Thesis (M.A.) from the year 2006 in the subject English Language and Literature Studies - Other, grade: 1,0, Technical University of Braunschweig (Englisches Seminar), language: English, abstract: This thesis adds an extended approach to the aspect of 'Other' Shakespeares with the Maori film adaptation of Te Tangata Whai Rawa o Weniti - The Maori Merchant of Venice as a new form of a local as well as global Shakespearean appropriation. It examines how Maori culture and identity is shown in the film, by using Shakespeare as an international trademark for their own means of fostering Maori identity and to make this language and culture internationally known to a worldwide Shakespeare audience. At the same time, the thesis scrutinises how other global cultural elements are interwoven into the screen adaptation, which effects a hybridisation of Shakespeare and transcends the film into a transcultural space. Through this transculturality it is argued that the screen version overcomes the binary notion of Self/Other as 'Western' and 'Indigenous' culture are interwoven into one equal network. The thesis draws on a variety of theories and methodologies. It is embedded in the concepts of postcolonial theory developed by Edward Said and Homi Bhabha and the central theme of hybrid productions in postcolonialism, but it also consults new historicism, cultural studies and film theory. These theories and concepts are not only viewed from a Western perspective but are combined with Pacific and Maori cultural and film theory. The blend is vital to this research, as this Shakespeare adaptation has its origins in the Pacific and is made by Maori people utilising Maori cultural elements. Therefore, it is essential to connect Western with Indigenous perspectives to acquire a balanced outcome...

Thesis (M.A.) from the year 2006 in the subject English Language and Literature Studies - Other, grade: 1,0, Technical University of Braunschweig (Englisches Seminar), language: English, abstract: This thesis adds an extended approach to the aspect of 'Other' Shakespeares with the Maori film adaptation of Te Tangata Whai Rawa o Weniti - The Maori Merchant of Venice as a new form of a local as well as global Shakespearean appropriation. It examines how Maori culture and identity is shown in the film, by using Shakespeare as an international trademark for their own means of fostering Maori identity and to make this language and culture internationally known to a worldwide Shakespeare audience. At the same time, the thesis scrutinises how other global cultural elements are interwoven into the screen adaptation, which effects a hybridisation of Shakespeare and transcends the film into a transcultural space. Through this transculturality it is argued that the screen version overcomes the binary notion of Self/Other as 'Western' and 'Indigenous' culture are interwoven into one equal network. The thesis draws on a variety of theories and methodologies. It is embedded in the concepts of postcolonial theory developed by Edward Said and Homi Bhabha and the central theme of hybrid productions in postcolonialism, but it also consults new historicism, cultural studies and film theory. These theories and concepts are not only viewed from a Western perspective but are combined with Pacific and Maori cultural and film theory. The blend is vital to this research, as this Shakespeare adaptation has its origins in the Pacific and is made by Maori people utilising Maori cultural elements. Therefore, it is essential to connect Western with Indigenous perspectives to acquire a balanced outcome...

Thesis (M.A.) from the year 2006 in the subject English Language and Literature Studies - Other, grade: 1,0, Technical University of Braunschweig (Englisches Seminar), language: English, abstract: This thesis adds an extended approach to the aspect of 'Other' Shakespeares with the Maori film adaptation of Te Tangata Whai Rawa o Weniti - The Maori Merchant of Venice as a new form of a local as well as global Shakespearean appropriation. It examines how Maori culture and identity is shown in the film, by using Shakespeare as an international trademark for their own means of fostering Maori identity and to make this language and culture internationally known to a worldwide Shakespeare audience. At the same time, the thesis scrutinises how other global cultural elements are interwoven into the screen adaptation, which effects a hybridisation of Shakespeare and transcends the film into a transcultural space. Through this transculturality it is argued that the screen version overcomes the binary notion of Self/Other as 'Western' and 'Indigenous' culture are interwoven into one equal network. The thesis draws on a variety of theories and methodologies. It is embedded in the concepts of postcolonial theory developed by Edward Said and Homi Bhabha and the central theme of hybrid productions in postcolonialism, but it also consults new historicism, cultural studies and film theory. These theories and concepts are not only viewed from a Western perspective but are combined with Pacific and Maori cultural and film theory. The blend is vital to this research, as this Shakespeare adaptation has its origins in the Pacific and is made by Maori people utilising Maori cultural elements. Therefore, it is essential to connect Western with Indigenous perspectives to acquire a balanced outcome...