth, and Vladimir Nabokov: Life, Work, and
Criticism. He has also translated Statius’s first-century A.D. epic The
Thebaid (Seven against Thebes) and Matteo Maria Boiardo's romantic epic
Orlando Innamorato (Orlando in Love, 1483). His co-edited collections
include Lectura Dantis: Inferno and Fortune and Romance.
專題演講：《馴悍記》與女繼承人保護法
The Taming of the Shrew and the Heiress Protection Statute
5月29日週二下午3:30-5:00 臺灣大學校史館（舊總圖）會議室
The paper shows how the heiress protection statute (4, 5 Philip & Mary c 8)
relates to laws about fraudulent conveyancing (the subject of my 2003 book)
and how that affects the current theoretical debate about the role of
statutes in the relationship of literature and the law. After talking about
current work on Shakespeare and the Law, I will use the statute to
investigate how Shakespeare’s The Taming of the Shrew handles Lucentio’s
plan to elope with Bianca. The play reveals or comments on the weakness of
the statute by contrasting Lucentio’s plans to elope with the more complex
plot devised by Lucentio’s servant Tranio. Tranio’s plot, in turn, tells
us a good deal about the agency Katharina, whose marriage to Petrucchio falls
outside the heiress protection statute. A similar correction of the
ineffective statute 4, 5 Philip & Mary c 8 can be found in other plays such
as The Merchant of Venice, Othello, and Romeo and Juliet.
專題演講：莎士比亞電影中的馬
Horses in Shakespeare on Film
6月1日週五下午2:00-3:30 臺灣大學新生大樓402室
This talk will use film clips to illustrate how horses helped Shakespeare
move from stage to screen while at the same time raising the question of what
non-textual item may move Shakespeare into the next generation of media
development. Kenneth Branagh is an important Shakespearean actor but he was
never able to make a popular Shakespeare film until he borrowed the publicity
shots for the 1960 American Western The Magnificent Seven and used the motif
for the opening of his film Much Ado About Nothing. Much of the success of
the Franco Zeffirelli’s Hamlet starring Mel Gibson is that his Hamlet rides
horses that are nowhere in the play. The ultimate examples of how horses can
bring Shakespeare alive even without the text are probably the films of Akira
Kurosawa. It is a lesson that I think was learned by the Taiwan director Ang
Lee. He is best known in America for Crouching Tiger, Hidden Dragon, but
Hollywood gave him greater approval for Brokeback Mountain, not because he
made a film about homosexual cowboys, but because he set the film in the west
and gave horses and a Western landscape to his sheepherders.
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