To see the other types of publications on this topic, follow the link: Influence of William Shakespeare.
Dissertations / Theses on the topic 'Influence of William Shakespeare'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Influence of William Shakespeare.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Williams, Edwin. "Shaw's "Shakespear": The Influence of William Shakespeare on Bernard Shaw's Dramaturgy." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1163008091.
Full text
2
Williams, Edwin S. "Shaw's "Shakespear" the influence of William Shakespeare on the dramaturgy of Bernard Shaw /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008091.
Full text
3
Gager, Valerie L. "Shakespeare and Dickens : the dynamics of influence /." Cambridge [GB] : Cambridge university press, 1996. http://catalogue.bnf.fr/ark:/12148/cb358673157.
Full textAbstract:
Texte remanié de: Th. Ph. D.--Birmingham (GB)--Shakespeare institute, University of Birmingham, 1991. Titre de soutenance : "So potent art" : Shakespearean influences upon the works of Charles Dickens.Contient une liste d'allusions à Shakespeare extraites de l'oeuvre de Dickens. Bibliogr. p.378-409. Index.
4
Morton, Charles Douglas Andrew. "The influence of William Shakespeare on the works of Harold Pinter." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7848/.
Full textAbstract:
This thesis examines the influence that William Shakespeare had on the works of Harold Pinter. This breaks down into three chapters: page, stage and screen. The page section examines Pinter’s early writings about Shakespeare (1950-1956) and the ways in which this influence can be seen in Pinter’s later development as a playwright. The stage chapter considers Pinter’s time at the Royal Shakespeare Company (1962-73) and the role that this played in establishing his reputation as a playwright with particular reference to his collaborations with Peter Hall. The screen section analyses the unproduced screenplay for a film of ‘The Tragedy of King Lear’ that was completed in 2000 and places it in the critical context of ‘King Lear’ on film. Through this, I aim to prove the significant and lasting influence that Shakespeare had on the works of Harold Pinter.
5
McGrade, Bernard J. "Grabbe und Shakespeare." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.
Full text
6
Broqua, Vincent. "Ted Hughes lecteur de Shakespeare." Paris 3, 2003. http://www.theses.fr/2003PA030135.
Full textAbstract:
À partir de documents des archives Hughes à Emory University, cette thèse explore la lecture du poète national britannique par Hughes. Dans son édition de 1949 des œuvres de Shakespeare et dans ses anthologies shakespeariennes, le poète fragmente le texte du Barde. Il tend au contraire à le lire de façon systématique dans ses écrits critiques. La fragmentation et le système forment le paradigme de la lecture de Hughes. Sa lecture systématique alimente ses écrits biographiques où Shakespeare l'aide à relire son mythe personnel et à revenir sur sa carrière de poète. Cependant, les échos shakespeariens constituent une autre manière d'inscrire la présence parfois occulte de Shakespeare dans son texte. De plus, Hughes réinterprète le langage de Shakespeare dans ses blasons, sa poésie de la dissection et dans sa langue contaminatrice et allitérative. Sa confrontation aux textes shakespeariens s'est toute sa vie résumée à une exploration des relations entre les textes poétique et dramatiqueDrawing on new evidence from the Ted Hughes archives at Emory University, this dissertation investigates Hughes's reading of the British national poet. In his 1949 edition of Shakespeare's Works and his anthologies of Shakespeare's verse Hughes fragments Shakespeare's text whereas he tends to read it in a systematic way in his criticism. This works as a paradigm in his readings of Shakespeare. His systematic reading permeates his biographical writings where Shakespeare helps him to reread his personal myth and to reassess his poetic career. However, the shakespearian echoes in Hughes's poetry are also a way to reinstate Shakespeare's sometimes occult presence in his text. Moreover, Ted Hughes reinterprets Shakespeare's language in his blazons, his poetry of dissection and, last, in his consonantal language of contamination. His lifelong engagement with Shakespeare's texts tends to a reflection on the interrelations between poetry and drama
7
Trocha-Van, Nort Andréa. "De la spontanéité à la règle : le passage à l'esthétique néo-classique dans les adaptations des comédies et des tragi-comédies de Shakespeare à la Restauration anglaise." Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20027.
Full textAbstract:
A l'époque de la restauration anglaise, les pièces de Shakespeare étaient reprises et adaptées pour le spectateur de ce nouvel âge. Les raisons pour lesquelles on prenait plume pour réécrire l'auteur étaient nombreuses, mais les plus importantes concernaient le manque d'auteurs dramatiques compétents au début de la période et aussi la réputation de Shakespeare qui allait croissant. Les adaptations néo-classiques de ses comédies et tragi-comédies reflétaient peu l'esthétique théâtrale de la renaissance anglaise. Ces productions plus coûteuses à monter mettaient en scène des danses, chants et des masques avec des décors somptueux alors que du vivant de l'auteur les pièces originales étaient représentées sur des scènes rectangulaires quasiment vides qui avançaient vers le milieu de l'audience, ou dans des halles austères des bâtiments d'Etat. La composition du public avait grandement changé après la disparition de Shakespeare, et à partir de 1660, les courtisans de Charles II influaient sur le contenu des pièces. C'est pour cette raison que les adaptateurs de l'auteur visaient à leur plaire. Les adaptateurs étaient : J. Dryden, Sir W. Davenant, J. Lacy, T. Shadwell, T. Durfey, E. Settle, H. Purcell, C. Gildon, G. Granville, J. Dennis, W. Burnaby
8
Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare." Caen, 2010. http://www.theses.fr/2010CAEN1587.
Full textAbstract:
La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecqueThe main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
9
Camard, Christophe. "Les représentations de l'Italie et des Italiens dans le théâtre de William Shakespeare et Ben Jonson." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2004.
Full textAbstract:
Cette thèse propose d’étudier la place et la portée de l’Italie comme lieu scénique dans les pièces de deux célèbres dramaturges de la période élisabéthaine. L’introduction met en lumière la présence et l’influence de l’Italie durant la période qui précède l’essor du théâtre à Londres, ainsi que l’omniprésence de la péninsule au théâtre entre 1580 et 1620, en particulier chez William Shakespeare. La première partie de l’étude s’attache à mettre en évidence la façon dont le décor italien se met en place et dont se construit la figure de l’Autre sur la scène élisabéthaine. Sur une scène où le décor physique est limité, les procédés de création d’une couleur locale prennent des formes diverses et variées et révèlent la nature de la dualité entre identité et altérité pour le spectateur de la Renaissance anglaise. C’est alors que l’on entrevoit les différences entre la représentation satirique de Ben Jonson et celle de William Shakespeare, dont la vision de l’Italie apparaît bien plus vague, complexe et changeante. La seconde partie de ce travail repose sur l’étude des différents topoï auxquels est liée l’Italie au théâtre. Ces derniers permettent de comprendre que la représentation de la péninsule s’appuie sur un certain nombre de codes en partie attendus du public. Ils démontrent en outre combien l’identité anglaise se construit à la fois à travers le rejet et l’imitation de la patrie de la Renaissance, en un temps où l’Europe est coupée en deux sur le plan politique et religieuxThis dissertation proposes the study of the place and significance of Italy as a dramatic setting in the plays of two famous dramatists of the Elizabethan period. The introduction describes the presence and influence of Italy during the period preceding the rise and blossoming of the theatre in London, as well as the omnipresence of the Italian peninsula in drama between1580 and 1620, particularly in that of William Shakespeare. The first part of the study aims to show how the Italian setting is constructed and how the figure of the Other is represented on the Elizabethan stage. In a theatre where the physical décor is limited, the methods for creating local colour take diverse and varied forms and reveal the nature of the duality between identity and otherness for the English Renaissance spectator. This then brings into focus the differences between the satirical representation of Ben Jonson and that of William Shakespeare, whose vision of Italy appears far more vague, complex and mutable. The second part of this work focuses on the study of the different topoi to which Italy is linked in their plays. They reveal the extent to which representation of the Italian peninsula is based on a collection of codes shaped in part by the expectations by the public. Moreover, they demonstrate the importance of the simultaneous rejection and imitation of the homeland of the Renaissance in the construction of English identity,at a time when Europe is divided in two on political and religious grounds
10
Lemercier-Goddard, Sophie. "Les plaisirs de la peur : esthétique gothique et fantastique dans le théâtre de Shakespeare." Paris 3, 2003. http://www.theses.fr/2003PA030008.
Full textAbstract:
Les liens qui se tissent entre Shakespeare et le roman gothique sont à double sens. En invitant Shakespeare dans le paratexte et l'intertexte de leurs récits, les romanciers gothiques revendiquent une caution littéraire et culturelle. La présence tutélaire du dramaturge participe d'un processus de légitimation tandis que le surnaturel shakespearien leur sert de modèle, les uns, comme Radcliffe, s'orientant vers une écriture de la terreur, les autres, comme Lewis, optant pour l'horreur. En échange, les auteurs gothiques mettent en lumière un Shakespeare inhabituel. La récurrence de motifs tels que la belle endormie, l'espace infini, le labyrinthe, le voile, la spectralisation de la femme, montre que l'angoisse dans le théâtre de Shakespeare s'inscrit dans une esthétique que l'on peut à juste titre qualifier de fantastique. Les jeux intertextuels des romans gothiques mettent en scène une écriture palimpsestueuse, où l'espace étranger du texte de Shakespeare devient l'espace de l'étrangeThe links between Shakespeare and the Gothic Novel are twofold. The Shakespearean intertext in the novels of Walpole, Radcliffe and Lewis is used as cultural and literary capital : the protective presence of Shakespeare is part of a process of recognition which helped to legitimate Gothic writing as genre. At the same time, Gothic supernatural is modelled on Shakespeare's ghosts. Hamlet defines Radcliffe's use of terror while Macbeth exemplifies male Gothic based on horror. In turn, the gothic novelists' reading of Shakespeare reveals an aesthetic of the fantastic in his plays. Gothic motifs such as the infinite space, the labyrinth, the veil are all to be found in his plays while the key image of the sleeping maiden embraced by Death finds its source in Juliet, Desdemona and Imogen. Intertextuality in the Gothic novel lifts the veil and shows the uncanny in Shakespeare's theatre
11
Breffi, Ferdinand. "Stendhal, Shakespeare et La Chartreuse de Parme." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL035.
Full textAbstract:
La Chartreuse de Parme est marquée par des matériaux « shakespeariens » recueillis par Stendhal, tout au long de sa pratique des pièces du dramaturge et de leurs multiples remodelages dans les arts. De quel(s) Shakespeare s’agit-il, entre 1800 et 1840 ? Faut-il s’atteler à celui traduit par Pierre Letourneur, à celui transmis par des réécritures parfois infidèles, ou au Shakespeare dans le texte, lu plus tardivement mais avec précision par Stendhal ? Ou à un Shakespeare mythique, construit tout au long de la vie intellectuelle de Stendhal ? Comment ces « Shakespeare » fonctionnent-ils dans le paysage intime du romancier ? Faut-il s’en tenir à l’auteur de 1838 ? Comment articuler ce Stendhal du crépuscule, avec celui de l’aube, un jeune Henri Beyle qui cherche à copier Shakespeare, dans son rêve de création théâtrale ? Comment, dans le texte du roman, s’interroger sur la présence préalable de l’auteur de pamphlets, qui, entre 1818 et 1825, affirme à travers le nom de Shakespeare le modèle d’une liberté esthétique qui manque à Paris, où étouffent les idées nouvelles ? Quelles conséquences l’imaginaire shakespearien de Stendhal a-t-il eu sur le texte de La Chartreuse de Parme ? Si le Stendhal de l’accomplissement chartreux recouvre les phases multiples de la construction de son imaginaire le plus intime, et si son innutrition shakespearienne est constituée par la démultiplication des matériaux shakespeariens qu’il rencontre et dont il se saisit constamment et pleinement, la question se pose, massive : comment lire, dans l’écriture de La Chartreuse de Parme les traces, les échos et les interactions des pièces de Shakespeare ?La Chartreuse de Parme is marked by Shakespearean elements collected by Stendhal in his study of the playwright and his many imitations in the arts. But which Shakespeare(s) is it, between 1800 and 1840? Should we focus on the one translated by Pierre Letourneur, sometimes approximately, or should we focus on Shakespeare read in the original by Stendhal? Or even, on a mythical Shakespeare, constructed by Stendhal throughout his life? What part do these "Shakespeares" play in the intimate thoughts of the writer? Should we limit ourselves to the writer of 1838? How to reconcile the Stendhal of the twilight, with the one of the dawn, when a young Henri Beyle tried to imitate Shakespeare, in his dream of playwriting? How are we to take into account the presence, in the novel, of the pamphlet writer, who, from 1818 to 1825, uses Shakespeare’s name in order to propose an aesthetic freedom of which Paris is notably lacking? How much influence did the world of Shakespeare, as it was perceived by Stendhal, have on the text of La Chartreuse de Parme? In La Chartreuse de Parme, Stendhal uncovers the full extent of his imaginary world. His Shakespeare is made of the many Shakespearean materials he has come across, and he uses them without restraint. Then, the question is raised: how should one read, in La Chartreuse de Parme, the traces, echoes and interplays of Shakespeare's plays?
12
Khamphommala, Vanasay. "Spectres de Shakespeare dans l’œuvre de Howard Barker." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040190.
Full textAbstract:
Howard Barker fait ses armes de dramaturge en composant en 1971 une pochade sur Henry V de Shakespeare et signe trente ans plus tard l’un de ses textes les plus aboutis avec Gertrude – The Cry, variation sur le thème d’Hamlet. À la faveur de ces réécritures et de quelques autres (notamment Seven Lears en 1989), décrire le dramaturge contemporain comme le « Shakespeare de notre époque », expression attribuée à Sarah Kane, s’est rapidement imposé comme un lieu commun, relayé tant par la presse que par la critique. Pourtant, en dépit de certaines caractéristiques communes, leurs œuvres apparaissent d’abord comme radicalement différentes, ne serait-ce qu’en raison du statut marginal que Barker occupe au sein du paysage théâtral anglais. Dès lors, si Shakespeare se manifeste dans son œuvre, ce sera sous une forme altérée, méconnaissable, transformée, autrement dit sous forme de spectres. Pourquoi l’œuvre de Barker a-t-elle suscité de façon si insistante la comparaison à celle de Shakespeare ? Et que révèle cette comparaison, non seulement de la pratique critique, mais surtout des enjeux poétiques du théâtre de Barker ? Cette étude s’efforce de répondre à ces questions en examinant d’abord les modalités d’élaboration de l’œuvre de Barker, et la manière dont celle-ci place le spectre, figure majeure du doute, au cœur de son esthétique. Elle se penche ensuite sur les critères qui ont pu justifier le rapprochement entre les deux dramaturges, notamment l’histoire et l’écriture, pour montrer que Shakespeare est toujours convoqué sur le mode paradoxal du leurre, modèle avancé pour être mieux rejeté. De la sorte, elle essaie de dégager non pas les traits que partagent les deux dramaturges, mais la manière dont Barker tente d’exorciser la présence étouffante du dramaturge élisabéthain en élaborant une poétique singulièreFrom his earliest efforts to his latest and most accomplished plays, Howard Barker has often confronted Shakespeare, be it with his irreverent parody of Henry V in Henry V in Two Parts (1971) or with his variations on Hamlet in Gertrude – The Cry (2002). These rewritings, along with some others (notably Seven Lears in 1989) have prompted many, both in the media and in academia, to call him, as Sarah Kane allegedly did, “the Shakespeare of our age”. In spite of a number of common features, their works do however appear as radically different, if only because of Barker’s marginal status within the landscape of contemporary English drama. If Shakespeare manifests himself in Barker’s work, it will therefore be in an altered and possibly unrecognizable form, in other words as a spectre. Why is it that Barker’s work has been so insistently compared to that of Shakespeare? What does this comparison reveal both about critical practice and about the aesthetics of Barker’s theatre? In order to answer these questions, this dissertation first examines the overall design of Barker’s work and the way in which it endeavours to place the figure of the ghost, as an embodiment of doubt, at its core. It then moves on to consider the criteria that have been invoked to draw a parallel between both playwrights, especially their focus on history and poetic writing as the basis of drama, to show how Shakespeare is always paradoxically summoned as a lure, an empty model that both suggests and contradicts modes of interpretation. In doing so, it strives to bring out not the traits shared by both playwrights but Barker’s effort to thwart the haunting and overwhelming presence of Shakespeare by giving birth to his own original voice
13
Roger, Christine. "La réception de Shakespeare en Allemagne de 1815 à 1850 : propagation et assimilation de la référence étrangère." Metz, 2003. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2003/Roger.Christine.LMZ0319_1.pdf.
Full textAbstract:
La réception de Shakespeare en Allemagne entre 1815 et 1850 n'a, jusqu'à présent, fait que très partiellement l'objet d'une considération spécifique. La majorité des travaux sur le poéte-dramaturge britannique qui aborde son accueil au XIXe siècle se concentrent en effet sur sa réception esthétique et littéraire antérieure à 1830. La présente étude se propose de mettre en lumière la coexistence de plusieurs Shakespeare durant la période dite du Vormärz, c'est à dire avant que le discours institutionnalisé sur l'auteur étranger, allant de pair avec la fondation de la Deutsche Shakespeare-Gesellschaft (1864), ne fixe durablement les modalités de sa représentation. Entre 1815 et 1850, les débats sur l'auteur dramatique étranger continuent à porter sur les conditions nécessaires pour la constitution d'un théâtre national allemand et l'apparition sur scène d'un "deuxième" Shakespeare. Toutefois, en raison du "morcellement" politique, social et culturel qui caractérise la période du Vormärz, ces thèmes invariants, hérités des discussions esthétiques du XVIIIe siècle sur l'auteur dramatique, sont enrichis d'une nouvelle dimension, désormais plus politique : Shakespeare devient progressivement une autorité morale et éthique que des médiateurs instrumentalisent dans le cadre de l'élaboration d'une identité nationale allemande. L'essor des éditions des œuvres complètes de notre auteur, sa présence dans les périodiques à vocation culturelle, les almanachs, les "galeries", les anthologies, ainsi que la publication des premières monographies, témoignent de l'ampleur étonnante de ce transfert culturel, tout en offrant une vue instructive du champ littéraire de l'époque. La nouvelle familiarité ainsi acquise d'un large public allemand avec Shakespeare à travers l'écrit et l'image, prépare la voie à son assimilation et son élévation au rang de " troisième auteur classique allemand au cours de la deuxième moitié du XIXe siècle et de la première moitié du XXe siècleThe reception of Shakespeare in Germany between 1815 and 1850 has, until recently, attracted little sustained critical attention. Modern research on the poet-playwright's 19th century reception has thus far focused principally on its aesthetic and literary aspects before 1830. The present study aims to shed new ligth on the coexistence of several Shakespeares during the Vormärz period, i. E. Before the institutionalized German discourse on the Shakespeare - supported mainly by the newly founded Deutsche Shakespeare-Gesellschaft (1864) - determined the ways he entered German national consciousness. Between 1815 and 1850 debates on the dramatist continued to have a bearing on the fashioning of German national theatre and appearance of a "second" Shakespeare on the scene. But because of the political, and cultural divisions which characterize te Vormärz period, the traditional aesthetical discussions inherited from the 18th century were enriched with a new, more political dimension : the Vormärz saw Shakespeare's promotion from a literary authority to a more moral and ethical one that his supporters could use in the working out of a German national identity. The rising numbers of editions of his complete works, his presence in literary journals, almanacs, "galleries", anthologies of the time alongside the publication of the first critical monographs devoted entirely to his life and works attest the astonishing breadth of this cultural transfer. Moreover
14
Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.
Full textAbstract:
The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.”
In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance.
In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”
15
Closel, Régis Augustus Bars 1985. "Diálogos Miméticos entre Sêneca e Shakespeare = As Troianas e Ricardo III." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270174.
Full textAbstract:
Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011
Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras
Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
16
Ludot-Vlasak, Ronan. "Une identité nationale à l'épreuve de son héritage : la réinvention de Shakespeare sur la scène littéraire américaine (1798-1857)." Paris 7, 2006. http://www.theses.fr/2006PA070052.
Full textAbstract:
La littérature américaine qui émerge dans la première moitié du XIXe siècle cherche à s'affranchir des modèles esthétiques européens. Elle ne cesse pourtant de faire référence à Shakespeare - incarnation même du génie britannique depuis le XVIIIe siècle. Ce travail, qui s'inscrit à la croisée de l'analyse intertextuelle et de l'histoire des idées, cherche à articuler cet intertexte shakespearien et l'émergence d'une littérature nationale américaine afin de montrer dans quelle mesure celle-ci se construit en réinventant l'œuvre du dramaturge élisabéthain. Au début du XIXe siècle, le recours à Shakespeare permet à Charles Brockden Brown, Joseph Dennie et Washington Irving d'interroger et de mettre en mots l'expérience américaine. Avec des textes aux accents nettement plus nationalistes, les enjeux du recours à Shakespeare prennent une tournure politique : dans leur souci de rompre avec l'héritage européen, dramaturges et essayistes peinent à réinventer les modèles shakespeariens. A travers l'étude de Moby-Dick, Pierre et L'escroc à la confiance, l'exemple de Melville permet, quant à lui, d'explorer un parcours individuel et de voir comment les modalités d'une réinvention de Shakespeare évoluent et offrent la possibilité à l'auteur de faire advenir sa propre écriture tout en engageant une réflexion sur la notion d'originalité littéraire. Loin de constituer un acte d'imitation, le recours à Shakespeare ne suscite donc pas nécessairement une angoisse de l'influence, et cette référence commune met en lumière la diversité d'une scène littéraire émergenteAlthough nineteenth-century American authors tried to break from European literary models, Shakespeare -who had been a symbol of Britain's literary genius since the 18th century - remained the literary figure they referred to and quoted most. Through an intertextual, contextual and ideological approach, the aim of this study is to show how American writers gave birth to a national literature by reinventing the works of Shakespeare. During the first two decades of the 19th century, Shakespeare enabled authors such as Charles Brockden Brown, Joseph Dennie or Washington Irving to question and to give shape to the American experience. With more nationalistic authors, the issues at stake took a political turn: as they tried to break from European political models, American essayists and playwrights failed to reinvent their literary models. Through the study of Moby-Dick, Pierre and The Confidence-Man, Melville's case shows the evolution of a specific and Personal approach to Shakespeare's works which enabled the American novelist to re-appropriate the concept of literary originality. Therefore, the use of Shakespeare by American authors is not a mere act of imitation; it does not necessarily reveal an anxiety of influence and sheds light on the diversity of the American literary scène of the time
17
Jones, Mark Francis. "The influence of alchemy and Rosicrucianism in William Shakespeare's Pericles, Prince of Tyre and The tempest, and Ben Jonson's The alchemist." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/22011.
Full textAbstract:
Bibliography: pages 207-213.This thesis traces the influence of alchemy and its renaissance in the early seventeenth century as Rosicrucianism, in William Shakespeare's Pericles, Prince of Tyre and The Tempest, and Ben Jonson's The Alchemist. Shakespeare's Final Plays are a dramatic experiment that ventures beyond realism, with a common symbolic pattern of loss and reconciliation that reflects the alchemical one of Man's Fall, self-transmutation and reconciliation with the divine spark within him. Pericles, Prince of Tyre is a crude first attempt in this genre, portraying Everyman's journey to perfection in Pericles's wanderings. The quest for Antiochus's Daughter represents the search for Man'soriginal purity of soul, which has, however, become corrupted and dominated by Man's lower nature, embodied in the incestuous King Antiochus. The prince's flight by sea indicates a process of self-transmutation: the loss of his fleet in a tempest symbolises the purification of his Soul from earthly desires, reflected in the laboratory refinement of base metals in fire (lightning) and water (sea). Pericles is able to unite with his refined Soul, incarnated in Thaisa: from their union the Philosopher's Stone or the Spirit, Marina, is born, who transmutes the base metals of men's natures by evoking the divine "seed of gold" within them, even in a degraded brothel. The Spiritr now grown to strength, is able to reunite the other component of Everyman, Body and Soul, the parents, who have completed their purification. The Tempest represents Shakespeare's complete mastery of his alchemical theme. The Alonso-Ferdinand pair embodies Everyman, the father or Soul having been seduced into evil, incarnate in Antonio, while the son, not yet king, is the divine spark within him. This seed of gold must be separated from the corrupted soul in the purifying alchemical tempest, so as to grow back to the Spirit, symbolised by his meeting and eventual marriage with Miranda. Alonso can only be reunited with his son after his purificatory wanderings about the island, in which he confronts his guilt embodied in a Harpy, who awakens his conscience and reminds him why he has lost his divine inner nature he sought for. Prospero represents the Spirit-Intellect of Everyman, tainted by the lower nature, evident in his desire for revenge, and embodied in Caliban. When the unfallen spiritual forces incarnate in Miranda win him over to compassion, he forgives his enemies and can meet the repentant Alonso, and return to earthly duties as the Everyman who has reclaimed his divine heritage. Ben Jonson's The Alchemist shows the debasement of alchemy by frauds who exploit those who, ignoring its spiritual aims, see it as a magical means to obtain gold. Alchemy becomes a symbol of the goldlust ruling London society, as opposed to the spiritual gold of wisdom sought by the true alchemist. The gulls caricature the goal of self-transmutation in their desire to transmute their mundane, lacklustre selves into "something rich and strange" through the Philosopher's Stone. Jor1sor1, deeply learned in alchemy, parodies many of its key concepts and motifs; the final perfection of Man and Nature, the consummation of the esoteric alchemical Opus, is distorted in false, exoteric alchemy hy the degradation and impoverishment of both frauds and gulls.
18
Savatier-Lahondès, Céline. "Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL012/document.
Full textAbstract:
Cette thèse explore les résurgences de motifs liés aux cultures celtiques dans les pièces de Shakespeare, c'est-à-dire la manière dont les cultures pré-chrétienne et pré-romaine des îles britanniques imprègnent l’œuvre théâtrale de William Shakespeare. Ces motifs n’apparaissent pas toujours de manière évidente à la surface du texte. Cela arrive parfois, mais ils requièrent souvent une analyse précise et approfondie. Cette question est jusqu’à présent restée relativement inexplorée ; en ce sens nous pouvons parler d’une construction de sens. Cependant, les cultures en question appartenant à un passé antique, il est possible d’accepter l’idée d’une ‘reconstruction’ d’un passé jusque là oublié. Basé sur une définition rigoureuse du terme ‘celtique’, cette étude examine en détail la présence des motifs, tout d’abord dans les chroniques auxquelles Shakespeare a pu avoir accès, sans oublier les notions d’oralité et de ‘discours’, inhérentes à l’analyse d’une culture avant tout orale. La figure du roi Arthur et la matière arthurienne, perçus comme la voie d’entrée dans le sujet, sont étudiés en relation avec les œuvres du dramaturge. Dans les pièces historiques, l’analyse des personnages venant des ‘marges’, i.e. le Pays-de-Galles, l’Irlande et l’Écosse informent sur la vision pré-moderne de ces ‘frontaliers’. Seules deux œuvres sont situées dans un contexte historique celtique : Cymbeline et Le Roi Lear, mais de nombreux motifs surgissent aussi dans d’autres pièces telles que Macbeth, Le songe d’une nuit d’été, La tempête, Le Conte d’hiver et d’autres. Ce travail de recherche révèle un substrat qui produit une nouvelle lecture enrichissante des œuvres de William ShakespeareThis dissertation explores the resurgence of motifs related to Celtic cultures in Shakespeare’s plays, that is to say the way the pre-Christian and pre-Roman cultures of the British Isles permeate the dramatic works of William Shakespeare. Such motifs do not always evidently appear on the surface of the text. They sometimes do, but most often, they require a thorough in depth exploration. This issue has thus far remained relatively unexplored; in this sense we can talk of a ‘construction’ of meaning. However, the cultures in question belong to an Ancient time, therefore, we may accept the idea of a ‘reconstruction’ of a forgotten past. Providing a rigorous definition of the term ‘Celtic’ this study offers to examine in detail the presence of motifs, first in the Chronicles that Shakespeare could have access to, and takes into account the notions of orality and discourse, inherent to the study of a primarily oral culture. The figure of King Arthur and the matter of Britain, seen as the entrance doors to the subject, are studied in relation to the plays, and in the Histories, the analysis of characters from the ‘margins’, i.e. Wales, Ireland and Scotland provides an Early Modern vision of ‘borderers’. Only two plays from the Shakespearean corpus are set in a Celtic historical context – Cymbeline and King Lear – but motifs surge in numerous other works, such as Macbeth, A Midsummer Night’s Dream, The Tempest, The Winter’s Tale and others. This research reveals a substrate that produces a new enriching reading of the plays
19
Birge, Amy Anastasia. ""Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.
Full textAbstract:
Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
20
Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet, Le Roi Lear et Macbeth : la clairvoyance sublime de l'égarement /." Villeneuve-d'Ascq : Les presses universitaires du Septentrion, 1997. http://catalogue.bnf.fr/ark:/12148/cb37717827p.
Full text
21
Pleinen, Constanze. "Das Übernatürliche bei Shakespeare /." Hamburg : Kovač, 2009. http://www.verlagdrkovac.de/978-3-8300-4050-7.htm.
Full text
22
Johnson, David. "Shakespeare and South Africa /." Oxford [GB] : Clarendon press, 1996. http://catalogue.bnf.fr/ark:/12148/cb370959733.
Full text
23
Hughes, Jacob Alden. "Shakespeare the Chaucerian." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/j_hughes_041309.pdf.
Full textAbstract:
Thesis (M.A. in English literature)--Washington State University, May 2009.Title from PDF title page (viewed on Apr. 26, 2010). "Department of English." Includes bibliographical references (p. 69-75).
24
Prince, Kathryn Sarah. "Shakespeare in the Victorian periodicals /." New York : Routledge, 2008. http://catalogue.bnf.fr/ark:/12148/cb41198261b.
Full text
25
Conte, Carolina Siqueira. "Bond; a theory of appropriation for Shakespeare's The merchant of Venice realized in film." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1113337877.
Full text
26
Miles, Geoffrey. "Shakespeare and the constant Romans /." Oxford [GB] : Clarendon press, 1996. http://catalogue.bnf.fr/ark:/12148/cb37023418n.
Full text
27
Ailles, Jennifer L. "Queering the queer(ed) pomosexual "readings" of Shakespeare's adaptation of Romeo and Juliet /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ55647.pdf.
Full text
28
Baratz, Katharine. "Bene dicendi scientia, "The power of speech/To stir men's blood"? Quintilian's Institutio Oratoria and Shakespeare's Julius Caesar /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1471.
Full text
29
Peters, Jeri Lynn. "The trouble with gender in Othello a Butlerian reading of William Shakespeare's The tragedy of Othello, the Moor of Venice /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/PETERS_JERI_4.pdf.
Full text
30
Berger, Amy White. "Claudius' story in Shakespeare's Hamlet." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
Full text
31
Buchanan, Henry. "The puzzle of the Indian boy in A midsummer night's dream." Thesis restricted. Connect to e-thesis to view abstract. Move to record for print copy, 2007. http://theses.gla.ac.uk/765/.
Full textAbstract:
Thesis (M.Phil.) - University of Glasgow, 2007.M.Phil. thesis submitted to the Faculty of Arts, Department of English Literature, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
32
MacPhee, Chantelle L. ""All the World's a Stage" : William Blake and William Shakespeare." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/3467/.
Full textAbstract:
Shakespeare's presence in Blake's poetry has been virtually unrecognised by scholarly criticism except, of course, for Jonathan Bate's groundbreaking work of 1986. Bate has had no major successors, so this thesis is, then, an attempt to close to lacuna, to restore Shakespeare to the place that was recognized by Blake himself, as a major influence on his work. In my introductory chapter, I offer a brief sketch of the manner in which Shakespeare informed the culture of the later eighteenth century of which Blake was a product. I survey Shakespearean production, staging and acting techniques, and the history of textual reproduction, before turning to an aspect of the Shakespearean tradition of particular importance to Blake, the production of illustrated editions of Shakespeare's work, and the recourse to Shakespearean subject matter of the painters of the later eighteenth century. I end this chapter with an account of Blake's own Shakespearean illustrations. In Chapter 2, I focus on the earliest of Blake's poems to show a clear Shakespearean influence, the dramatic fragments: "Prologue to King John", Edward the Third, and "Prologue to Edward the Fourth". The major model for these early poetic experiments is, of course, the Shakespearean history or chronicle play, but I argue that even in these apprentice works Blake's appropriation of the Shakespearean model is complex. Shakespeare's history plays celebrate the emergence of an England that, as the defeat of the Spanish Armada demonstrated, had emerged as one of Europe's most powerful nation states. The most pressing political context for Blake's dramatic fragments is England's loss of America, its greatest overseas colony. The fragments are addressed, then, not to a confident nation, proud of its newfound position in the world, but to a nation that had very recently suffered a major blow to its confidence. Already evident, too in these early fragments is Blake's distrust of the Shakespearean notion, flamboyantly expressed in a play such as Henry V, that a nation's greatness might appropriately be measured by its military successes, particularly in war against another state.
33
Lynn, Greta. "Outlining the English nation textual catachresis and its translation in Shakespeare's 1 Henry IV and Henry V /." Diss., Connect to the thesis, 2004. http://thesis.haverford.edu/96/01/2003LynnG.pdf.
Full text
34
Ruberry-Blanc, Pauline Guinle Francis. "La vision tragi-comique de William Shakespeare et ses précédents dans le théâtre Tudor." [S.l.] : [s.n.], 2000. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2000/ruberry_p.
Full text
35
Lee, Insoon. "Shakespeare-Inszenierungen in Korea seit 1970 : eine Untersuchung zur interkulturellen Rezeption anhand exemplarischer Aufführungen von Hamlet und Romeo und Julia /." München : Verl. Dr. Hut, 2008. http://d-nb.info/98822934X/04.
Full text
36
Finnerty, Páraic. "Emily Dickinson's Shakespeare /." Amherst : University of Massachusetts press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40144864w.
Full text
37
Dickson, Lisa Ann. "The bloody house of life, visible economies and Shakespearean discourses of embodiment." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0003/NQ42841.pdf.
Full text
38
Tate, Joseph. "Shakespeare, prose and verse : unreadable forms /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9486.
Full text
39
Biewer, Carolin. "Die Sprache der Liebe in Shakespeares Komödien : eine Semantik und Pragmatik der Leidenschaft /." Heidelberg : Winter, 2006. http://www.gbv.de/dms/bs/toc/515599174.pdf.
Full text
40
Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
41
Srigley, Michael. "Images of regeneration : a study of Shakespeare's "The Tempest" and its cultural background /." Stockholm : Almqvist och Wiksell, 1985. http://catalogue.bnf.fr/ark:/12148/cb348248795.
Full text
42
Miller, Brenda. "Murky Impressions of Postmodernism: Eugene Gant and Shakespearean Intertext in Thomas Wolfe's Look Homeward, Angel and Of Time and the River." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5143/.
Full textAbstract:
In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.
43
Cook, Amy. "Shakespeare, the illusion of depth, and the science of parts an integration of cognitive science and performance studies /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3217529.
Full textAbstract:
Thesis (Ph. D.)--University of California, San Diego and University of California, Irvine, 2006.Title from first page of PDF file (viewed September 5, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 253-272).
44
Tsui, Kam Jean. "Rewriting Shakespeare a study of Lin Shu's translation of tales from Shakespeare /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41634202.
Full text
45
Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.
Full textAbstract:
Thesis (M.F.A.)--West Virginia University, 2003.Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).
46
Lippertová, Dominika. "William Shakespeare: "Titus Andronicus" - komplexní scénografické řešení." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178047.
Full textAbstract:
This thesis is focused on scenographical treatment and conception of Shakespeare's play Titus Andronicus. Beside the historical and theoretical outline of the time of the play's creation, the thesis analyzes selected Czech and foreign productions of this play, with regard to its conceptional and graphic aspect. Furthermore, the thesis focuses on a complex analysis of the scenographic concept itself, and the graphic procedure as well. Thesis also marginally examines the central characters and the treatment of costumes.
The goal of this thesis is to approximate the graphic treatment of a specific play and to describe processes of searching for own and personal graphic procedure used. This thesis is not only a historical analysis; it is also a subjective view of the issue given, that is supposed to approximate the specific scenographic adaptation of the play to the reader.
47
Laqué, Stephan. "Hermetik und Dekonstruktion die Erfahrung von Transzendenz in Shakespeares Hamlet." Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2758696&prov=M&dok_var=1&dok_ext=htm.
Full text
48
Rhee, Beau La. ""All the world's a stage" (re)familiarizing Shakespeare : a study of Romeo and Juliet in the East and West /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380536.
Full text
49
Godwin, Sarah Catherine. "Usurping authors a case study of authority displacement in Richard II /." Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Spring/master's/GODWIN_SARAH_14.pdf.
Full text
50
Hart, Bernadette F. "The advantages of being Proteus : five filmed versions of Richard III /." Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/hartb/bernadettehart.pdf.
Full textAbstract:
Thesis (M.A.)--University of North Carolina at Wilmington, 2004." ... there will be five chapters about each of the films: Laurence Olivier's Richard III(1955); Herbert Ross's The Goodbye Girl (1977); Jane Howell's The Tragedy of Richard III (1983); Ian McKellan and Richard Loncraine's Richard III (1996); and Al Pacino's documentary Looking for Richard (1996)." Includes bibliographical references (leaves : [57]-60).