Richard III's Afterlives: Adaptation and Heritage.

这个合作博士奖项目将是对理查德三世的生平、来世和遗产的跨学科调查，目的是评估展示从理查德和约翰国王到开膛手杰克和泰德·邦迪等有争议人物的影响和方法，他们的生活和罪行可以在博物馆空间中找到。利用文学、戏剧和历史的分析和批评，以及博物馆研究、改编研究和新兴的犯罪者研究领域，我的项目将通过对理查德不同媒体描述的比较研究来检验理查德声誉的演变。最终，该项目将提供一份关于理查德的研究，确定理查德三世游客中心(KRIIIVC)的责任和可能性，并确定在博物馆环境中展示这位有争议的国王的最合适和最吸引人的方法。2012年，理查德遗体的发现引起了全球新闻轰动，引发了公众的兴趣，并重新开始关注这位有争议的统治者的来世。现在，理查德的遗产可以在KRIIIVC上和流行媒体上得到展示，KRIIIVC试图将游客与这位失散已久的国王联系起来。历史小说作家和学术传记作家都将理查德描述为一个复杂的人，值得同情，比如菲利帕·格雷戈里(Gregory，2012)、罗达·爱德华兹(Rhoda Edwards，2019)和迈克尔·希克斯(Michael Hicks，2021)。同样，理查德也发现自己被凯瑟琳·亨特(Kathryn Hunter，理查德三世，2003)、本尼迪克特·康伯巴奇(Benedict CumberBatch，2016)和艾琳·巴纳德(Aynin Barnard，2013)(The WhiteQueen，2013)等演员刻画成了值得同情的人物。然而，这样的解释与托马斯莫尔(MORE，1983)和威廉·莎士比亚(莎士比亚，2009)在都铎王朝启发下的宣传中发现的早期专制陈述形成了鲜明对比，一个阴暗的背景困扰着每一种新的解释。这种死后修订的趋势吸引了我进行这项研究，因为它不仅对KRIIIVC和博物馆部门的分裂个人展览有影响，而且对一个媒体展示我们对公众和私人人物的看法的世界也是如此。鉴于正在进行的社会对历史的重新评估，以及它所引发的两极分化运动，如取消文化，中世纪国王的优雅面临着进一步的重新解释，这为KRIIIVC提供了一个令人兴奋的机会，通过这个项目对理查德的描绘进行重新评估，来塑造与理查德接触的未来，考虑到他不断演变的性格及其对观众的影响。

This Collaborative Doctoral Award project will be an interdisciplinary investigation of the life, afterlives,and legacies of King Richard III with the intention of evaluating the implications and methods ofexhibiting controversial figures ranging from Richard and King John to Jack the Ripper and Ted Bundy,whose lives and crimes can be found in museum spaces. Utilising literary, theatrical, and historicalanalysis and criticism alongside museum studies, adaptation studies, and the emerging field ofperpetrator studies, my project will examine the evolution of Richard's reputation through comparativestudy of his diverse media depictions. Ultimately, this project will provide a study of Richard which willidentify the responsibilities and possibilities of the King Richard III Visitor Centre (KRIIIVC) and determinethe most appropriate and engaging methods for the presentations of this contentious king in museumcontexts.In 2012 the discovery of Richard's remains became a global news sensation, sparking public interest andrenewed engagement with the afterlives of this controversial ruler. Now, Richard's legacy can be foundon display at the KRIIIVC, which seeks to connect visitors to this long-lost king, and in popular media.Described by historical fiction authors and academic biographers alike - for example, Philippa Gregory(Gregory, 2012), Rhoda Edwards (Edwards, 2019) and Michael Hicks (Hicks, 2021) - as a complex mandeserving of sympathy, Richard likewise finds himself portrayed by actors such as Kathryn Hunter(Richard III, 2003) Benedict Cumberbatch (The Hollow Crown, 2016) and Aneurin Barnard (The WhiteQueen, 2013) in sympathetically nuanced depictions. However, such interpretations stand in starkcontrast to earlier tyrannical presentations found in the Tudor inspired propaganda of Thomas More(More, 1983) and William Shakespeare (Shakespeare, 2009), a shadowy background which haunts eachnew interpretation. This trend of posthumous revision draws me to this research as it has implicationsnot only for the KRIIIVC and the museum sector's exhibition of divisive individuals, but also for a worldwhere media presentation informs our opinions of public and private figures. In light of ongoing societalreassessments of history, and the polarising movements like Cancel Culture it has given rise to, thelegacies of medieval kings face further reinterpretation, providing an exciting opportunity for the KRIIIVCto shape the future of engagement with Richard through this project's re-evaluation of his depictions,considering his evolving character and its effects on audiences.