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Podara, Eleni. "Macbeth." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178040.
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Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.
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Leung, Hoi-kei Karen Shakespeare William. "Modern Macbeth in Hong Kong /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3156706x.
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Leung, Hoi-kei Karen, and 梁凱祈. "Modern Macbeth in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007524.
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Johnson, Catherine. "MACBETH: FOR THE PURPOSE OF PROCESS." Master's thesis, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/263575.
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TheaterM.F.A.
This thesis paper will explain my set design process for Temple University's 2014 production of Macbeth. I will cover the steps from receiving the assignment to opening night and evaluate its purpose in my education toward a Master's of Fine Arts.
Temple University--Theses
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Tsang, Jonathan. "Scenography : set and lighting design for Macbeth." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44334.
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Macbeth by William Shakespeare, adapted by Patrick New, was presented as a part of the 2011/2012 Theatre at UBC season at the Frederic Wood Theatre in March 2012. The show was directed by Patrick New and stage managed by Belle Cheung. The design team included Vanessa Imeson (Costume Designer) and Hayley Peterson (Sound Designer) along with myself (Lighting and Set Designer). This report examines the methodology and design for the integration of both set and lighting design in a scenographic manner, and also examines the collaborative relationship between designer and director.
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Bills, Danny C. "Harmony and Structure in Richard Strauss's Macbeth." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278998/.
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This study begins with a discussion of step theory. Included in this discussion is the basis of chord succession, the idea of fundamental representation, and the uses of reinterpretation technique. These concepts are then used to demonstrate the continuity and logic of the harmonic language found in Strauss's Macbeth.
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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.
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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).
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Capozzi, Benedetta <1993>. "Macbeth on screen: Welles, Kurosawa, Polanski,Kurzel." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10743.
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This thesis analyses how four directors, Orson Welles, Akira Kurosawa, Roman Polanski and Justin Kurzel, have produced a screen adaptation of Shakespeare’s Macbeth. It starts with a general overview of the play, focusing on the characters and on Shakespeare’s sources and it attempts to reconstruct the general atmosphere in England in the 17th century. After a quick overview on the first stage adaptations in Chapter One, the thesis turns to analyse in detail the four movies. In Chapter Two it discusses Orson Welles’s adaptation of 1948 and his dreamlike representation of the story.The third chapter focuses on Japanese director Akira Kurosawa’s Throne of Blood, also known as The Castle of The Spider’s Web, produced in Japan in 1957.The fourth and fifth chapters are dedicated respectively to Roman Polanski’s 1971 adaptation and to the latest screen version made by Justin Kurzel in 2015. A conclusion, in the end, shows how all the considerations made on all the different screen versions contribute to re-invent and reproduce the greatness of Shakespeare’s characters and that the appeal his stories have on audience demands for artists to develop always new forms of engagement with Shakespeare’s work.
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Ferguson, Lisa. "Lady Macbeth and Gertrude: A Study in Gender." TopSCHOLAR®, 2002. http://digitalcommons.wku.edu/theses/656.
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The detailed examination of two of Shakespeare's female leads, Lady Macbeth and Gertrude, is designed to determine whether or not these particular characters were free from the confines of their society, or if they were content within its oppressive grasp. A combination of Feminist Criticism and New Historicism reveals that Lady Macbeth and Gertrude did not overstep the bounds of their gender, but in fact were suppressed within them. The limited rights and freedoms of a woman during the Renaissance is heavily discussed, and aids in giving the reader a vivid impression of Lady Macbeth's and Gertrude's subjugation. As Renaissance women were considered and treated inferior to their husbands in all respects, so are these two characters. Once the supposed driving force behind her husband's actions, Lady Macbeth makes a swift but devastating departure after Macbeth expels her from both his personal and political matters. No longer needing his wife to appease his conscience, Macbeth finds his own aptitude for evil. Torn between her roles as a wife and mother, Gertrude forfeits her happiness to please her overemotional son. Long before her actual death, Gertrude sacrifices a part of her identity to meet Hamlet's expectations. Both women relinquish their hopes and dreams to fulfill those of the men around them. Their blinded selflessness and misplaced devotion result in their ultimate undoing. Though the typical reader of Macbeth and Hamlet sometimes considers these particular female characters to be strong, bold, and selfish, the values of Shakespeare's era and his actual text suggest otherwise. The playwright's time was marked by a bitter gender struggle that pervaded all areas of Renaissance life, including his own work. Upon first glance, Lady Macbeth and Gertrude might come across as women who were strikingly independent. Throughout the progression of the plays, however, both women take a backseat to more important matters, such as politics and war. Even their deaths do not truly belong to them, as they seem to serve as mere asides to the inevitable "manly" action. Striving to meet the expectations of the men they loved, Lady Macbeth and Gertrude lose themselves in the process.
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Xaver, Savannah. "Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies." University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450433405.
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Lidzén, Susanne. "Låt oss inte glömma Lady Macbeth! : En komparativ studie av Lady Macbeth i Shakespeares tragedi samt i tre moderna TV- och filmadaptioner." Thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-80335.
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The work of Shakespeare has been popular to make film adaptations of from the birth of cinema. Macbeth, one of his most often played tragedies, is no exception. But how did Shakespeare portray Lady Macbeth in his play, and how do directors in the 21th century choose to portray her for a modern audience? I will try to find the answer to these questions by analyzing Shakespeare´s play as well as three modern adaptations. I will begin the thesis by looking at scholars´ view in questions regarding gender, free will, adaptations and genre before analyzing the play and the three movies. I will do this so in order to make comparisons between the play and the three adaptations. My conclusion is that Shakespeare wrote Lady Macbeth as a strong woman, an “unwomanly” woman of her time. The three adaptations also portray her as a strong woman, but in three different ways. I cannot draw any overall conclusions as this thesis is a subjective interpretation of text as well as picture, but further analysis of more adaptations of Macbeth can perhaps verify what has been stated in this thesis.
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Soulstein, Seth Koozel. "Macbeth as Avatar : fandom in British Romantic theatre audiences." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/41995.
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This study aims to place two previously disconnected areas of academic inquiry, Romantic theatre studies and fandom studies, in dialogue with one another, to the mutual benefit of both fields. Towards this end, I focus on a particular manifestation of fan behavior, the deployment of popular iconography and mythology as a protest strategy – a mode of fandom recently codified as “Avatar activism” by Henry Jenkins, a leading fan scholar – and look for its existence in a specific moment in time in Romantic London: the 1809 Old Price Riots. Fandom studies, as a discipline, looks at active media audiences, and the ways in which they build upon source media texts. In the first chapter, I give an overview as to the history of this relatively young branch of scholarship, which brings us to the current moment, in which Avatar activism can be considered a mode of fan behavior. Following that, I focus on the Romantic period for the remainder of the thesis. In the second chapter, I choose three various case studies of engaged audiences – Sarah Siddons as celebrity icon; hippodrama and genre fandom; and intertextuality, transmedia, and what David A. Brewer has called “imaginative expansion” - which set the stage for the idea that fan behavior was alive and well in the early nineteenth century. In the final chapter, I focus on the Old Price Riots, and the rioters’ use of Shakespeare-as-icon and Shakespearean mythology as a Romantic manifestation of Avatar activism. With this study, I aim to provide a larger historical context for modern conceptions of fandom, as well as to offer greater insight into audience/text dynamics that existed in Romantic London.
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.
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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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Cusimano, Maria. "Temptation, Sin, and the Human Condition in Shakespeare's Macbeth." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1969.
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William Shakespeare’s Macbeth is colored with religious overtones. His play incorporates elements of religious beliefs of Renaissance England. Aside from its historical basis, Shakespeare’s Macbeth alludes to stories from Scripture as well as Renaissance religious practices and beliefs, particularly regarding witchcraft, prophecy, and the dangers of sin. Through this myriad of sources, Shakespeare offers a vivid and grotesque depiction of a man demise due to his involvement with sin, offering a profound caution to his audience of the dangers of temptation and sin.
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Silva, Vítor André Marinho Amaral da. "Sustentabilidade na selecção de fornecedores: aplicação da metodologia MACBETH." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/1784.
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Mestrado em Engenharia e Gestão IndustrialA actual situação de degradação ambiental provocou no meio empresarial uma mudança significativa no que concerne à preocupação sobre os efeitos das suas actividades no meio ambiente. Em alguns casos, esta mudança foi forçada através de leis e regulamentos que estipulam a alteração no modo de operar de algumas empresas. Por outro lado, algumas organizações adoptam a consciência ambiental como parte integrante do seu negócio, fazendo da mesma um porta estandarte da sua actividade. Um processo crítico relacionado com esta temática é o de selecção de fornecedores. É uma actividade crucial em qualquer empresa e, que tem uma importância significativa no melhoramento da responsabilidade ambiental das organizações. Este trabalho debruça-se então sobre o estudo da sustentabilidade da cadeia de abastecimento e integração de diversos critérios, entre os quais critérios ambientais, no processo de selecção de fornecedores. Tal tarefa foi elaborada com recurso a um software informático denominado M-MACBETH que permite, através de julgamentos puramente qualitativos, quantificar o grau de atractividade de uma opção relativamente a outra. ABSTRACT: The present situation of the environmental degradation has caused a significant change in the business world regarding the concern on the effects of their activities in the environment. In some cases, this change was forced by laws and regulations that define the change in the way some companies work. On the other hand, some organizations adopt an environmental awareness as a component of their business as it was the symbol of their activity. A critical process related to this subject is the supplier selection process. It is a crucial activity in any company with a significant importance in the improvement of the environmental responsibility. This project intends to study the sustainability of the supply chain and the integration of different criteria, as environmental criteria, in the supplier selection process. Such task was elaborated using an informatic software known as M-MACBETH which allows, through purely qualitative judgments, to quantify the degree of the attractiveness of an option.
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Metcalf, John Maurice Carleton University Dissertation English. "The presentation of Jacobean witchcraft beliefs in Shakespeare's Macbeth." Ottawa, 1992.
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Lassus, Marie-Pierre. "La voix et le geste dans Macbeth de Verdi /." Tours : [M.-P. Lassus], 1988. http://catalogue.bnf.fr/ark:/12148/cb35850117g.
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Foraker, Robynn Marie. "Finding the Voice of Lady MacBeth ---- Voice and text work for the contemporary actor through the rehearsal and performance of Macbeth (from Shakespeare)." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1363603299.
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Queluz, Rebeca Pinheiro. "Macbeth de Gabriel Villela : uma re-criação da tragédia Shakespeariana." reponame:Repositório Institucional da UFPR, 2015. http://hdl.handle.net/1884/37885.
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Orientadora : Profª Drª Célia Arns de MirandaDissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 02/04/2015
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Área de concentração: Estudos literários
Resumo: Na história da adaptação, apropriação e tradução shakespeariana, Macbeth, considerada uma das quatro grandes tragédias, ocupa um lugar privilegiado. Os temas presentes nessa peça (ambição desmedida, aparência e realidade, o peso da culpa, a corrupção do poder, violência, tirania) fornecem material para incontáveis releituras e interpretações, em qualquer espaço ou tempo, seja no cinema, na literatura, no palco, nas artes em geral. Com relação às encenações, só no Brasil há registros de, pelo menos, quatorze montagens da peça realizadas por diferentes diretores teatrais desde 1970. Esta pesquisa tem como objetivo discutir uma das encenações da "peça escocesa" cuja estreia se deu em 2012 no Teatro Vivo em São Paulo. Tal montagem teve Gabriel Villela na direção e Marcelo Antony e Claudio Fontana nos papéis do protagonista Macbeth e de sua esposa e cúmplice Lady Macbeth, respectivamente. Villela é um dos mais importantes encenadores brasileiros, profundo conhecedor de Shakespeare. Em seu currículo constam outras três peças do bardo inglês, a saber: Romeu e Julieta, Sonhos de uma noite de verão e Ricardo III. Faz parte da proposta do diretor mineiro mesclar o erudito com o popular, as tradições brasileiras com influências estrangeiras, no intuito de aproximar a literatura clássica do espectador. Para nossa análise, foram utilizados uma gravação em formato de DVD, a tradução de Marcos Daud e o texto do espetáculo fornecidos pela produção. Essa pesquisa compartilha os pressupostos teóricos de Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. Em Macbeth, Villela propõe uma reflexão em torno dos binômios vida e arte, realidade e ficção, entre aquilo que é ou não é, entre a aparência e a realidade. Ele concretiza essa proposta, principalmente, através da introdução de elementos épicos e metateatrais. Os artifícios da construção dramática confrontam o espectador a todo momento, levando-o a manter uma atitude de distanciamento crítico. A encenação também incorpora na materialização cênica múltiplas leituras de Macbeth, presentes implícita ou explicitamente, no trabalho coletivo de produtores, cenotécnicos, coreógrafos, maquiadores, figurinistas, sonoplastas, contrarregras, figurantes e atores. Palavras-chave: Adaptação. Shakespeare. Macbeth. Teatro brasileiro. Gabriel Villela.
Abstract: In the history of Shakespearean adaptation, appropriation and translation, Macbeth, considered one of the four great tragedies, occupies a privileged place. The themes present in this play (excessive ambition, appearance and reality, the burden of guilt, the corruption of power, violence, tyranny) provide material for countless readings and interpretations in any space and time, be it in the cinema, on stage, literature, and arts in general. Regarding theater, in Brazil alone there are records of, at least, fourteen stagings of the play performed by different directors since 1992. This research aims to discuss one of the productions of the Scottish play which had its premiere in 2012 at the Vivo Theater in São Paulo. This production was directed by Gabriel Villela and had Marcelo Antony and Claudio Fontana in the roles of Macbeth and Lady Macbeth, respectively. Villela is one of the most important Brazilian directors and he has a deep knowledge of Shakespeare. His resume lists three other plays of the English bard: Romeo and Juliet, A Midsummer Night's Dream, and Richard III. In his works, Villlela mixes the popular and the classic, and Brazilian traditions and foreign influences, in order to make classic literature more accessible to the spectator. Our analysis used a DVD recording of this production, the translation by Marcos Daud, and the screenplay provided by the producers. This research shares the theoretical assumptions of Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. In Macbeth, Villela proposes a reflection between the binomials of life and art, fiction and reality. He materializes this proposal mainly through the introduction of epic and metatheatrical elements. The devices of the dramatic construction confront the viewer at all times, causing him/her to maintain an attitude of critical distance. The staging also incorporates in the scenic materialization multiple readings of Macbeth, implicitly or explicitly present in the collective work of producers, directors, scenic, lighting, sound, and costume designers, choreographers, makeup artists, stagehands, background actors and main actors. Key-words: Adaptation. Macbeth. Gabriel Villela.
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Girling, Christine. "Auteurs of Macbeth : Akira Kurosawa, Orson Welles and Roman Polanski." Thesis, University of Birmingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633098.
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Akira Kurosawa, Orson Welles and Roman Polanski: three very different filmmakers in whose hands Macbeth becomes three very different films. For Kurosawa, who admits himself to being obsessed with exploring the "extraordinary things that lie in human hearts," the play becomes a humanist drama concerned with man's inner evil and ambition; in the hands of Welles - whose chief agenda was always extravagance and spectacle rather than character development -Macbeth becomes a more symbolic fight between good and evil; whereas Polanski, whose major concern is often with the "confrontation of evil," presents Macbeth as a gritty, psychological thriller. All three directors have remarkable filmographies - often being nominated for and winning prestigious awards as well as experiencing professional low-points which not only counterbalance this, but at times have even seemed out of sync with the rest of their careers. They have also had remarkable personal lives, variously tinged with tragedy, which often seems to be reflected in their films. Kurosawa, born in 1910, experienced first hand the Great Kanto Earthquake, which devastated Japan in 1923, killing more than 100,000, and lived through the Second World War, which cost more than 2 million Japanese lives. He also suffered great personal loss during his lifetime - one of his brothers and one of his sisters died during childhood; and both of his older brothers died when Kurosawa was in his twenties, the younger of whom committed suicide at the age of twenty-seven. Later in life, the director's personal difficulties became so great that at one point he even attempted suicide himself. Welles was born five years after Kurosawa, although his living in America meant that he was less affected by the Second World War. In other ways however, his upbringing was unconventional and not without tragedy. When he was four his parents divorced due to 'irreconcilable differences' - the reality of which was that his father was an alcoholic and his mother had had a live-in-lover for some time. He was considered a child 'prodigy' but as a result of this special treatment was somewhat set apart from other children, had very few friends of his own age, and spent a lifetime trying to live up to these early expectations of greatness. When he was nine his mother died, and six years later so did his father - who literally drank himself to death - leaving his upbringing to his mother's lover, who would act as a secondary father figure to him for the rest of his life. Like Kurosawa, Polanski grew up in politically catastrophic times, although his life may be said to have been the most affected by tragedy and controversy. Jewish, he was born in 1933 and was living in Warsaw during the German invasion of Poland, so was no stranger to the harsh realities of war. His mother was executed in a concentration camp when he was six; years later he was to relive this loss when his pregnant wife was brutally murdered by members of a crazed cult; and when he was still recovering from this tragedy, he was arrested and charged with the rape of a 13 year-old girl. This thesis aims to explore the ways in which these different personal factors affecting Kurosawa, Welles and Polanski have contributed over the years to their films and in particular, to their interpretations of Macbeth. As the play's primary concerns are the mechanisms of evil and human iniquity - subject matter they were all, in varying degrees, personally familiar with the occurrence of these themes throughout the three directors' films will be examined alongside the representation of them in their adaptations of Macbeth.
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Pires, Patrick. "Proposta de substituição da HK G3 : aplicação da metodologia Macbeth." Master's thesis, Instituto Superior de Economia e Gestão, 2019. http://hdl.handle.net/10400.5/19181.
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Mestrado em Contabilidade, Fiscalidade e Finanças EmpresariaisFace aos novos desafios impostos às Forças Armadas estas encontram-se num processo de modernização dos seus equipamentos. A espingarda HK G3 encontra-se ao serviço da Força Aérea desde da década de 70. A saída das fileiras desta espingarda já se encontra a decorrer no Exército. O presente trabalho tem por objetivo escolher uma possível arma para a substituição da HK G3 na Força Aérea. Esta escolha assenta na aplicação da análise multicritério, através da metodologia MACBETH. Para proceder à aplicação desta metodologia foi necessário criar um grupo de trabalho com especialistas das diferentes áreas ligadas ao armamento ligeiro. A implementação da metodologia foi feita através do software Wisedon e os dados foram obtidos através da Direção de Manutenção de Sistemas de Armas (DMSA). Assim pretendeu-se dotar a Força Aérea de uma ferramenta de apoio à decisão para fazer face a uma questão atual, bem como demonstrar as potencialidades do software Wisedon.
Regarding the new challenges posed to the Armed Forces they are in an equipment modernization process. The HK G3 rifle has been in service of the Portuguese Air Force since 1970s. The exit of the ranks of this rifle is already taking place in the Portuguese Army. This paper aims to choose a possible weapon for the replacement of the HK G3 in the Portuguese Air Force. This choice is based on the application of multicriteria analysis through the MACBETH methodology. To apply this methodology it was necessary to create a working group with specialists from different areas related to light weaponry. The implementation of the methodology was done through Wisedon software and the data were obtained through the Weapons Systems Maintenance Department of the Portuguese Air Force. This was intended to provide the Portuguese Air Force a decision support tool to address a current issue as well as demonstrate the potential of Wisedon software.
info:eu-repo/semantics/publishedVersion
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Braz, José Miguel Baptista Proença. "O MacBeth como ferramenta MCDA para o benchmarking de aeroportos." Master's thesis, Universidade da Beira Interior, 2011. http://hdl.handle.net/10400.6/2052.
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O Benchmarking de Aeroportos é visto hoje em dia como uma ferramenta de importância fulcral para os decisores do ramo aeronáutico, sejam eles: Estados/Governos, Companhias Aéreas, Gestores de Empresas, Passageiros, ou a própria Administração aeroportuária.
Quando se pretende efectuar o benchmarking de aeroportos é necessária a produção de rankings. Para tal, além da identificação dos critérios que melhor possam responder ao que se pretende estudar e à avaliação da atractividade de cada um deles, a identificação de qual o melhor método para executar os referidos rankings assume extrema importância.
Pretende então este trabalho fornecer aos decisores uma ferramenta de fácil utilização para a realização de rankings de desempenho e de eficiência de um conjunto de aeroportos, ou para a execução de self-benchmarking de um aeroporto em particular. Para tal foi utilizada a ferramenta MacBeth da abordagem Multicritério de Apoio à Decisão (MCDA).
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Winkler, Stephanie. "Lady Macbeth narrada : dialogismo e responsabilidade em Shakespeare e Leskov." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16448.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-10T18:02:50Z No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5)
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O objetivo deste trabalho é comparar duas personagens femininas: Lady MacBeth de Shakespeare e Lady MacBeth de Leskov. A partir de uma análise bakhtiniana, pretende-se mapear as diferenças entre essas Ladies. A primeira, do teatro, é uma personagem elevada, cuja ação desmedida é dotada de uma ambição que a levaria a superar sua condição de nobreza. Tudo isso, ligado a um entendimento da tragédia e do herói trágico a partir de princípios aristotélicos, clássicos e de sua releitura pelo dramaturgo inglês. A segunda, da prosa, é uma pessoa comum. Envolvida por uma narrativa cotidiana, sua ambição não-heróica, egoísta e violenta, a conduz a uma satisfação pessoal, afetiva e individualista. Além disso, há uma grande afinidade entre Leskov e Dostoiévski ao criar personagens no mundo literário com características humanas excepcionalmente realistas. Tudo isso, problematizado em consonância com a perspectiva benjaminiana em seu texto “O Narrador” – paradigma do tradutor brasileiro Paulo Bezerra. Tendo em vista que o foco de análise é justamente Leskov, ficam muito evidentes os elementos narrativos, orais e escritos, que respondem e estabelecem um dialogismo com Shakespeare e com a literatura e cultura russas do século XIX. ____________________________________________________________________________________ ABSTRACT
The main purpose of this thesis is to compare two feminine characters: Shakespeare's Lady Macbeth and Leskov's Lady Macbeth of Mtsensk. From a Bakhtin based analysis, the intention is to map out the differences between these two Ladies: the first one, from the theatre, is a distinguished character, whose extreme measures are blinded by the ambition of surpassing her condition of nobility - all of this linked to an understanding of tragedy and the tragic hero based on Aristotelic principals. The other lady is a commoner, written in an everyday narrative in prose. Her personal ambition is non-heroic at the same time that it is individualist and violent, an attitude that provides personal satisfaction. Also, there is great affinity between Leskov and Dostoyevsky in creating fictional characters that have exceptionally realistic human qualities. All these aspects will then be examined from Walter Benjamin's perspective in his text The Storyteller. Having in mind that the focus of this research is Leskov, the narrative, oral and written elements become quite evident because they respond and establish a dialogism with Shakespeare and Russian literature and culture of the XIX century.
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Schimpf, Wolfgang. "Hekate als Medea. Beobachtungen zu einer melodramatischen Szene in «Macbeth»." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37034.
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Burns, Eric M. Brooks Frederick P. "MACBETH management of avatar conflict by employment of a technique hybrid /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,836.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Computer Science." Discipline: Computer Science; Department/School: Computer Science.
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New, Patrick. "Macbeth in context : putting the Scottish back into 'the Scottish play'." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42197.
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Macbeth in Context: Putting the Scottish back into 'the Scottish Play' is an examination of the historical context in which the play Macbeth was written, the process of conceptualizing a production for the Frederic Wood Theatre, and the journey of getting it to the stage.
Macbeth is a Scottish play, written for a Scottish King, and containing Scottish characters and culture. It is my intention to illuminate why the play was written, and detail my conceptualization for presenting a truly Scottish production of Macbeth.
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Shugar, Seth. "Knowing is not enough : Akrasia and self-deception in Shakespeare's Macbeth." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99391.
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Traditionally, Macbeth has been read as a morality tale about the perils of ambition. The question that has implicitly animated most treatments of the play is, "Why does Macbeth kill Duncan?" By shifting the emphasis away from Macbeth's motives for killing Duncan onto his inability to refrain from killing him, I draw attention to the striking fact that, in killing King Duncan, Macbeth acts against a fully considered better judgment not to. This suggests the possibility that Macbeth's much-discussed ambition can be understood as a subset of the broader theme of akrasia , the condition in which an agent is unable to perform an action he knows to be right. After identifying and exploring the theme of akrasia in several of Shakespeare's plays, I go on to situate Macbeth's murder of Duncan in the context of the long literary and philosophical debate on incontinence. I then suggest four interrelated explanations of Macbeth's akrasia. First, Macbeth's connection to the motivational conditions of his knowledge is shallow; he does not feel what he knows. Second, Macbeth's lack of self-control is habitual because his weak connection to the conative dimension of his knowledge prohibits him from appealing to techniques of skilled resistance. Third, his habitual lack of self-control renders him vulnerable to Lady Macbeth's taunts, which not only deplete the motivation supporting his better judgment but also prevent him from giving full deliberative weight to his better judgment. Finally, Macbeth also engages in a consistent pattern of self-deception that not only facilitates his akratic slaughter of King Duncan but also enables him to murder Banquo and MacDuff's family. My explanation of how Macbeth is able to act self-deceptively against his better evidence echoes my account of how he is able to act akratically against his better judgment: he does not feel what he knows.
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Main, Christopher. "The first folio text of Macbeth : an annotated edition with commentary." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326883.
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Ludwig, Carlos Roberto. "Tensões políticas e psicológicas em 'MacBeth' e no drama de Shakespeare." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15321.
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A proposta de dissertação de mestrado, intitulada Tensões Políticas e Psicológicas em Macbeth e no Drama de Shakespeare, é fazer uma leitura crítica à luz dos aspectos históricos e dos problemas psicológicos apresentados na obra de Shakespeare (1564-1616). Serão analisados os problemas políticos, históricos e psicológicos em Macbeth e no drama shakespeariano, pois, percebe-se uma intrínseca relação entre as tensões políticas e históricas e a consciência na obra de Shakespeare, nem sempre elucidada pela crítica contemporânea. Assim, notam-se dois elementos opostos, que geram tais conflitos: de um lado, o Estado monárquico, cuja necessidade é manter uma ordem harmônica e estável, que, para isso, cria mecanismos punitivos que regem e determinam a conduta do indivíduo, como por exemplo as idéias de ordem, de justiça retributiva, pregadas nas homilias, e da mística dos dois corpos do rei; de outro, o indivíduo, por exemplo Macbeth, cujo desejo entra em conflito com o Estado e sua necessidade de ordem, a fim de tentar sobrepô-los para satisfazer sua vontade. Como se observa, a oposição dos problemas históricos se revelam não só no plano político, mas Shakespeare também cria artifícios estéticos que ampliam as tensões políticas no plano psicológico. Assim, elementos históricos como o tiranicídio e a monarcomaquia vão figurar como elementos propulsores das tensões psicológicas. Essa dissertação está organizada em três capítulos. O primeiro capítulo, intitulado Tensões Políticas e Históricas em Macbeth e no Drama de Shakespeare, apresenta problemas históricas amplamente discutidos na era elisabetana e jacobina como a tirania, a monarcomaquia, a violação da soberania, as idéias de ordem e a teoria os dois corpos do rei. No segundo capítulo, Consciência no Drama de Shakespeare e na era Elisabetana e Jacobina, pretende-se mostrar como tais problemas históricos desencadeiam tensões psicológicos em algumas peças de Shakespeare, em particular em Macbeth, Richard II, Richard III e Hamlet. No terceiro capítulo, Tensões Psicológicas em Macbeth: a Consciência e a Ambição, apresenta-se uma análise da consciência e da ambição em Macbeth, como uma reação a esses embates entre o estado, seus mecanismos superegóicos e o indivíduo.This master thesis, entitled Political and Psychological Tensions in Macbeth and in the Shakespearean Drama, aims to analise Shakespeare’s (1564-1616) masterpiece in terms of historical aspects and psychological issues. I propose to analise political, historical and psychological problems in Macbeth and in the Shakespearean Drama, for we can perceive an intrinsic connection between these political and historical tensions, and conscience in Shakespearean work, which is not always explained by some contemporary critics. At this point, there are two opposing elements, which create such conflicts: on the one hand, there is the monarchal State, whose necessity is to keep the harmonious and stable order, which hence forge punitive tools in order to control and determine the individual behaviour, such as the order ideas, retributive justice, and the theory of the King’s two bodies, which were preached in the homilies; on the other hand, there is the individual, for instance Macbeth, whose desire comes into conflict with the monarchal State and its necessity of order, for satisfying his will. That opposition of the historical problems appears not only in the political realm, but Shakespeare creates aesthetic devices as well, which spread out the political tension into the psychological level. Thus, historical issues as tyrannicide and monarchomachy will reappear as propulsioning elements to the psychological tensions. This thesis is organised in three chapters. The first one, entitled Political and Historical Tensions in Macbeth and in the Shakespearean Drama, presents some historical issues widely discussed in the Elizabethan and Jacobean Ages, such as tyrany, monarchomachy, the violation of sovereignty, the order ideas and the theory of the king’s two bodies. In the second chapter, Conscience in the Shakespearean Drama and in the Elizabethan and Jacobean Ages, it is presented how these historical problems unchain psychological tensions in some of the Shakespeare’s plays, especially in Macbeth, Richard II, Richard III and Hamlet. In the third one, Psychological Tensions in Macbeth: Conscience and Ambition, it is provided an analysis of conscience and ambition in Macbeth, as a result of a reaction against these collisions between the monarchal State, its superegoic mecanicisms and the individual.
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Ibala, Marcel-Yves. "La connaissance de soi dans la tragédie d'hamlet et dans macbeth." Paris 4, 1987. http://www.theses.fr/1987PA040277.
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Dans cette etude, l'auteur suggere la possibilite de comprendre le drame shakespearien, et plus particulierement les tragedies d'hamlet et de macbeth, a la lumiere de la methodologie platonicienne. Celle-ci est d'actualite a la renaissance anglaise, dans les poesies de spenser et de sidney. Le poete se definit alors comme un humaniste par sa capacite de concevoir la compatibilite entre toutes les sciences a travers son seul art. L'analyse de la tragedie d'hamlet revele l'echo de certains mythes litteraires. Cette tragedie est de ce fait un doublet dans lequel s'agencent, en plus du mythe d'oedipe, ceux de la caverne et d'er. La presence de quelques similitudes entre macbeth et cette tragedie est patente. Toutes deux presentent un univers platonicien - la cite des apparences - par la prise de conscience, hamlet et macbeth finissent par connaitre la realite. Dans ces deux drames lyriques et ontologiques les heros sont aussi des po- litiques doues d'un pragmatisme et d'une ruse propres au machiavelisme. Hamlet choisit les valeurs susceptibles d'assurer l'ascension de son ame vers la beaute absolue et meurt en heros apres avoir retabli l'ordre du royau- me dont il a venge le souverain, son pere. Quant a macbeth le libre-choix des valeurs sensibles le conduit au de- clin. Declin d'un heros qui vend son ame a l'ennemi de l'humanite par concupiscence. Dans son drame antipodal, shakespeare depeint notre humanite. La poesie est une ame par laquelle ce dramaturge immortalise ses herosIn this study, the author suggests the possibility of understanding shakespeare's drama, particularly the tragedies of hamlet and macbeth, in the light of platonic trend. E. Spenser and ph. Sidney dealt with neoplatonism in the english renaissance. A poet was then considered as a humanist, according to his capability to conceive compatibility between all kinds of knowledge through his art. The study of the tragedy of hamlet reveals an echo of literary myths. Thus it is a doublet in which oedipus myth and the myths in the republic-plato's den and the vision of er-are mingled. Some similitudes between this tragedy and macbeth do then appear. Both they belong to the platonic universe, to the world of appearances - the "world of sight" -. Finally, macbeth and hamlet happen to know their "rea- lity". In these two lyric drama versions of the shakespeare's ontology, the he- roes are pragmatical statesmen, endowed with machiavelian "virtu". Hamlet chooses
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Apt, Bryan. "A Wave of Destruction: Time's Inexorable Effects in Hamlet and Macbeth." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078347.
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This thesis explores the typically cited character flaws of Macbeth and Hamlet and asserts that these flaws are not the main cause of their tragic downfalls, but, rather, it is the immense psychological and corporeal stresses created by the inexorable progression of time on the chief characters of Shakespeare’s plays, Macbeth and Hamlet, which lead Macbeth and Hamlet to their destruction. This thesis begins by examining the typical “character flaw” interpretation of Macbeth and Hamlet, which many critics assert, led to their eventual ruin and deaths of many around them. Subsequently, I cite substantial critical evidence from major literary critics, as well as my own close readings of these two plays, both of which quite strongly support my novel argument that the extreme psychological and bodily stresses of time experienced by Hamlet and Macbeth, and, to a lesser extent, by the other main characters in these two plays, rather than simply their character flaws, ultimately lead to their tragedy, loss, and death. I elaborate on my argument by showing how it fits quite well with other major types of critical approaches to literature, including gender-based literary criticism and psychoanalytic and Freudian analysis of Hamlet and Macbeth. I conclude by demonstrating via a novel approach that only through a comprehensive analysis of the emotional and physical tolls of the inescapable progression of time as experienced by Hamlet and Macbeth, and other chief characters, can one achieve an accurate understanding of these two Shakespearean tragedies.
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Loucks, Jessica Lenore. "The nature of nurture : fluids as indicators of naturalness in Macbeth /." Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000579/02/2009FT.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2009.Thesis advisor: Stephen Cohen. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 68-70). Abstract available via the World Wide Web.
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Clausen, Christoph. "Macbeth multiplied : negotiating historical and medial difference between Shakespeare and Verdi /." Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40132819c.
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Suchánková, Eva. "Bedřich Smetana - inspirace Shakespearem se zaměřením na skladbu Macbeth a Čarodějnice." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202976.
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The master thesis deals with the piano sketch Macbeth and the Witches written by Bedřich Smetana. First of all, the reader is familiarized with the biography of B. Smetana, where the deciding moment for writing this music piece is captured. The inspiration by William Shakespeare is put to a broader context with Smetana's work. The original drama is compared with Smetana's music. The sketch has been revised four times since its creation, in 1912 by Jindřich Káan z Albestů, in 1924 by Roman Veselý, in 1961 by Václav Štěpán and in 1981 by Jan Novotný. The last two revisions were compared in detail and many differences were found in the marking of the tempo, the notation, pedalization, dynamics and fingering, last but not least mistakes were found, so their removal was suggested. In the ending of the thesis, there are recommendations concerning the practising of the piece from my own professional experience.
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Schmidt, Angela Maria Atherino. "Processo de apoio a tomada de decisão abordagens : AHP e MACBETH." reponame:Repositório Institucional da UFSC, 1995. https://repositorio.ufsc.br/xmlui/handle/123456789/157951.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-Graduação em Engenharia de Produção.Made available in DSpace on 2016-01-08T19:54:10Z (GMT). No. of bitstreams: 0 Previous issue date: 1995
O processo de tomada de decisão é um processo subjetivo, que o decisor exerce através da percepção e do julgamento sob o seu ponto de vista. Os métodos multicritérios de apoio à decisão caracterizam-se principalmente pela capacidade de analisar problemas incorporando critérios, tanto quantitativos como qualitativos. Duas escolas multicritérios foram criadas paralelamente, a Escola Americana e a Francesa, e sob os princípios destas escolas muitos métodos foram desenvolvidos. Dentre eles, o AHP (Analytic Hierarchy Process), fundamentado na Escola Americana, e o MACBETH (Measuring Attractiveness by a Categorical Based Evaluation Technique), na Escola Francesa. São métodos flexíveis, vão se adaptando às mudanças que ocorrem durante o processo de seleção, aumentando assim a objetividade e eficiência da decisão. O AHP caracteriza-se pela capacidade de analisar o problema de tomada de decisão através da construção de níveis hierárquicos e a comparação par-a-par destes níveis. O MACBETH é um método interativo, que auxilia a construção de uma escala cardinal. As teorias são apresentadas de forma detalhada, seguidas de aplicações que permitem mostrar objetivamente como utilizar as técnicas. Enfoca-se a importância dos métodos na tomada de decisão, e verificam-se as diferenças fundamentais entre elas.
Abstract: The decision-making process is a subjective one, in which the decision-maker uses perceptions and value judgements. Making a decision is task that demands knowledge, security and coherence. By the beginning of the 70’s, a new stage in the decision-making supporting process began to take shape. The shortage of resources (financial, human, etc), as well as the increasing onus of these resources, turned the attention to multicriterion domains. Multicriterion methods supporting decision-making are characterized by their capacity to analyze problems, utilizing both qualitative and quantitative criteria, that are, in many cases, in conflict with each other. They are supported by the principle that in order to make a decision, previous knowledge and experience are just as valuable as the data gathered. Two multicriterion schools - the American and the French school - were created at the same time, and guided by the principles of both, many new methods have been developed. Among them, are the AHP (Analytic Hierarchy Process) and the MACBETH (Measuring Attractiveness by a Categorical Based Evaluation Technique). The former is based on the American School, and the latter, on the French School. Both methodologies have two underlying principles: struturing and evaluation. These methods help the decicion-maker to analyze the information, while facilitating communication and understanding between. They are also flexible methods, which adapt to changes that occur during the selection process, so as to increase objectivity and efficiency of at the moment of decision-making. The AHP method is caracterized by its capacity to analyze the decision-making problem by building hierarchy levels and comparing these levels. MACBETH is an interactive method that helps to construct a cardinal scale. Preferences are semantically determined, and later, through linear programming, are transformed into a numerical value scale. The theories are presented in detail, followed by examples of their application, that show objectively how to use these techniques. This dissertation focuses on the importance of the decision-making methods and verifies the major differences between them.
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Gill, Allen Jacoway. "The Military Figure as Tragic Hero: Understanding the Actions of Macbeth." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625898.
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Bongiolo, Arianna <1991>. "William Shakespeare's Macbeth Problems and Challenges in Staging the Scottish Play." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10871.
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Over the years, Macbeth has been widely admired, but on the stage it has not managed to achieve the “iconic” status of many productions of Hamlet and King Lear. Actually, no other play by Shakespeare has so extensively disappointed the audiences. Moving into the 20th century, Macbeth stage history is littered with failure. Despite the play’s bold outline, there are in fact, specific difficulties which any director must confront. The first of these is the role and staging of the supernatural elements of the play, specifically the Witches, the dagger, and Banquo’s ghost. It has proved to be very challenging to find a convincing way to stage the witches for modern audiences without falling into merely comic stereotypes. Another major problem seems to be the close concentration on two central figures, Macbeth and Lady Macbeth who need to be unusually well matched. This has proved to be very difficult to achieve. The play is also unusual in its portrait of two people going through a crisis together and in the lack of vivid secondary characters such as Mercutio in Romeo and Juliet or Hamlet’s Ophelia. The focus is so strongly on the two leading performers that the lives of the other cannot sustain the comparison. There has, however, been considerable interest in the witches who opens the play dramatically.
Success in staging Macbeth has lately been the exception rather than the rule; but there have been successes. A rare case of fully satisfying performance is Trevor Nunn’s Macbeth. In 1976 he directed Ian McKellen and Judi Dench at The Other Place theatre in Stratford-upon-Avon giving to the audience one of the most successful productions of the play. In 1978, the performance was recorded for television and critics proclaimed it the best since the famous Laurence Olivier –Vivien Leigh production at Stratford Upon Avon in 1955. That landmark production survives only through the director’s promptbook, photographs, reviews and reconstructed staging of the story .
The aim of this work is to see how the staging of Macbeth has changed in its history to date. The issues raised briefly in this introduction will recur: the features of the Elizabethan period and theatres, Macbeth in performance, the importance of adaptation and the audience reception of the play.
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Pinent, Antoni. "Dreaming “Macbeth’s film Project”. La práctica artística como investigación. Proceso de construcción del proyecto cinematográfico “Macbeth / The Empire State” y su contextualización." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/374246.
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El trabajo que aquí se presenta trata de dar cuenta del trayecto frustrado a lo largo de más de un lustro. La intención inicial era tratar de poner en pie un proyecto de largometraje cinematográfico, para que éste se convirtiera en objeto de estudio para el trabajo de tesis. Viéndose frustrado en varios intentos en su pre-producción, y llegando a las fechas establecidas para la conclusión y la entrega de la tesis, lo que se incluye aquí es el trabajo realizado hasta el momento durante ese camino. En éste se traslada el recorrido establecido desde la primera idea, su particular casting, el contexto en el que se podría encasillar este tipo de película, las intenciones artísticas para afrontar el proyecto, las diferentes piezas con las que se va construyendo su corpus de imagen y sonido, los titubeos reflejados en el propio proceso creativo del mismo, así como un gran 'anexo / portafolio' con varios materiales allí reunidos como cuaderno de bitácora.
Es por tanto que el trabajo de tesis que aquí inicia, es un viaje para ayudar a imaginar el potencial proyecto cinematográfico que concluirá más allá de este primer cierre [el de la tesis], para seguir su camino en solitario.The work presented here tries to explain the failed path over more than five years. The initial intention was to try to put in place a feature film project, so that it became an object of study for the thesis. Seeing several attempts frustrated in its pre-production, and coming to the dates set for the completion and delivery of the thesis, what is included here is the work done so far in that direction. In this travel set from the first idea, his particular casting, the context in which they could classify this kind of film, the artistic intentions to tackle the project, the different pieces that are being built moves his body image and sound, the hesitation reflected in the creative process of it himself; as well as a great 'Annex / Portfolio' with various materials gathered there as logbook. It is therefore the thesis work starts here, it is a journey to help imagine the potential film project which will conclude beyond this first closing [the thesis], to follow his path alone.
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Santana, Aparecida de Oliveira. "Impactos e desdobramentos do Curadermite : uma tecnologia gerada pela Embrapa Tabuleiros Costeiros." Universidade Federal de Sergipe, 2006. https://ri.ufs.br/handle/riufs/4078.
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The human environment intervenience aiming the progress and the yields increases has been causing social, economic and environmental unbalance. Since the
nineties, the raise of environmental conciousness has induced the search for higher production, with a lower environmental impact, redefining a new vision of the natural resources economic exploitation. Brazil has a clear tradition in developing technologies for agriculture. Embrapa, the Brazilian Corporation for Research in Agriculture develops research offering its results, products and services to the society. However, part of these tecnologies are not intensely adopted by the society resulting in investment losses and consequent delay in the country development. As a result of Embrapa´s research center for the coastal tablelands activities there is the Curadermite a drug useful in live stock hoofs infections healing. This current research intended to identify and analyse the limiting factors for adoption and insertion of Curadermite in the livestock industry activities in the northeast of Brazil. The data was a result of a research survey carried out with producers, extension service people, researchers and statistical poles available at IBGE and Embrapa. The analisis of Curadermite impact considered the methodology of strenght decision multicriterion, with Macbeth approaching. The study revealed the khowledge limitation of Curadermite in Bahia and Sergipe States; well as in the scientific and academic medium; and a conflict of interests and discrepancies between the product manufactures and the consumers regarding the many factors that might refrain the complete adoption of the technology. This case study reveals the necessity of a detailed analysis as well as a
strategical review in the marketing and in the comercialization of Embrapa´s tecnologies. This research presents, as inovation, the adaptation of the Macbeth tecnology for use in impacting analysis based on field survey data. It was considered as a efficient tool to the
equiliibrium and ponderation of the impact evaluation of the tecnology adoption on this study.A atuação do homem no meio ambiente em busca do aumento de produção e progresso tem causado desequilíbrios econômicos, sociais e ambientais. A partir da década de 90, com o aumento da consciência ambiental, buscam-se alternativas tecnológicas para o aumento da produção com a minimização dos impactos ambientais, redefinindo uma nova visão de exploração econômica dos recursos naturais. O Brasil tem uma longa tradição em gerar tecnologia para a agricultura e a Embrapa Empresa Brasileira de Pesquisa Agropecuária desenvolve pesquisas na área agrícola e pecuária sendo seus principais resultados tecnologias, produtos e serviços oferecidos à sociedade. Todavia, grande parte das tecnologias desenvolvidas pela Embrapa e em outras instituições de pesquisa nem sempre são incorporadas ao cotidiano da sociedade, implicando em prejuízos nos investimentos e em atrasos no desenvolvimento do país. Como resultado das atividades de pesquisa na Embrapa Tabuleiros Costeiros destaca-se, dentre outras, o desenvolvimento do Curadermite medicamento usado na prevenção e tratamento de infecções nos cascos de ovinos, caprinos e bovinos. Este trabalho teve como objetivo identificar e analisar os fatores limitantes à adoção e incorporação do Curadermite na atividade agropecuária da região nordeste do Brasil. As informações utilizadas são oriundas de levantamentos feitos junto a produtores, extensionistas e pesquisadores que atuam na região, além das bases de dados do IBGE e da Embrapa. A análise dos impactos do Curadermite foi feita sob o enfoque da metodologia multicritério de apoio à decisão com a abordagem Macbeth. O estudo revela a limitação do conhecimento do Curadermite aos estados da Bahia e Sergipe; a falta de penetração do conhecimento do produto nos meios científicos e acadêmicos; e os conflitos existentes entre a percepção da empresa e a dos usuários potenciais da tecnologia, no que tange a importância relativa atribuída aos principais fatores envolvidos na sua adoção. Tais fatos indicam a necessidade de revisão da estratégia de marketing e comercialização de tecnologias pela Embrapa. O trabalho apresenta, como inovação, a adaptação da metodologia Macbeth para o uso em análise de impactos com base em levantamento de campo, a qual se mostrou um instrumento eficaz para a ponderação e equilíbrio na avaliação de impactos na adoção da tecnologia avaliada nesse trabalho.
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Collick, J. "Witchcraft by a picture, areas of resistance in Shakespearean film." Thesis, University of Sussex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384745.
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Traditionally a Shakespeare film is seen as an act of translation from one idealised source of meaning (the text) to another (the language of cinema). This approach dismisses or misinterprets the majority of films made because they are either silent or foreign. Silent films, it is claimed cannot recreate the text. Many foreign films distort the plays' 'meaning' to cater for their audiences. This thesis challenges these assumptions by analysing two representative examples from these 'areas of resistance', Rather than compare these to an ideal concept of the plays it seeks to contextualise the films in their social and historical positions. The subjects chosen are the silent films made prior to 1912, and Kurosawa's Kumonosu jo (Macbeth. 1957). By studying the history of nineteenth Shakespeare presentation in art, literature and the theatre this thesis demonstrates that the pre-1912 films were part of a long-established tradition of silent and spectacular performances. Between 1907 and 1912 British companies used this tradition to try and create a high-class style of film to challenge the influx of mass-produced narrative-base melodramas from North America. The second section describes how Shakespeare was used by a nascent class of urban intellectuals in 19th and 20th century Japan to define the problems of the individual's relationship to the state. Kumonosu jo , a film by a self-confessed liberal humanist, perpetuates this tradition by formulating a nihilist study of militarism using the structures of the Noh theatre. Finally the thesis points out that each of these areas of film is emblematic of the position of Shakespeare in a specific culture at a specific time. Only an analysis which seeks to understand a film as a historically conditioned act of meaning can avoid the mis-readings and sweeping appropriations that non-orthodox Shakespeare films have been subject to in the past.
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Myers, Lynette Mary. "The poetry of prevarication : a study of the functional integration of style and imagery with character andaction in Shakespeare's Macbeth / Lynette Mary Myers." Thesis, Potchefstroom University for Christian Higher Education, 1985. http://hdl.handle.net/10394/10076.
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I have proved that prevarication is a current that initiates the evil actions
that are committed.
I have traced some of the oblique, dishonest euphemisms used by Macbeth
and Lady Macbeth in their language in their attempt to deceive
themselves and others of their intentions. This linguistic device sharpens
our awareness of their prevarication and avoidance of facing the truth,
and their attempt at self-deception and equivocation. They enter into
physical and spiritual duplicity.
The Witches are structurally important and function in contributing to the
ambiguous action of the play, and initiate the symbolism of darkness and
evil that prevails. Macbeth's echoic diction links him to the forces of
equivocation. Banquo dismisses their information, whereas Macbeth's
empathy with the Witches and his ripeness for corruption result in the
same information becoming disinformation to him.
Macbeth's prevarication continues in order to secure his position obtained
through heinous crimes and his lack of integrity in a world where it is
difficult to distinguish appearance and reality.
Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a
prevaricator by means of obliquity and mutual intrigue, and shows her
shrewdness and hypocrisy towards Duncan. She undermines logic,
imagination and metaphysics and overpowers Macbeth's indecision to
commit the murder, as she acts as a "thorn" to his conscience challenging
his manhood and courage. Macbeth is coerced into acceding to the
murder as a result of Lady Macbeth's bombastic exposure of the frailties
violated by evil.
The images of blood and sight merge when Macbeth sees his horrific hands
after the murder a murder that symbolically "murders" sleep.
Shakespeare uses the Porter to indicate the "equivocator" is synonymous
with Macbeth, the prevaricator.
Storms accompany the central action of the murder of Duncan, and the
tremendous upheaval of nature reflects the tempest roaring within
Macbeth. Macbeth's swollen, puffed up, deceptive language in his false
declaration of his mourning for the loss of Duncan, illustrates his ability
to prevaricate at his best. After Duncan's murder, Macbeth continues to
secure his power and security by his desperate series of futile murders,
which he commits without a moral self-catechismal examination of his
conscience: he prevaricates with impunity.
From their earlier close intimate association there is a deterioration in
the relationship between Macbeth and Lady Macbeth: their ways have
separated through guilt and lack of trust. Lady Macbeth declines to a
languid, exhausted woman in the sleep-walking scene, as she recalls her
past crimes and atrocities. Her personal confusion, anguish and
disorientation result in a cataclysmic shudder that leads to her physical
and spiritual implosion. Macbeth remains physically aggressive. His
tactics for his physical confrontation with death are irrevocable: he
suffers an isolated spiritual implosion in his virtual negation of life.
I have shown that Macbeth is an orchestrated composition in which
prevarication is the tool used for furthering ambition that motivates the
action of the drama.Thesis (MA)--PU vir CHO, 1986
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McFall, Edwin K. "Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10234.
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Curtis, T. L. "The life and times of a literary chameleon, Madge Hamilton Lyons Macbeth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ27490.pdf.
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Hays, Michael Louis. "Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear /." Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.
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Lejri, Sélima. "Dionysisme et possession démoniaque dans les Bacchantes d'Euripide et Macbeth de Shakespeare." Paris 3, 2006. http://www.theses.fr/2006PA030033.
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Bien qu'il n'y ait pas de preuves satisfaisantes quant à l'apprentissage classique de Shakespeare et à l'éventuelle filiation grecque de sa tragédie, on peut néanmoins s'interroger sur les parallélismes parfois frappants, entre, d'un côté, les principales facettes du dionysisme (phénomène de possession et de transe propre au dieu grec Dionysos) tel qu'il est dépeint par Euripide dans Les Bacchantes, et de l'autre, ses diverses déclinaisons (sorcellerie, hystérie, troubles politiques, bouc émissaire, retour du monde vert, etc. ) dans Macbeth. Au-delà des limites de l'influence directe ainsi que du mythe propre à Dionysos, la problématique de l'intertextualité permet de proposer une lecture à la fois anthropologique et psychanalytique des deux œuvresEven though there is no evident proof concerning Shakespeare's familiarity with the classics and eventually the Greek affiliation of his tragedies, we may raise questions about the parallelism, sometimes blatant, between, on the one hand, the major facets of Dionysianism (trance and possession phenomena proper to the greek god Dionysus) as depicted by Euripides in The Bacchae and, on the other hand, its various configurations (witchcraft, hysteria, political turmoil, scapegoating, the vegetative cycle, etc. ) in Macbeth. Beyond the limits of direct influence and the specific Dionysian myth, we suggest an intertextual reading of both works based on anthropological and psychoanalytic perspectives
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McCleary, Mary. "Textual composition and the Macbeth, Othello, and Falstaff of Shakespeare and Verdi." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32035.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti. The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort.
2031-01-02
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Andrade, Gustavo Naciff de. "Utilização do método multicritério Macbeth para agregar os outputs em análise envoltória de dados." Niterói, 2017. https://app.uff.br/riuff/handle/1/4074.
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Medir a eficiência levando em consideração as preferências de um decisor estabelecidas a priori. Para tanto propõe-se a integração da modelagem de Análise Envoltória de Dados (DEA) e a metodologia multicritério Measuring Attractiveness by a Categorical Based Evaluation Technique (MACBETH) através de um problema de programação linear integrado. São propostas duas abordagens de integração. A primeira delas, denominada DEAMACBETH, agrega os outputs do modelo usando a lógica MACBETH. Nesta abordagem, quando se realiza a transformação característica de MACBETH nos pesos dos outputs, chegase aos mesmos pesos das trocas que o modelo multicritério sugeriria para uma mesma matriz de julgamentos. A segunda abordagem deriva da primeira, mas busca utilizar as restrições de MACBETH como restrições aos pesos em DEA, por esta razão é denominada DEAMACBETH-WR (WR – Weight Restrictions). É proposto um algoritmo que utiliza um parâmetro do modelo anterior para possibilitar uma flexibilização na razão dos pesos do modelo permitindo uma maior flexibilidade na atribuição aos pesos do que o modelo DEAMACBETH. Por fim, é apresentado um estudo de caso em que se busca avaliar o portfólio de investimentos em projetos por distribuidora no âmbito do Programa de Eficiência Energética (PEE) da ANEEL. Os resultados evidenciam como diferentes matrizes de julgamento conduzem a rankings diferentes de distribuidoras para ambas as abordagens desenvolvidas.
This study aims to develop a new methodology to measure the efficiency taking into account the preferences of a decision maker. It is proposed the integration of Data Envlopment Analysis (DEA) and the multicriteria methodology Measuring Attractiveness by a Categorical Based Evaluation Technique (MACBETH) through an integrated linear programming problem. Two approaches to this integration are proposed. The first, called DEA-MACBETH, aggregates the outputs of the model using MACBETH logic. This fact is proven when performing the transformation, characteristic of MACBETH, in the weights of outputs and comes up to same swing weights that the multi-criteria model would suggest to the same judgments matrix. The second approach is derived from the first but uses MACBETH restrictions such as restrictions on weights in DEA. For this reason this second approach is referred DEA-MACBETH-WR (WR - Weight Restrictions). It is proposed an algorithm which uses a previous model parameter to allow flexibility in the weights in comparison to the DEA-MACBETH model. Finally, it is presented a case study in which the objective is to evaluate the portfolio of investments for brazilians distributors in Energy Efficiency Program Project (EEP). The results show how different judgment matrix can lead to different rankings of distributors for the developed approaches.
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Habington, William A. "Necessary evil, the interplay of compulsion and necessity in Doctor Faustus and Macbeth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ36458.pdf.
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Greiffenhagen, Christian. "'Macbeth ex machina' : an ethnomethodological study of computer-based storyboarding in school classrooms." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401069.
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O'Neill, Sinéad. "A history of opera in performance : Verdi's Macbeth at Glyndebourne, 1938 to 2007." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1319.
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This dissertation is a history of Glyndebourne Festival Opera’s productions of Verdi’s Macbeth. The first three chapters document each of the three productions, which are directed by Carl Ebert (1938), Franco Enriquez (1964), and Richard Jones (2007). The final chapter is an analysis – focusing on the score’s staging potential – of the opera itself. The analysis is used to draw together and clarify the various staging interpretations discussed in the previous three chapters. The Glyndebourne Archives form the main source for the first two chapters, and my observation of rehearsals and performances informs the third. Historical context is particularly important in the first chapter, while dramaturgical analysis comes to the fore in the second and third. In all cases, the individual production as art work is the main subject of my research. The interaction of music and stage is of particular importance. The methodological challenges presented by exploring something as ephemeral as live performance are discussed in the introduction, and kept in mind throughout. This dissertation is the first major study of Glyndebourne Festival Opera’s creative work. As such, it takes a first step towards the scholarly investigation of the history of opera production in Britain.