NTU Shakespeare Colloquium 台大莎士比亚专题演讲 Dr. Charles Ross Professor of English Chair of the Comparative Literature Program Purdue University 美国普渡大学英语系教授、比较文学系主任 A distinguished scholar in classic, medieval and modern languages and literatures, Dr. Ross is the author of Elizabethan Literature and the Law of Fraudulent Conveyance: Sidney, Spenser, and Shakespeare, The Custom of the Castle from Malory to Macbeth, and Vladimir Nabokov: Life, Work, and Criticism. He has also translated Statius’s first-century A.D. epic The Thebaid (Seven against Thebes) and Matteo Maria Boiardo's romantic epic Orlando Innamorato (Orlando in Love, 1483). His co-edited collections include Lectura Dantis: Inferno and Fortune and Romance. 专题演讲：《驯悍记》与女继承人保护法 The Taming of the Shrew and the Heiress Protection Statute 5月29日周二下午3:30-5:00　台湾大学校史馆（旧总图）会议室 The paper shows how the heiress protection statute (4, 5 Philip & Mary c 8) relates to laws about fraudulent conveyancing (the subject of my 2003 book) and how that affects the current theoretical debate about the role of statutes in the relationship of literature and the law. After talking about current work on Shakespeare and the Law, I will use the statute to investigate how Shakespeare’s The Taming of the Shrew handles Lucentio’s plan to elope with Bianca. The play reveals or comments on the weakness of the statute by contrasting Lucentio’s plans to elope with the more complex plot devised by Lucentio’s servant Tranio. Tranio’s plot, in turn, tells us a good deal about the agency Katharina, whose marriage to Petrucchio falls outside the heiress protection statute. A similar correction of the ineffective statute 4, 5 Philip & Mary c 8 can be found in other plays such as The Merchant of Venice, Othello, and Romeo and Juliet. 专题演讲：莎士比亚电影中的马 Horses in Shakespeare on Film 6月1日周五下午2:00-3:30　台湾大学新生大楼402室 This talk will use film clips to illustrate how horses helped Shakespeare move from stage to screen while at the same time raising the question of what non-textual item may move Shakespeare into the next generation of media development. Kenneth Branagh is an important Shakespearean actor but he was never able to make a popular Shakespeare film until he borrowed the publicity shots for the 1960 American Western The Magnificent Seven and used the motif for the opening of his film Much Ado About Nothing. Much of the success of the Franco Zeffirelli’s Hamlet starring Mel Gibson is that his Hamlet rides horses that are nowhere in the play. The ultimate examples of how horses can bring Shakespeare alive even without the text are probably the films of Akira Kurosawa. It is a lesson that I think was learned by the Taiwan director Ang Lee. He is best known in America for Crouching Tiger, Hidden Dragon, but Hollywood gave him greater approval for Brokeback Mountain, not because he made a film about homosexual cowboys, but because he set the film in the west and gave horses and a Western landscape to his sheepherders. --

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