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- PublicationA Jungian Analysis of the Male Protagonist's Personality in Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet StreetPaokantha, Itthipat; Padgate, Usa (2022)Stephen Sondheim’s musical Sweeney Todd: The Demon Barber of Fleet Street features a protagonist who can be viewed as a victim of England’s classism. In this study, Carl Jung’s theory of analytical psychology has been adopted to analyze Todd’s personality as perceived in Sondheim’s musical. The results reveal that Todd, having been unjustly separated from his wife and daughter, is driven by the Personal Unconscious, which is part of a psychological complex that blocks the logical utilization of the Ego. At the same time, he displays a calm and earnest-looking Persona while embodying the Shadow of a cold-blooded killer. His Anima is revealed as his weakness when he is distracted as well as being driven by the desire for a family reunion. However, he cannot attain the Self, which is central to a balanced personality. In brief, psychologically, Sweeney Todd is a thinking and feeling introvert, a product of both causal motivation and regressive adaptation.
- PublicationA Study of Analytical Comparison between the Concept of Pity and Fear and Hiri Ottappaณัฏฐนาถ ศรีเลิศ; เศรษฐพงษ์ ศรีเลิศ; Srilert, Nattanart; Srilert, Sretthapong (2019)ความสงสารและความกลัว หรือ Pity and Fear เป็นแนวคิดในทางจิตวิทยาทางการละครของ อริสโตเติล นักปรัชญากรีกโบราณ มีความคล้ายคลึงและความแตกต่างบางประการเมื่อนำมาวิเคราะห์เปรียบเทียบกับแนวคิดในทางพระพุทธศาสนาในหัวข้อธรรมเป็นโลกบาลคือคุ้มครองโลก ๒ อย่าง คือ หิริ ความละอายต่อบาปหรือละอายต่อการกระทำบาป และ โอตัปปะ ความเกรงกลัวต่อผลของบาป กล่าวคือ ในแนวคิดทางจิตวิทยาทางการละครที่ อริสโตเติล ได้นำเสนอและระวังตัวไม่ให้มีความผิดพลาดในการใช้ชีวิต ซึ่งในลักษณะที่คล้ายคลึงกันนี้ หลักธรรมอันเป็นโลกบาลคือคุ้มครองโลกคือหิริและโอตตัปปะนั้น หิริ คือความละอายที่พระพุทธศาสนาสอนให้บุคคลรู้จักความละอายแก่ใจในอันที่ตนจะกระทำความชั่วความหยาบ หรือความผิดบาปทั้งปวง และโอตตัปปะ คือความเกรงกลัวที่ตนจะได้รับผลร้ายที่เกิดจากการกระท าบาปของตนนั้นและเกิดความตั้งใจที่จะไม่กระทำบาปทั้งปวง
- Publication“Are You a Man?”: Transitioning in Shakespearean TragediesUtchin, Anant (2017)Building upon an interpretation that Desdemona is a trans figure, this essay argues that in the cases of Lady Macbeth and Goneril there also exist sex-gender transitions which are at the level of constitution rather than mere costumery often seen in Shakespearean comedies. Female characters such as Lady Macbeth and Goneril encroach upon the territory of what would have been strictly male in their bold assertions over and defiance towards their husbands, their wishes to become a man, and their challenging their husbands' manhood. Most importantly, as the early modern believed witches to be hermaphroditic, the fact that both of them are closely affiliated with witchcraft and can even themselves be considered witches points to the possibility of their being trans. In keeping with the period's strict association of the female sex with frailty, the essay suggests there may be attempts on the playwright's part to muffle or stifle the transitioning female characters who would have been a threat to the early modern social order.
- PublicationIdea Sharing: Using Shakespeare’s Measure for Measure as a Means of Developing Different Modes of Student AuthorshipSmyth, Stella (2014)Shakespeare’s Measure for Measure is a critique of King James I’s concept of an absolute monarchy, in his constitutional treatise, namely Basilikon Doron. In the light of modern reader response theories, and with due regard to Renaissance literacy practices, I show how Shakespeare’s authorial method of appropriating Basilikon Doron can be emulated through the design of writing activities for advanced EAP classes, or as part of university English language and literature syllabuses. Measure for Measure is inseparable from the spiritual and secular concerns which James I had explicitly addressed in his 1599 doctrine, Basilikon Doron. (Bullough, 1958; Stevenson, 1959). However, Shakespeare reformulated literary and political conventions in the king’s treatise on the nature of good government into a subversive play script that revels in bad government. I draw on Measure for Measure as a textual source for extending students’ historical knowledge and constitutional awareness. The article first considers Measure for Measure as a self-reflexive drama that explores aspects of Jacobean authorship. It then discusses the pedagogical principles underlying the student reader response tasks. Shakespeare interrogated King James’s understanding of an author by mainly crafting his play script out of Basilikon Doron. 2 I include sample activities on Measure for Measure that empower advanced level EAP or English language and literature students to discover the drama’s narrative, poetic and meta-theatrical elements through their own creative writings.
- PublicationLove and Technology of Power: Politics of Information in Caryl Churchill’s Love and InformationEamvijit, Suriyaporn (2017)In the contemporary society, digital technology has become a revolutionary force of human progress that transforms people’s way of life. The impact of digital media and globalisation has shrunk the world and connected people across the globe together. However, the compressed world where exchange of information is unbelievably fast is not as free as commonly perceived. Although digital network brings people together in virtual communities, oppressive structure of the society still remains intact. This paper examines dramatic techniques in Caryl Churchill’s latest play Love and Information (2012) through the lens of Marxist and poststructuralist theories. In this paper, I argue that Churchill appropriates Bertolt Brecht’s dramatic elements of epic theatre as a tool to criticise a social condition of the digital culture. The play’s distancing effects do not only expose the arbitrariness of social structure, but also gives voices to the marginalised and urge the audience to see their present condition more critically.
- PublicationOphelia: Neither a Green Girl Nor a Wanton WomanPattarakulvanit, Chusak; Kramer, Prapassaree; Wimuttikosol, Sutida; McLachlan, Cameron; Nakhachai, Sivaporn (2019)The article examines the roles of Ophelia in Shakespeare’s Hamlet. Despite her apparent submissiveness and obedience, Ophelia displays her resistance against the male authorities and questions the double standard of the patriarchal order. The article discusses how her behaviors and speeches, as well as her madness and suicide, do not fall easily into any convenient and recognizable category. Hence, her unidentifiability and undefinability force us to question not only her identity and behavior, but our own criteria of defining and identifying her.
- PublicationTake a Tip from Shakespeare: getting back to verbal basicsWright, Simon J. (2015)Responding to the overwhelming view that the standard of English speaking amongst the Thai population is seriously deficient when compared with most of its potential partners in the soon to be unified ASEAN (Association of South East Asian Nations), this paper suggests that an obsessive emphasis on grammar and the formal aspects of written English bear much responsibility for the current state of affairs. This paper argues that there is need for a return to the verbal aspects of English and, in particular, the rhythm of the language, which plays an essential part in its meaning and effect. Acknowledging the iambic pentameter as the core rhythm of English conversation, it further argues that a more widespread examination of Shakespeare’s use of language would be of great benefit to English language teachers and, consequently, their students. It is not being suggested that Shakespeare should be part of the language curriculum but stresses that the value of Shakespeare is in demonstrating to teachers the subliminal level at which the English language operates. The overtly literary study of this playwright has largely overlooked the fact that what he wrote was intended to be spoken and listened to and that his works are generally acknowledged to be the most effective example in existence of the potential of the English language. The paper also argues that, today, the study of Shakespeare will prove to be of relevance and benefit to Thai society, which is experiencing a period of transition and uncertainty that is similar to the end of the first Elizabethan age with the waning of an old elite in the face of radical forces for change.
- PublicationThe Descriptive Invisibility: the Invisible Boy in Brian Friel’s Dancing at LughnasaChansiri, Irisa; ไอริสา ชั้นศิริ (2016)The element of the invisible boy in Brian Friel’s Dancing at Lughnasa is notably recognized and thus, received several critical interpretations. One possible way to approach this invisibility is through the theme of illegitimacy which is one of the most prominent themes of the play. In the light of the theme, the invisible boy can be interpreted as the narrator’s expression of his lack of a sense of belonging to the family as supported by several textual evidences. From Michael’s narration of the story of his past which is infused with his traumatic awareness of the incompatibility between his illegitimacy and his Catholic family and his intention to disallow the boy from involving with the family, it becomes evident that his invisible younger self unseen by the audience might symbolize Michael’s recognition of himself as the family misfit. In Dancing at Lughnasa, the invisibility of the character on stage, thus, is not the limitation of the audience’s insight into the character, but it is the mean to give a more profound and vivid description of that absent character.
- PublicationThe Housewife and the Stage: A Study of Domestic Space and Homemakingin Susan Glaspell’s TriflesChaisilwattana, Yuwapa; Nakhachai, Sivaporn; Panha, Ming; HolaSut, Maytawee; Kramer, Jeffrey (2015)In this research article, the researchers aim to explore the politics of homemaking and female autonomy in Susan Glaspell’s one-act play Trifles through textual analysis. Radical feminists such as Simone de Beauvoir and Kate Millett perceive domestic space and homemaking as patriarchal apparatuses in repressing female autonomy. It is undeniable that domestic space and the housewife’s duty of homemaking limit the potential of womanhood. However, to cast domestic space and homemaking as purely mechanics of oppression is also to enforce another kind of limitation on female autonomy. What we propose in this research is a rereading of the women and the domestic sphere in Trifles through Iris Marion Young’s theoretical framework of homemaking as a process toward female autonomy. To redefine the relationship between women and domestic sphere is to open another area of possibility in which patriarchy could be subverted through its own apparatus.
- PublicationThe Significance of ‘Surfaces’ and ‘Depths’ in Oscar Wilde’s Plays of the 1890sPromsuttirak, Pisuda; พิสุดา พรหมสุทธิรักษ์ (2014)Oscar Wilde’s plays have been well-known for students of English literature for quite a long time through the reading of original texts and experiencing their visual adaptations. The study is an examination of Wilde’s Lady Windermere’s Fan, An Ideal Husband, and The Importance of Being Earnest, all written during 1890s. The method adapted to analyse the plays is close-reading, focusing on both the contents and the implications – thus uncovering the significance of ‘surfaces’ and ‘depths’ of the (con)text which is critically challenged by the author. The study is not, however, an attempt to specifically define the social situation in the late nineteenth century England. On the contrary, it presents the ways in which human relationship could conceal and yet expose vital complexity and frivolity; these ways include the depiction of social concealment, the ridicule of the ideal, and the question against wealth.
- PublicationTwo Characters in Search of a TragedyWhisenand, Rick (2018)Although Romeo and Julietis considered one of Shakespeare’s tragedies, because the young lovers die at the end, the fact that they do not tell their parentsthat they are marriedweakens the sense of honest conflict necessary in a plot, so it cannot be a genuine tragedy, and their love has to carry the whole story (which it does beautifully). If we think that Romeo and Juliet commit suicide only because of love, that also is not tragic, yet we can find parts of their story that give theircharacters tragic weight, even thoughthey do not seem to know it themselvesor make it explicit in any of their speeches. This articledoes not, point for point, compare Romeo and Julietwith Aristotle’s description of tragedy in the Poetics;itexamines“plot holes” where the conspirators could have toldthe world what they had done, but did not speak, and itdiscusses character (the “moral element”) andpresents a few scenarios that could have made the play more of a tragedy.
- PublicationUnmaking Masculine Determinacy: A Postmodern Challenge in Suzan-Lori Parks’ VenusPadgate, Usa (2021)Venus, a play written by Suzan-Lori Parks, employs unconventional theatrical approaches in retelling the history of a 19th-century freak show attraction. This study examines how the critique of gender bias and sexual manipulations in Venus is explored and projected in ways that can be described as postmodern. Through the subversion of conventional forms and language, the blending of fact and fiction, the pastiches of both low and high generic and linguistic presentations, the liberating of a marginalized voice, and the revision of the philosophical premises that subordinate the female to the male order, the play questions the masculine determinacy inherent in social institutions and traditions and invites a conscious reconsideration of default meaning and truth.
- Publicationภาษาผู้หญิงและสิ่งประหลาด: พินิจความเหลื่อมล้ำทางเพศในบทละครเรื่อง วีนัส ของ ซูซาน ลอรี พาร์คส์อุษา พัดเกตุ; Padgate, Usa (2019)บทความวิจัยนี้นำเสนอผลวิเคราะห์การใช้ภาษาผู้หญิงของตัวละครเอกหญิงจากบทละครเรื่อง วีนัส ที่ประพันธ์โดย ซูซาน ลอรี พาร์คส์ ตามกรอบข้อสังเกตลักษณะภาษาผู้หญิง 9 ประการ ของ โรบิน ทอลมาร์ค เลคอฟ ผลการศึกษาพบว่า ภาษาผู้หญิงในบทละครเรื่อง วีนัส สะท้อนลักษณะการใช้ภาษาผู้หญิงในสังคม 7 ลักษณะ ได้แก่ การใช้คำศัพท์เฉพาะเจาะจงระบุชี้ชัด การใช้ทำนองเสียงสูง การใช้คำและโครงสร้างภาษาเพื่อออกตัวด้วยจุดประสงค์ต่างๆ การใช้ภาษาถูกต้องตามแบบฉบับไวยากรณ์ การใช้ภาษาสุภาพอย่างยิ่ง การเล่ามุขแป้ก และการใช้ภาษาสื่ออารมณ์แบบที่ผู้ชายมองว่าเป็นการแสดงออกเกินจริง ซึ่งเป็นลักษณะการใช้ภาษาและการผลิตซ้าภาษาที่สะท้อนและตอกย้ำความไม่เสมอภาคทางอำนาจของบุคคลต่างเพศ และ/หรือ ต่างสถานะในสังคม รวมถึงกลุ่มบุคคลที่ถูกมองว่าเป็น “คนประหลาด” นอกกระแสหลัก