Traumatic Redemption Chronotope as Theoretical Model to Study Serial Shakespeares
DOI:
https://doi.org/10.37536/reden.2019.1.1371Keywords:
Shakespeare, Redemption, Trauma, Appropriation, Inter-textAbstract
T
his article proposes a methodology to study Shakespearean intertexts in contemporary complex TV series. While the presence of Shakespeare’s inter-texts in contemporary complex TV seems ubiquitous, a sustained and theoretically focused academic study of the impact of Shakespeare in these works has not been produced. Reviewers and social media users’ comments have proposed readings of the series pointing at the importance of the series’ redemptive qualities. Taking Hannah Wolfe Eisner’s “Into the Middle of Things: Traumatic Redemption and the Politics of Form” as basis, I am presenting a theoretical model to study serial Shakespeares, with which I am referring to a limited corpus of American complex TV series appropriating Shakespeare’s texts, as narratives embedded in a cultural politics of trauma and redemption. Additionally, it shows that such series potentially work as guidelines to study the overall impact of traumatic redemption in other contemporary adaptations of Shakespearean plays.
References
Adorno, T. “Commitment.” New Left Review. 87. (1974): 75-89. Print.
Albanese, D. Extramural Shakespeare. New York: Palgrave Macmillan, 2010. Print. Amarall, M. “How Shakespeare Explains Game of Thrones”. Teach4Real. 2019. Web. Anastasia, G. “If Shakespeare were alive today, he’d be writing for The Sopranos”.
A Sitdown with the Sopranos. Watching Italian American Culture on TV’s Most Talked-About Series. R. Barreca. Ed. New York: Palgrave Macmillan, 2002. Print.
Anderson, C. “Producing an Aristocracy of Culture in American Television”. The Essential HBO Reader. G. R. Edgerton & Jones. Eds. Lexington, Kentucky: The University of Kentucky Press, 2008: 28-41. Print.
Antich, X. “Momento ‘The Wire’”. La Vanguardia. 19 September 2011. Web.
Bailey, L. “Field of Blood (Director Lucy Bailey Discusses Some of the InspirationBehindHerVisionofthePlay”. Programme for Lucy Bailey’s production of Shakespeare’s Julius Caesar. Royal Shakespeare Company, 2009. Bataille,S.“Haunted by Shakespeare: HBO’s Rome”. Television Shakespeare: Essays in Honour of Michèle Wíllems. S. Hatchuel & N. Vienne-Guerrin. Eds. Mont-Saint-Aignan Cedex: Publications des Universités de Rouen et du Havre, 2008 : 219-249. Print.
---. “How Many Times Shall Caesar Bleed in Sport”: Recent ‘Roman’ TV Productions and the Shakespeare Legacy”. Shakespeare on Screen: The Roman Plays. S. Hatchuel & N. Vienne-Guerrin. Eds. Mont-Saint-Aignan Cedex: Publications des Universités de Rouen et du Havre, 2009: 225-237. Print.
---. “‘Hamlet on Harleys’: Sons of Anarchy’s Appropriation of Hamlet”. Shakespeare on Screen: Hamlet. S. Hatchuel & N. Vienne-Guerrin. Eds. Mont-Saint Aignan Cedex : Publications des Universités de Rouen et du Havre, 2011: 329-344. Print.
Bennett, S. “Shakespeare’s New Marketplace: The Places of Event Cinema”. Shakespeare and the ‘Live’ Broadcast Experience. P. Aebischer, S. Greenhalgh & L. E. Osborne. London and New York: The Arden Shakespeare, Bloomsbury Publishing Plc, 2018: 41-58. Print.
Bourdais, S. “Entre Shakespeare et les séries, c’est Game of clones”. Télérama (Séries TV). 2014. Web.
Bristol, M. D. Big-Time Shakespeare, London and New York: Routledge, 1996. Print. Burzynska, K. “Bad Boys Meet the Swan of Avon: A Re-Visioning of Hamlet in Sons of Anarchy”. Studia Anglica Posnaniensia 52:2. 2017. Web. Cascajosa-Virino, C. La Cultura de las Series. Barcelona: Laertes SL Ediciones, [2015] 2016. Print.
Ceballos, N.“‘Westworld’: Por Fin una Serie Sobre Cómo se Hace una Serie”. Revista GQ. 2016. Web.
Cyrino, M. S. “Introduction”. Rome Season One: History Makes Television.
M. S. Cyrino. Ed. Oxford and Victoria (Australia): Blackwell Publishing, 2008: 1-10.
Eisner, H. W. Into the Middle of Things: Traumatic Redemption and the Politics of Form. Thesis. Connecticut: Wesleyan University. 2017. Web.
Földváry, K.“Serial Shakespeare: The Case of Star-Crossed (2014)”. Forme, Strategie e Mutazioni del Racconto Seriale. Between 7: 11. 2016. Web.
Ford, R. “‘Sons of Anarchy’ Showrunner Kurt Sutter on the ‘Heartbreaking’ Finale (Q&A)”. The Hollywood Reporter. 2013. Web.
Jackson,R. “SalusPopuli:Shakespeare’sRomanPlebeiansonScreen”.Shakespeare on Screen: The Roman Plays. S. Hatchuel & N. Vienne-Guerrin. Eds. Mont-Saint-Aignan Cedex: Publications des Universités de Rouen et du Havre, 2009: 143-176. Print.
Koon, H. W. How Shakespeare Won the West (Players and Performances in America’s Gold Rush, 1849-1865). Jefferson, North Carolina; London: McFarland & Company Inc. Publishers, 1989. Print.
Lanier, D. “Shakespearean Rhizomatics: Adaptation, Ethics, Value”. Shakespeare and the Ethics of Appropriation. E. Rivlin & A. Huang. Eds. New York: Palgrave Macmillan, 2014: 21-40. Print.
Mittel, J. Complex TV (The Poetics of Contemporary Television Storytelling). New York: New York University Press, 2015. Print.
Patches, M. “Remember the ‘Westworld’ Finale’s Violent End Before the Season 2 Premiere”. Thrillist. 2018. Web.
Pollack-Pelzner, D. “Westworld Is Full of Shakespeare Quotations, but It’s Using Them All Wrong”. Slate. 2016. Web.
Robinson, J. “Sons of Anarchy Series Finale Rides Off Into the Sunset on a Worn- Out Metaphor”. Vanity Fair. December 2014. Web.
Rodemerk, D. “Here Are All the Shakespeare Quotes Found in Westworld”. Winteriscoming. 14 January 2018. Web.
Rodgers, J. “Games of Thrones comes to Warwick to mark Shakespeare’s death”. Coventry Telegraph. 2016. Web.
Ronnenberg, S. C. Deadwood and Shakespeare (The Henriad in the Old West Jefferson: McFarland & Company Inc. Publishers, 2018. Print.
Saporito, J. “When exactly is winter coming in “Game of Thrones”? What does that even mean?” ScreenPrism. 2015. Web.
Shakespeare, W. Julius Caesar. D. Daniell. Ed. London; New York: Bloomsbury Publishings, Plc, [1623]1998. Print.
Smith, T. L. “‘Sons of Anarchy’: The Lasting Legacy of FX’s Groundbreaking Biker Drama”. Cleveland. December 2014. Web.
Tracey, J. “In HBO’s Westworld, Literature Is the Key to Personhood”. Ploughshares . 2019. Web.
Walsh, K. “What Shakespeare Play Is The “Violent Delights” Quote From On ‘Westworld’? It’s Popular”. Romper. 23 October 2016. Web.
Weinberg, E. “Creative casting: Shakespeare featuring Game of Thrones actors”. The Bardolator. 24 October 2014. Web.
Žižek, S. Living in the End Times. London; New York: Verso, 2010. Print.
---. The Year of Dreaming Dangerously. London; New York: Verso, 2012. Print.
---. “Game of Thrones tapped into fears of revolution and political women – and left us no better off than before”. Independent. 2019. Web.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2019 Víctor Huertas Martín
This work is licensed under a Creative Commons Attribution 4.0 International License.
