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活，来世和遗产的跨学科调查，旨在评估从理查德和约翰国王到开膛手杰克和泰德邦迪等有争议的人物的影响和展示方法，他们的生活和罪行可以在博物馆空间中找到。利用文学，戏剧和历史分析和批评，以及博物馆研究，适应研究和犯罪者研究的新兴领域，我的项目将通过比较研究理查德的声誉的演变，他的不同媒体的广告。最终，这个项目将提供一个关于理查三世的研究，确定理查三世国王游客中心（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，理查遗体的发现成为全球新闻轰动，引发了公众的兴趣，并重新参与了这位有争议的统治者的死后生活。现在，理查德的遗产可以在KRIIVC的展览中找到，该展览旨在将游客与这位失踪已久的国王联系起来，并在大众媒体上找到。历史小说作家和学术传记作家都对理查德的遗产进行了描述，例如菲利帕·格雷戈里（Gregory，2012），Rhoda Edwards（爱德华兹，2019年）和迈克尔希克斯（希克斯，2021年）-作为一个复杂的人值得同情，理查德同样发现自己的演员，如凯瑟琳亨特描绘（理查德三世，2003年）本尼迪克特·康伯巴奇（空心王冠，2016年）和安奈林·巴纳德（白皇后，2013年）在同情细致入微的解释。然而，这样的解释与早期都铎王朝的专制演讲形成鲜明对比，这些演讲受到托马斯莫尔（莫尔，1983）和威廉莎士比亚（莎士比亚，2009）的宣传的启发，一个阴影的背景困扰着每一个新的解释。这种死后修改的趋势吸引了我的研究，因为它不仅对KRIIVC和博物馆部门的分裂个人展览有影响，而且对媒体呈现的世界也有影响，我们对公众和私人人物的看法。鉴于社会对历史的持续重新评估，以及它所引发的取消文化等两极分化运动，中世纪国王的遗产面临着进一步的重新解释，为KRIIVC提供了一个令人兴奋的机会，通过这个项目重新评估他的作品，考虑到他不断发展的性格及其对观众的影响，塑造与理查德的未来接触。

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.