Dissertations / Theses on the topic 'Julius Caesar (Shakespeare)'
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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 textMittelbach, Jens. "Die Kunst des Widerspruchs: Ambiguität als Darstellungsprinzip in Shakespeares Henry V und Julius Caesar." WVT, Wiss. Verl, 2003. https://slub.qucosa.de/id/qucosa%3A1615.
Full textWorlow, Christian D. "Shakespeare and Modeling Political Subjectivity." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407853/.
Full textMngomezulu, Thulisile Fortunate. "Central women characters and their influence in Shakespeare, with particular reference to the Merchant of Venice, Macbeth, Julius Caesar and Antony and Cleopatra." Thesis, University of Zululand, 2009. http://hdl.handle.net/10530/1114.
Full textShakespeare portrayed women in his plays as people who should be valued. This is an opinion I held in the past, and one I still hold after intense reading of his works and that of authors such as Marlowe, Webster, Thomas Kyd and others. Shakespeare created his female characters out of a mixture of good and evil. When they interact with others, either the best or the worst in them is brought out: extreme evil in some cases and perfect goodness in others. I hope the reader will enjoy this study as much as I did, and that it will enhance their reading of Shakespeare‟s works and cultivate their interest in him. This study is intended to motivate other people to change their view that Shakespeare‟s works are inaccessible. Those who hold this view will come to know that anyone anywhere can read, understand and appreciate the works of this the greatest writer of all times. In his study Shakespeare’s World, Johanyak says, “I wrote [it] to help students appreciate the depth and breadth of Shakespeare‟s global awareness. Shakespeare was not only a London playwright, but a man of the world who dramatized his perceptions to create a lasting legacy of his times” (2004: ix).
COLOMBO, PIA VITTORIA. "GIULIO CESARE, "SPECCHIO" DELLA CRISI? SULLA FORTUNA DEL JULIUS CAESAR DI SHAKESPEARE NEL TEATRO ITALIANO DAL 1949 A OGGI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6168.
Full textThis dissertation on the reception of William Shakespeare’s Julius Caesar in Italian theatre from 1949 to 2012 calls for a positive consideration of theatrical adaptation practices, which only recently have been appropriately valued in Italian critical discourse on Shakespeare’s staging desiderata. Based on thorough archival research and interviews with contemporary theatre directors and actors, it also questions how much, and with what results, Italian theatre and academia have cooperated in the last seventy years so as to offer to the Italian audience "compromise stagings" of the Bard’s Roman tragedy that pursue both philology and innovation in theatrical work. While focusing on the history of Shakespeare’s Julius Caesar hermeneutic practice, this research may also be read as an investigation into the myths surrounding both the historical figure of Julius Caesar and that of Shakespeare. This is achieved through an historical reconstruction of different critical approaches to textual analysis in the study of both subjects, which indirectly yet daringly tackles the question of why Italian theatre practitioners prefer Shakespeare’s plays to new dramaturgy in Italian. Through the study of a set of 15 Julius Caesar Italian productions, I thus aim to assess the “liveliness” of Italian theatre and present solution to its current “crisis” by learning from the past and suggesting new ways for active cooperation between theatre and academia.
Crohem, Laurence. ""My single self" : paradoxes du singulier dans All's well that ends well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida de William Shakespeare." Lille 3, 2009. http://www.theses.fr/2009LIL30057.
Full textIs every human being unique ? Five Shakespeare plays sometimes labelled problem plays - All's well that Ends Well, Hamlet, Julius Caesar Measure for Measure and Troilus and Cressida - raise the issue of the singularity or uniqueness of the self, one aspect of the question of the subject in the early modern age. Uniqueness is in crisis in these plays : the study of the substitutions in action, love and death shows the absence of the self and the emergence of doubles instead of the expected proofs of uniqueness. This study of the scenes of perception of singularity and of self-speaking in the dialogues or soliloquies shows confused identities : the unique self flickers and is superseded by doubles. The crisis of uniqueness also questions the link to social and inner space and to temporality. The subjects dissolve into the community and fail to draw borders between themselves and others. The veils supposed to unveil an intimate space uncover a place of paradox. Perspective effects displace the watching character, who is then deprived of a proper place, and the return of the political reestablishes set places. The subjects wish to engage in a linear time which is deconstructed by repetitions. They do no build a proper linear history but present themselves as traces of events that did not happen and make up an impossible present. There is no time for oneself : Hamlet, the victim of agentless action and of unmastered duration, lives and dies the lives and deaths of others in the time of others. The dramatic art of space and time in the problem plays is linked to the paradoxes of singularity that question the relationship between oneself and the other and to the other in oneself
Hansen, Rebecca Evans. "Shakespeare's Rebels: The Citizen's Responsibility Toward a Tyrannical Ruler." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8697.
Full textMittelbach, Jens. "Die Kunst des Widerspruchs." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-77251.
Full textAlsaai, Hayan Jomah. "A critical assessment of the translations of Shakespeare into Arabic : a close examination of the translations of three tragedies; Othello, Julius Caesar and Macbeth - and one Comedy; The Merchant of Venice." Thesis, SOAS, University of London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298787.
Full textSohmer, Stephen T. "Shakespeare's invention of Julius Caesar." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361739.
Full textBeaman, Marian L. "Literature Curriculum for Secondary Students with Varied Learning Styles." UNF Digital Commons, 1986. http://digitalcommons.unf.edu/etd/47.
Full textGross, Alexander Martin. "The role of the Globe theatre in shaping Shakespeare's Tragedy of Julius Caesar." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/100561.
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Abstract : This study assesses the impact of a specific theatre space on Shakespeare's work along two broad lines of inquiry. The sociopolitical environment and the structural features and resources of the Globe theatre are examined in turn, in an effort to ascertain the extent to which they may have shaped the conception and enactment of Julius Caesar in 1599. The social, religious, and political concerns of contemporary London are elucidated by the identification of relevant evidence from the play text. Likewise, discussions of the Globe's structure and staging conditions are informed by the analysis of several key scenes from the play. The study relates the attributes of the Globe theatre and the Shakespearean stage in general to the concepts of Holy and Rough Theatre found in Peter Brook's The Empty Space, and employs Andrew Gurr's notion of the "Shakespearean Mindset" as well as J. L. Styan's theories concerning the imaginative neutrality of the stage space and the creative collaboration of the audience, to apprehend the connection between the language of Julius Caesar and the specific theatre space in which it was first enacted. The metaphorical potential of the stage space and theatre structure as a whole are discussed with reference to discernable metatheatrical moments in the play. The study verifies a complex connection between Julius Caesar and the Globe theatre and its surroundings, allowing for an improved understanding of the play's layered contextual significance, as well as informing of staging practices at the Globe that brought Shakespeare's words to life.
Este trabalho avalia o impacto de um espaço de teatro específico sobre a obra de Shakespeare ao longo de duas amplas linhas de investigação. O ambiente sócio-político e as características estruturais e recursos do teatro Globe são analisados sucessivamente, em um esforço para determinar a medida em que eles podem ter formado a concepção e encenação de Julius Caesar em 1599. As questões sociais, religiosas e políticas da Londres contemporânea são elucidadas pela identificação de evidências relevantes no texto. Da mesma forma, as discussões sobre a estrutura do Globe e as condições de encenação são esclarecidas pela análise de várias cenas-chave da peça. O estudo relaciona os atributos do teatro Globe e do teatro Shakespeareano em geral aos conceitos de "Holy and Rough Theatre" de Peter Brook, e utiliza a concepção de Andrew Gurr chamada "Shakespearean Mindset", assim como as teorias de J. L. Styan relativas à neutralidade imaginativa do espaço do palco e à colaboração criativa do público, para compreender a conexão entre a linguagem de Julius Caesar e do espaço teatral em que foi inicialmente encenada. O potencial metafórico do espaço do palco e da estrutura do teatro como um todo é discutido no que tange a momentos metateatrais discerníveis na peça. O estudo verifica uma relação complexa entre Julius Caesar e o teatro Globe e os seus arredores, permitindo uma melhor compreensão da significância contextual multifacetada da peça, bem como registro de práticas de encenação no Globe que trouxeram as palavras de Shakespeare à vida.
Mittelbach, Jens [Verfasser]. "Die Kunst des Widerspruchs : Ambiguität als Darstellungsprinzip in Shakespeares Henry V und Julius Caesar / Jens Mittelbach." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://d-nb.info/102886521X/34.
Full textPieschel, Alex. "Character in the cue space| An analysis of part scripts in Shakespeare's "Coriolanus" and "Julius Caesar"." Thesis, The University of Alabama, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1584499.
Full textThis paper aspires to perform an analysis of Early Modern character by thinking of character as a formative process, spanning playwriting to part-learning to dramatic performance. My analysis, which will focus on Shakespeare's Coriolanus and Julius Caesar, dismisses any notion of the Shakespeare play as holistic or complete text. I draw from Tiffany Stern and Simon Palfrey's Shakespeare in Parts, which establishes a methodology for the analysis of "part" or "cue" scripts, texts that feature a single character's lines amputated from the larger play.
In the Early Modern period, an actor's "part" or "side" would have included his own lines and the cues he needed to know to enter the scene or begin speaking. The part would have been learned in isolation, so the actor would have relied on cues to understand how his role fit into the larger play. I argue that the function of isolated parts and cues, or the last three to five words of any character's lines, is currently underestimated in critical analysis of Shakespeare texts, especially in literary close readings that focus on "character."
The textual space that Palfrey and Stern label the "cue space" continues to be underestimated, I imagine, because critics still view this space as an overly speculative construct. It is true that we cannot speak concretely about what an Early Modern actor would or would not have done, but we can highlight the implications of a potential performance decision. Cues, sites of stability surrounded by malleability, are ripe with potential performance decisions. By drawing from a methodology grounded in an understanding of parts and cues, we may more clearly contextualize the combative collaboration between actor and playwright through which character is formed.
"Scenic Design and Technical Direction for Julius Caesar." Tulane University, 2016.
Find full textMouraz, Francisco Pinto. "Leadership and strategy in Shakespeare : a comparative case-study of Julius Caesar and Henry V." Master's thesis, 2015. http://hdl.handle.net/10400.14/18817.
Full textBaloyi, Mafemani Joseph. "A comparative analysis of stylistic devices in Shakespeare’s plays, Julius Caesar and Macbeth and." Thesis, 2015. http://hdl.handle.net/10500/20036.
Full textAfrican Languages
D. Litt. et Phil. (African Languages)
Schüler, Julia. "Die politische und literarische Caesarrezeption im England des 16. Jahrhunderts Studie zum Verhältnis von Geschichte und Literatur anhand Shakespeares Julius Caesar /." 2009. http://nbn-resolving.de/urn:nbn:de:kobv:83-opus-22506.
Full textWU, TAI-CHEN, and 吳台珍. "The Persuasive Rhetoric in Western Classical Literature－A Study of the Speeches in"The Tragedy of Julius Caesar" by William Shakespeare." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6hc8b4.
Full text世新大學
口語傳播學研究所
105
Abstract This study focused on drama communication. and rhetoric of persuasion Thesis presents a quality analysis of Brutus’ and Marc Antony’s speeches in Shakespeare’s play ,Julius Caesar, in terms of the application of the rhetoric of persuasion. The texts of the two speeches are judged by the standards of both classical and modern rhetoric, namely Aristotle's Rhetoric and the five keys to persuasion thereof ,and the NCA’s eight key speech techniques. The thesis also covers theory and its application and compares their differences and evolution. Available literature suggests that both Brutus’ and Antony’s impromptu speeches achieved their desired results. Brutus’ speech was of self-defense nature, manifested in his famous quote “not that I loved Caesar less, but that I loved Rome more” and his anti-dictatorship argument, which for a moment acquitted himself of the crime of murdering his senior leader, Julius Caesar, secured the understanding of the crowd and won their support for replacing Caesar as the leader. However, when a tearful Antony counted Caesar’s feats and extolled how Antony cared for the people, the dead king’s bloody body aside, the crowd’s sentiments and emotions reversed from support for Brutus to hatred, resulting in Brutus’ residence being set ablaze. Indeed, the two speeches demonstrate the power of persuasion of speech that is capable of swaying the crowd’s sentiments. The two speeches in the Shakespearean play can be analysed and evaluated by using the five keys to persuasion of Aristotle and the NCA's eight key speech techniques, through which one can appreciate the subtlety of the two speeches. This kind of evaluation also demonstrates the value of the five keys to persuasion of Aristotle and the NCA's eight key speech techniques in terms of evaluating the rhetoric of persuasion.
GIU, WEN-YUAN, and 邱文媛. "Politics and art in Shakespeare's and Jonson's Roman tragedies:Goriolanus, Julius Caesar, Sejanus, and Catiline." Thesis, 1989. http://ndltd.ncl.edu.tw/handle/98687268304348490378.
Full textSchüler, Julia [Verfasser]. "Die politische und literarische Caesarrezeption im England des 16. Jahrhunderts: Studie zum Verhältnis von Geschichte und Literatur anhand von Shakespeares Julius Caesar / vorgelegt von Julia Schüler." 2009. http://d-nb.info/995109737/34.
Full textCheng, Elyssa Y. T., and 鄭月婷. "The Idea of History in Shakespeare's Roman Tragedies -- ~u2; Julius Caesar~u1;, ~u2;Antony and Cleopatra~u1;, and ~u2; Coriolanus~u1." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/36867578964155607236.
Full textSu, Hsiu-ling, and 蘇秀玲. "Applying Content-Based Instruction to a Language Training Course for Junior High Students:Using Brutus's and Antony's Speeches in Shakespeare's Julius Caesar as an Example." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/84056016856287071556.
Full text國立彰化師範大學
英語學系
94
This thesis proposes that applying content-based instruction to literary instruction can make the use of literary materials more feasible at the pre-university stage EFL classroom. Although the advantages of learning literature have been forcibly argued by scholars, the teaching of literature is still not practiced because of a variety of reasons. Focus on textual analysis and interpretation is probably not the only one. The way of using literary materials should be changed so that the young learners can appreciate the values of literature in the EFL classroom. According to one of the principles of CBI, literary instruction can be integrated with language learning. Thus, this thesis explores how to teach literature with CBI and studies some impacts of the integration. To understand the effect, I conducted a teaching experiment in which Brutus’s and Antony’s speeches extracted from Shakespeare’s Julius Caesar were used as materials, and pre- and post-instructional questionnaires were used to study the learners’ responses to learning literature with CBI. This thesis has five chapters. Introduction gives the motivation and research questions. In Chapter One, I probe into the political wisdom embedded in this play for the purpose of understanding the context of Brutus’s and Antony’s speeches, i.e. the teaching material of the experiment. Chapter Two focuses on the two speeches and further investigates the reason for Brutus’s failure and Antony’s success in their speeches. Chapter Three discusses why and how to teach literary text with CBI. To show the integration of the literary text and the four skills, twenty CBI activities are designed in the second part of this chapter. Chapter Four gives the teaching procedure in retrospect. Chapter Five discusses the results of the teaching experiment and gives suggestions to further study.