Course Information
SchoolEnglish Language and Literature
Cycle / Level1st / Undergraduate
Teaching PeriodWinter/Spring
Course ID600018967

Programme of Study: 2018-2019

Registered students: 1
OrientationAttendance TypeSemesterYearECTS
KORMOSElective CoursesWinter/Spring-6

Class Information
Academic Year2019 – 2020
Class PeriodSpring
Faculty Instructors
Weekly Hours3
Total Hours39
Class ID
Course Category
Knowledge Deepening / Consolidation
Mode of Delivery
  • Face to face
The course is also offered to exchange programme students.
Language of Instruction
  • English (Instruction, Examination)
Learning Outcomes
Upon completion of this module students will be able to: • critically compare and contrast a text by Shakespeare with its adaptations/appropriations • become aware that literary adaptations are not one-way translations from text to other media • analyse a variety of adaptations/ appropriations in the respective political, social, literary, and cultural context of their production • create their own adaptations of a Shakespeare text
General Competences
  • Apply knowledge in practice
  • Retrieve, analyse and synthesise data and information, with the use of necessary technologies
  • Adapt to new situations
  • Make decisions
  • Work autonomously
  • Work in teams
  • Work in an international context
  • Work in an interdisciplinary team
  • Generate new research ideas
  • Appreciate diversity and multiculturality
  • Respect natural environment
  • Demonstrate social, professional and ethical commitment and sensitivity to gender issues
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
This hands-on seminar class is as much about Shakespeare, as it is about other authors, creators, and works, or Shakespop, that have been reverberating his themes, characters, stories, or language in ways that shatter the fixed image of Shakespeare as a canonical English writer. We will explore different ways in which Shakespeare’s plays have been adapted and appropriated for the theatre and the screen, as well as in popular culture, in the late twentieth and early twenty first centuries, by combining close study of the plays with analysis of the process, ideology and methodology of their adaptations. The originary text will be approached not as a privileged text, but as one that undergoes a constant process of rewriting and disruption. While we will be focusing on how adaptations open up new perspectives of the written texts and engender a plurality of meanings, students will be invited to experiment with new ways of thinking and writing about Shakespeare and even creating their own adaptations of his works. Special emphasis will be given on the plays as performance texts, and the class will be largely interactive and experiential, encouraging creativity and initiative. Students interested in enrolling, should bear in mind that regular class attendance, active participation, and group work are essential and will be given extra credit in their overall evaluation.
source text, adaptation, appropriation, Shakespeare, culture, theater, film, new media, intertextuality, creativity, initiative, experiential
Educational Material Types
  • Notes
  • Slide presentations
  • Multimedia
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Laboratory Teaching
  • Use of ICT in Communication with Students
  • Use of ICT in Student Assessment
Course Organization
Reading Assigment100.4
Written assigments150.6
Artistic creation
Student Assessment
If numbers permit, in lieu of a final exam, assessment will be based on the following: • In-class participation and group work: 30% • Three weekly reflections: 20% • Group projects: 50% Please note that completion of all three is a prerequisite for students exempted from the exam.
Student Assessment methods
  • Written Exam with Extended Answer Questions (Formative, Summative)
  • Written Assignment (Formative, Summative)
  • Performance / Staging (Formative, Summative)
  • Report (Formative, Summative)
  • Artistic Performance (Formative, Summative)
Additional bibliography for study
Adelman, Janet. ‘Escaping the Matrix: The Construction of Masculinity in Macbeth and Coriolanus’. In Suffocating Mothers: Fantasies of Maternal in Shakespeare’s Plays, Hamlet to Tempest. NY: Routledge, 1992. Barton, John. Playing Shakespeare. London; New York: Methuen in association with Channel Four Television, 1984. PR3091.B37 Bate, Jonathan and Russell Jackson, eds. The Oxford Illustrated History of Shakespeare on Stage. Oxford, 1996. PR3106.S48 1996 Belsey, Catherine. ‘Shakespeare on Film: A Question of Perspective’. Literature/Film Quarterly XI:3 (1983): 152-58. Berger, Harry Jr. Imaginary Audition: Shakespeare on Stage and Page. London, 1989. Boose, Lynda E. Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video. Routledge, 1997. PR3093.S545 Bulman, James C. Shakespeare, Theory, and Performance. Routledge, 1996. PR3091.S38 Burnett, Mark Thornton. Filming Shakespeare in the Global Marketplace. Palgrave Macmillan, 2007. PR3093.B87 Burt, Richard and Lynda E Boose, eds. Shakespeare, the Movie II: Popularizing the Plays on Film, TV, and Video. Routledge, 2003. PR3039.S546 Buzzacott, Martin. The Death of the Actor: Shakespeare on Page and Stage. London, 1991. PR3091.B8 1991 (ΘΕΑΤΡΟΥ) Callaghan, Dympna. Shakespeare without Women: Representing Gender and Race on the Renaissance Stage. Routledge, 2000. PR2991.C337 Callaghan, Dympna. A Feminist Companion to Shakespeare. Blackwell Publishers, 2001. PR2991.F45 Cartmell, Deborah. Interpreting Shakespeare on Screen. St. Martin's Press, 2000. PR3093.C37. De Grazia, Margreta, Wells, Stanley W., eds. The Cambridge Companion to Shakespeare. Cambridge University Press, 2001. PR2894.C33 Dobson, Michael. The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660-1769. PR2968.D6 1992 Dobson, Michael and Stanley W. Wells, eds. The Oxford Companion to Shakespeare. Blackwell Publishing, 2003. PR2892.O94 Drain, Richard. Twentieth-Century Theatre: A Sourcebook. London, 1995. Elsom, John. Is Shakespeare Still our Contemporary? London; New York: Routledge, 1989. PR2970.I8 1989 ΘΕΑΤΡΟΥ Fischlin, Daniel and Mark Fortier, eds. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. London: Routledge, 2000. Henderson, Diana E. A Concise Companion to Shakespeare on Screen. Blackwell Publishing, 2006. PR3093.C65 Jackson, Russell. The Cambridge Companion to Shakespeare on Film. Cambridge University Press, 2000. PR3093.C36 Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare. Harvester Press; Barnes & Noble, 1983. PR658.W6J37 Jardine, Lisa. Reading Shakespeare Historically. Kidnie, M. J. Shakespeare and the Problem of Adaptation. 2009 PR2880.A1K45 Kott, Jan. Shakespeare, Our Contemporary. London: Methuen, 1964. PR2979.P58K63 Lanier, Douglass. Shakespeare and Modern Popular Culture. Oxford UP, 2006. PR2880.A1L36 Lehmann, Courtney, and Lisa S. Starks. Spectacular Shakespeare: Critical Theory and Popular Cinema. Fairleigh Dickinson University Press; Associated University Presses, 2002. PR3093.S64 Leitch, Thomas M. The Oxford Handbook of Adaptation Studies. Oxford UP, 2017. ONLINE Maguire, Laurie, ed. How to Do Things with Shakespeare. 2007. McDonald, Russ. The Bedford Companion to Shakespeare: An Introduction with Documents. Bedford Books, 1996. PR2894.M385 Morretti, Franco. “‘A Huge Eclipse’: Tragic Form as Deconsecration of Sovereignty.” In Shakespearean Tragedy. [Includes a section on Macbeth.] Ed. John Drakakis. New York: Longman, 1992. O'Connor, Marion F., Howard, Jean E. Shakespeare Reproduced: The Text in History and Ideology. Routledge, 1990. PR3017.S57 Rackin, Phyllis. Shakespeare and Women. Oxford University Press, 2005 PR2991.R33 Rothwell, Kenneth S. A History of Shakespeare on Screen: A Century of Film and Television. Cambridge University Press, 2001. PR3093.R67 Sanders, Julie. Adaptation and Appropriation. The New Critical Idiom. London: Routledge, 2006. Shaughnessy, Robert. The Cambridge Companion to Shakespeare and Popular Culture. Cambridge University Press, 2007. PR2894.C334 Sinfield, Alan. Macbeth: William Shakespeare. Macmillan, 1992. PR2823.M237 Skura, Meredith Anne. Shakespeare the Actor and the Purposes of Playing. University of Chicago Press, 1993. PR3034.S58 Smith, Emma. The Cambridge Introduction to Shakespeare. Cambridge University Press, 2007. Traub, Valerie. The Oxford Handbook of Shakespeare and Embodiment: Gender, Sexuality, and Race. Oxford UP, 2016. Taylor, Gary. Reinventing Shakespeare: A cultural History from the Restoration to the Present. London, 1990. Wells, Stanley W. Shakespeare, Sex, & Love. Oxford University Press, 2010. PR3069.S45W46 Wells, Stanley and Sarah Stanton, eds. The Cambridge Companion to Shakespeare on Stage. Cambridge, 2002. PR2894.C33 2001
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