Show simple item record

dc.contributor.authorAkgün, Buket
dc.date.accessioned2020-04-23T18:07:38Z
dc.date.available2020-04-23T18:07:38Z
dc.date.issued2014-05-16
dc.identifier.citationAkgün, Buket. "Brave New Words: Theatre as Magic in 'The Shakespeare Code.'" The Language of Doctor Who: From Shakespeare to Alien Tongues. Ed. Jason Barr and Camille D. G. Mustachio. Lanham, Maryland: Rowman & Littlefield, 2014. 125-138.tr_TR
dc.identifier.urihttps://rowman.com/ISBN/9781442234802/The-Language-of-Doctor-Who-From-Shakespeare-to-Alien-Tongues
dc.identifier.urihttp://hdl.handle.net/20.500.12627/410
dc.description.abstractBBC's cult classic TV series Doctor Who's season 3 episode 2 titled "The Shakespeare Code" draws a canonical link from William Shakespeare's plays to fantasy fiction and science fiction to the extent of making the bard borrow words and lines from J. K. Rowling and an alien species disguised as witches. Reminiscent of the French feminist theorists' discourse on écriture feminine and its infinite, fluid and constantly a-changing nature, Lilith, Mother Doomfinger and Mother Bloodtide, who are an all-female alien species called the Carrionites, assume the form of hags and create an energy convertor by using the right words (Shakespeare’s plays) and shapes (The Globe Theatre) to alter reality and open a portal for the rest of their species. They tell Peter Streete, the architect, how to design The Globe Theatre and William Shakespeare how to end his lost play Love’s Labour's Won. They use not only their cauldron but also The Globe in the fashion of Julia Kristeva's chora to cast a spell to bring annihilation. The fluidity of women's language provides a fluidity of genrefication, in that Shakespeare makes use of Rowling's writing to fight back the Carrionites' writing. Not to mention the fluidity of time and space, which allows the Carrionites, banished into Deep Darkness by the Eternals, to escape their imprisonment and almost invade the earth.tr_TR
dc.description.tableofcontentsAcknowledgments Introduction: “It Looks Like You Need a Doctor” Part One: Classic Who Chapter 1: Doctor who? What's he talking about?: Performativity and the First Doctor, Dene October Chapter 2: A Contribution to Dialogue: Doctor Who and the (Un)Spoken Word, Andrew O’Day Chapter 3: “The Moment Has Been Prepared For”: Regeneration and Language in “Logopolis” and “Castrovalva,” Rhonda Knight Chapter 4: Sensation, Serialization, and Seven: Reading Doctor Who as a Mid-Victorian Text through “Ghost Light,” Sam Maggs Chapter 5: The Sylvester McCoy Era of Target Books and the Literary Experience, Ramie Tateishi Chapter 6: The Doctor’s Wondrous Wandering Dialectic Approach to the Universe, Sheila Sandapen Part Two: New Who Chapter 7: The Wolf, the Sparrow, and the River: Feminine Empowerment through Graffiti, Camille D. G. Mustachio Chapter 8: Translation Failure: The TARDIS, Cross-Temporal Language Contact, and Medieval Travel Narrative, Jonathan Hsy Chapter 9: Brave New Words: Theatre as Magic in "The Shakespeare Code," Buket Akgün Chapter 10: A Utopia of Words: Doctor Who, Shakespeare, and the Gendering of Utopia, Delilah Bermudez Brataas Chapter 11: Silence in the Archives: The Magic of Libraries, Valerie Estelle Frankel Chapter 12: Destructive Texts and the Uncanny in “Human Nature”/”Family of Blood,” Dana Fore Chapter 13: “All Your Little Tin Soldiers”: Doctor Who and the Language of the First World War, David Budgen Chapter 14: Fairy Tales, Nursery Rhymes and Myths in Steven Moffat’s Doctor Who, Anne Malewski Chapter 15: The Language of Myth: Violence and the Sacred in Doctor Who, Lori A. Davis Perry Chapter 16: The Doctor and Amy Pond: A Bedtime Story, Michael Billings Chapter 17: Language Games in the Whoniverse, Erica Moore Chapter 18: The Discourse of Authenticity in the Doctor Who Fan Community, Katie Booth and Paul Boothtr_TR
dc.language.isoengtr_TR
dc.publisherRowman & Littlefieldtr_TR
dc.rightsinfo:eu-repo/semantics/openAccesstr_TR
dc.rightsAttribution-NonCommercial-NoDerivs 3.0 United States*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/us/*
dc.subjectShakespeare Studiestr_TR
dc.subjectMedia Studiestr_TR
dc.subjectRewritingtr_TR
dc.subjectWitchestr_TR
dc.subjectFeminist Theorytr_TR
dc.subjectDoctor Whotr_TR
dc.titleBrave New Words: Theatre as Magic in "The Shakespeare Code"tr_TR
dc.title.alternativeThe Language of Doctor Who: From Shakespeare to Alien Tonguestr_TR
dc.typebookParttr_TR
dc.contributor.departmentİstanbul Edebiyat Fakültesi, Batı Dilleri ve Edebiyatları Bölümü, İngiliz Dili ve Edebiyatı Ana Bilim Dalıtr_TR
dc.contributor.authorID0000-0003-4317-2200tr_TR


Files in this item

Thumbnail
Thumbnail
Thumbnail

This item appears in the following Collection(s)

Show simple item record

info:eu-repo/semantics/openAccess
Except where otherwise noted, this item's license is described as info:eu-repo/semantics/openAccess