Transmutation of Shakespeare an Heroines: Variations of Female Power Dynamics in the Select Film Adaptations of Shakespeare’s “Macbeth”

Abstract

Lady characters in “Macbeth” that is Lady Macbeth and the Witches really communicate in a ‘odd’ or some sort of bizarre language that is basically the same as what women look for now. This language can be portrayed as “anti-language”:a language by which women can direct, control, and overwhelm men. It is the linguist named MAK Halliday who coined this terminology. It is a way of communicating within a language that excludes outsiders. An anti-language basically uses the same grammar and words like the main speech community, but there is a difference, they use them in a different way so that they can only be understood by insiders. The paper contradicts the conventional view of feminist discourse analysis that females are frail, over-considerate, inconsequential, ruled and sexual objects. This paper introduces a statement that women are not weak or frail, feeble or without power, trivial, paltry, commanded, and sexual objects. The paper claims women as powerful or strong, serious, and overwhelming and dominating as men. In doing as such, it spins around the ongoing or continuous viewpoints/ perspectives on discourse, power and woman, taking select Shakespearean cinematic adaptations of “Macbeth” as a field of application by examining Lady Macbeth’s turns of talk. The paper studies and/ or concentrates on select film adaptations of Shakespeare’s drama “Macbeth”.