Search results

In my thesis, I discuss and analyze William Shakespeare's utilization and adaptation of source texts within three of his dramas: Henry IV, Part I, a history; Twelfth Night, a comedy; and Julius Caesar, a tragedy. By comparing Shakespeare's adaption of sources to the contemporary United Kingdom intellectual property policies, it becomes possible for me to determine whether Shakespeare's extensive and popular dramas would violate modern copyright law. The first chapter, "Printing and Writing in the Early Modern Period," discusses the development of proprietary interests among the Elizabethan people. I break down the individual components of the printing process in the early modern period and further consider how its creation affected writers and impacted the world at large. Additionally mentioned within this chapter are the United Kingdom's initial attempts at regulating printed materials among publishers. The availability, pricing, and evolution of printed material is all discussed, as well as the imitative and collaborative writing process among Elizabethan dramatists and poets. The second chapter, "An Introduction and Brief History of Intellectual Property and Copyright," addresses the United Kingdom's current legislation on borrowing and infringing upon creative works. After an introduction to key terms within the intellectual property field, I provide a brief history on the evolution of copyright within the United Kingdom. After a discussion on property protection and rights for literary, dramatic, and artistic works, I cite the Copyright, Designs and Patents Act 1988 as the key document from which I draw my conclusions on Shakespeare's infringement of source texts within his plays. Chapters three, four, and five, focus on the individual analyses of source texts used by Shakespeare within each of his selected plays. While Shakespeare did borrow from a multitude of source texts, I strive to analyze his utilization of content within only his most primary source texts. Each chapter begins with a brief synopsis of the play, characters, and major themes. After each introduction, I devote multiple pages of text to comparing and contrasting Shakespeare's imitation and utilization of primary source texts within his own works. At the end of each chapter, I calculate the age of each source text as it relates to the public domain and intellectual property law. Following chapter five, I use the combination of my analyses and personal understanding of copyright to render three separate verdicts on Shakespeare's infringement of source materials within each of his plays. Alongside each verdict, I provide lawful reasoning for the individual outcome of each case. In the final pages, I draw a conclusion concerning Shakespeare's infringement of source texts within his plays. It looks like one play clearly breaks the United Kingdom's copyright laws, one play may or may not depending on further studies, and a third drama clearly does not constitute infringement. Furthermore, I offer a brief commentary on the reigning United Kingdom intellectual property laws based upon my analyses and verdicts.

Originally published in the Fortnightly review in 1876 and republished with some other material, as the author's "Economic studies", edited by Richard H. Hutton, 1880. ; Mode of access: Internet.

Includes material on Ronald Reagan, Barry Goldwater, Winston Churchill, Charles de Gaulle, Abraham Lincoln, Woodrow Wilson, Al Gore, George W. Bush, Bill Clinton, Francois Mitterrand, Jacques Chirac, Nelson Rockefeller, Richard M. Nixon, George McGovern, Thomas Dewey, Harry S. Truman, Tony Blair, Junichiro Koizumi, Franklin Delano Roosevelt, John F. Kennedy, and Lyndon B. Johnson

Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – 'classical' – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or 'silent' cinema, for example, compare with those from other film and media forms, including television, video and installation art works.

A long and well established critical history reads the social and political failures of Shakespeare's "Weak King" history plays as the result of a kind of personal failure. This project reconsiders the nature of such a personal failure in terms of the plays' internal tropological dynamics and then in terms of the recoding of persona and personal force implied by those dynamics. Beginning with an examination of ambition and of Shakespeare's use of the "Stomach" as a trope to bind a character's social and political aspirations to conscience and to the inner self-assessment of one's possibilities, the dissertation moves to examine at length the plays' deliberate and concerted use of Icarus imagery--specifically, of failed flight, thwarted traversal, wax, wings, sun, binding and melting, and finally of liming and thwarted vertical movement--to create their sense-making and moralizing apparatus. An examination of contemporary uses of the Icarus story and its attendent themes (in Marlowe, for example) demonstrates that Shakespeare redeploys all the story's elements to make Icarus's essential unbinding occur in a way that retracks the ethics of ambition, arrogance, and personal force in his plays. Shakespeare's Icarus comes unbound at another level, one in which the elements of the persona founder upon the world where they are to present themselves as social and political agents. This foundering is shown in the final chapter to be explicitly represented in the many in the many failed verbal performances that make up most of the plays' action. By bringing the sense of Icarian failure to the level of stage language and verbal performance, Shakespeare proposes a new direction and trend for the amphitheaters, which until the early 1590's had been dominated by Marlovian "Mighty Line" drama, and reevaluates the chivalric and heroic traditions that informed the early modern history play. ; Source: Dissertation Abstracts International, Volume: 59-03, Section: A, page: 0831. ; Chair: Stephen J. Greenblatt. ; Thesis (Ph.D.)--University of California, Berkeley, 1997.

This paper aims at exploring the purposes of the concept of banishment in Shakespeare`s plays, its role and its outcome. Although Shakespeare used the notion of banishment in 14 outof 38 plays, this paper will focus only on the plays that feature the so-called banishment by degree which is present in 12 plays. The notion of banishment can be traced back to at leastancient Athens. It was also a widespread practice to ban citizens or indeed, entire regions, in the Roman Empire. In England banishment was used by Elizabeth I and her successor JamesI. Among other classes, Elizabeth I banished Egyptians, Jesuits, beggars, Negroes and rebels. James I expelled the recusants from the city of London. Since Shakespeare lived in this peri-od, he was probably acquainted with this practice. In Shakespeare the notion of banishment serves a dramatic purpose, as Shakespeare used it to explore political, psychological and so-cial aspects of the involved characters and societies. The outcome of the banishment is usually either death or self-fulfillment or in few cases is left unresolved. In several plays banishmentis followed by an act of revenge.

The societal evolution since the last decades of 20th century until recently has called for and brought a number of signifi cant political terms into popular usage. This article offers the overview of some relevant new terms, neologisms, in Spanish and the English language, as well as those terms that have acquired new meaning over the given period. The researched terms are subdivided into categories related to spheres of general government policy, environmental policy and family policy. The profound impact of new technologies in the confi guration of current societies through its terminology is also covered. The background political and social context is given for the full understanding of designated concepts. The paper is believed to be of interest not only for teachers/learners of the Spanish and English languages and linguists, but also for students and professionals in the fields of Politics, Public Administration, History and Communication.

The societal evolution since the last decades of 20th century until recently has called for and brought a number of signifi cant political terms into popular usage. This article offers the overview of some relevant new terms, neologisms, in Spanish and the English language, as well as those terms that have acquired new meaning over the given period. The researched terms are subdivided into categories related to spheres of general government policy, environmental policy and family policy. The profound impact of new technologies in the confi guration of current societies through its terminology is also covered. The background political and social context is given for the full understanding of designated concepts. The paper is believed to be of interest not only for teachers/learners of the Spanish and English languages and linguists, but also for students and professionals in the fields of Politics, Public Administration, History and Communication.

If a democracy is to function successfully, the great mass of the population need instruments for communicating their views to political leaders. The chief channels for communication are parties and pressure groups. English politics provides much scope for study of these conduits, because both parties and pressure groups are highly organized and well articulated. Although the part played by party activists in policy formulation is only one small aspect of this network, the study of that part throws considerable light upon the interplay of parties and pressure groups, and challenges as well some prevailing notions about the policy demands of party activists.

The societal evolution since the last decades of 20th century until recently has called for and brought a number of signifi cant political terms into popular usage. This article offers the overview of some relevant new terms, neologisms, in Spanish and the English language, as well as those terms that have acquired new meaning over the given period. The researched terms are subdivided into categories related to spheres of general government policy, environmental policy and family policy. The profound impact of new technologies in the confi guration of current societies through its terminology is also covered. The background political and social context is given for the full understanding of designated concepts. The paper is believed to be of interest not only for teachers/learners of the Spanish and English languages and linguists, but also for students and professionals in the fields of Politics, Public Administration, History and Communication.

In the past few years, especially after independence, South African theatre has not been as critical of the political process as one would have expected, given its critical attitude towards the apartheid system. Zakes Mda's plays, however, have to an extent fulfilled this role. This article investigates the critical nature of some of Zakes Mda's plays produced before and after independence.