To see the other types of publications on this topic, follow the link: Plays (Shakespeare, William).
Dissertations / Theses on the topic 'Plays (Shakespeare, William)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 49 dissertations / theses for your research on the topic 'Plays (Shakespeare, William).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
2
De, Waal Marguerite Florence. "Revelatory deceptions in selected plays by William Shakespeare." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62673.
Full textAbstract:
This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays.Dissertation (MA)--University of Pretoria, 2017.
English
MA
Unrestricted
3
Fenstermaker, Rosemary A. "From tragedy to romance forgiveness in Shakespeare's last plays /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.A.)--Kutztown University of Pennsylvania, 1994.Source: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
4
Eward-Mangione, Angela. "Decolonizing Shakespeare: Race, Gender, and Colonialism in Three Adaptations of Three Plays by William Shakespeare." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5628.
Full textAbstract:
What role did identification play in the motives, processes, and products of select post-colonial authors who "wrote back" to William Shakespeare and colonialism? How did post-colonial counter-discursive metatheatre function to make select post-colonial adaptations creative and critical texts? In answer to these questions, this dissertation proposes that counter-discursive metatheatre resituates post-colonial plays as criticism of Shakespeare's plays. As particular post-colonial authors identify with marginalized Shakespearean characters and aim to amplify their conflicts from the perspective of a dominated culture, they interpret themes of race, gender, and colonialism in Othello (1604), Antony and Cleopatra (1608), and The Tempest (1611) as explicit problems. This dissertation combines post-colonial theory and other literary theory, particularly by Kenneth Burke, to propose a rhetoric of motives for post-colonial authors who "write back" to Shakespeare through the use of counter-discursive metatheatre. This dissertation, therefore, describes and analyzes how and why the plays of Murray Carlin, Aimé Césaire, and Derek Walcott function both creatively and critically, adapting Shakespeare's plays, and foregrounding post-colonial criticism of his plays.
Chapter One analyzes Murray Carlin's motivations for adapting Othello and using the framing narrative of Not Now, Sweet Desdemona (1967) to explicitly critique the conflicts of race, gender, and colonialism in Othello. Chapter Two treats why and how Aimé Césaire adapts The Tempest in 1969, illustrating his explicit critique of Prospero and Caliban as the colonizer and the colonized, exposing Prospero's insistence on controlling the sexuality of his subjects, and, therefore, arguing that race, gender, and colonialism operate concomitantly in the play. Chapter Three analyzes A Branch of the Blue Nile (1983) as both a critique and an adaptation of Antony and Cleopatra, demonstrating how Walcott's framing narrative critiques the notion of a universal "Cleopatra," even one of an "infinite variety," and also evaluates Antony as a character who is marginalized by his Roman culture. The conclusion of this dissertation avers that in "writing back" to Shakespeare, these authors foreground and reframe post-colonial criticism, successfully dismantling the colonial structures that have kept their interpretations, and the subjects of their interpretations, marginalized.
5
Chow, Po-fun Wendy. "Carnivalization and subversion of order in comic plays, with reference to Shakespeare's Twelfth night and Herry IV." [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12363030.
Full text
6
Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
Full text
7
Maquerlot, Jean-Pierre. "Shakespeare and the mannerist tradition : a reading of five problem plays /." Cambridge [GB] : Cambridge university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37171908f.
Full text
8
Shields, Timothy Brian. "Seething brains : images of madness in the world of Shakespeare's plays." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390134.
Full text
9
Keller, Stefan Daniel. "The development of Shakespeare's rhetoric a study of nine plays." Tübingen Francke, 2004. http://d-nb.info/994297769/04.
Full text
10
Dixon, Luke. "The performance of gender with particular reference to the plays of Shakespeare." Thesis, Middlesex University, 1998. http://eprints.mdx.ac.uk/6384/.
Full textAbstract:
An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of 'As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of 'Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from 'Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience participation.
11
Jayawickrama, Sarojini. "Carnival, carnivalisation and the subversion of order, with reference to Shakespeare's Henry IV and Henry VI." Thesis, [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13115601.
Full text
12
Chen, Xing. "Reconsidering Shakespeare's 'Lateness' : studies in the last plays." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10579.
Full textAbstract:
Shakespeare’s last plays, because of their apparent similarity in thematic concern, dramatic arrangements and stylistic features, are often considered by modern scholarship to form a unique group in his canon. Their departure from the preceding great tragedies and their status as an artist’s last works have long aroused scholarly interest in Shakespeare’s lateness—the study, essentially, of the relationship between his advancing years and his last-period dramatic output, encompassing questions such as ‘Why did Shakespeare write the last plays?’, ‘What influenced his writing?’, and ‘What is the significance of these plays?’. Answers to the questions are varied and often contradictory, partly because the subject is the elusive Shakespeare, and partly because the concept of lateness as an artistic phenomenon is itself unstable and problematic. This dissertation reconsiders Shakespeare’s lateness by reading the last plays in the light of, but not bound by current theories of late style and writing. The analysis incorporates traditional literary, stylistic and biographic approach in various combinations. The exploration of the works (Pericles, Cymbeline, The Winter’s Tale, The Tempest, Henry VIII and The Two Noble Kinsmen), while underlined by an interest in their shared concern with the effect, power and the possibilities of art and language, also places an emphasis on each play’s special, distinct features and contexts. A pattern of steady artistic development is revealed, bespeaking Shakespeare’s continued professional energy and ongoing self-challenge, which are, in fact, at the centre of his working methods throughout his career. The dissertation therefore proposes that Shakespeare’s ‘lateness’ is in fact a continuation of his sustained dramatic development instead of, in terms of working attitude and methods, a brand new, sharply different phase, and that his last plays are the result of his, as it were, ‘working as usual’. It also suggests that occasionally ‘ungrouping’ the plays, which frees the critic from perspectives preconditioned by classifying them under labels such as ‘romances’ and ‘tragicomedies’, might yield fruitful insight into late Shakespeare.
13
Elton, Gillian Heather. "Gendered lives : patriarchy and the men and women in Shakespeare's early history plays /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0007/MQ42373.pdf.
Full text
14
Olchowy, Rozeboom Gloria. "Bearing men : a cultural history of motherhood from the cycle plays to Shakespeare." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56598.pdf.
Full text
15
Abels, Rolf. "Die Ökonomie der Macht in William Shakespeares history plays : Politik und Ideologie im frühmodernen Diskurs /." Marburg : Tectum verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb39074002q.
Full text
16
Bertin, Marilise Rezende. "Traduções, adaptações, apropriações: reescrituras das peças Hamlet, Romeu e Julieta e Otelo, de William Shakespeare." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-31072009-153332/.
Full textAbstract:
The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton.The present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton.
17
Cephus, Heidi Nicole. "Corporeal Judgment in Shakespeare's Plays." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.
Full textAbstract:
In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres of thought to challenge Puritan accusations that the public theater audience is incapable of rational judgment. The first chapter outlines the parameters of the project. In Chapter 2, I argue that Richard II draws parallels between the theatrical community and the community created through the sacramental experiences of baptism and communion to show that bodies play a crucial role in establishing common experience and providing an avenue for judgment. In Chapter 3, I argue that Shakespeare establishes correspondences between bodily and social collaboration to show how both are needed for the memory-making project of the theater. In the next chapter, I show how Shakespeare appropriates what early moderns perceived of as the natural vulnerability in English bodies to suggest the passionate responses associated with impressionability can actually be sources of productive judgment and self-edification. I argue the storm models this passionate judgment, providing a guide for audience behavior. In Chapter 5, I argue that the memories created by and within the women in The Winter's Tale evoke the tradition of housewifery and emphasize the female role in preservation. Female characters stand in for hidden female contributors to the theater and expose societal blindness to women's work. Through each of these chapters, I argue that Shakespeare's plays emphasize the value of bodily experience and suggest that the audience take up what I have termed "corporeal judgment."
18
Du, Toit Seugnet. "Of discourse and dialogue : the representation of power relationships in selected plays by Shakespeare." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53758.
Full textAbstract:
Thesis (MA)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: In this thesis I will look at the way in which power relationships are presented in Shakespeare's dramas, with specific reference to the so-called ''Henriad'', Measure for Measure and The Tempest. Each play consists of a network of power relationships in which different forms of power interact on different levels. Different characters in the above-mentioned plays have access to different forms of power according to their position within these networks. The way in which the characters interact could also cause or be influenced by shifts and changes in the networks of power relationships that occur in the course of the action. I will use Michel Foucault's theories on the relationship between power, knowledge and discourse as a guide to my analysis of Measure for Measure. I will also use selected aspects of Mikhail Bakhtin's theories on language and literature, with specific references to the concepts of "dialogism" and "heteroglossia" or "manyvoicedness", as well as his concept of carnival, which implies a temporary inversion in power relationships in an unofficial festive context, as a guide to my analysis of the Henriad. I will use a combination of the theories of Foucault and Bakhtin in my analysis of The Tempest. I have chosen the terms "discourse" and "dialogue" as key terms in the title of this thesis not only because they play an important role in the theories of Foucault and Bakhtin respectively, but also because they play an important role in the analysis and representation of power relationships. According to Robert Young, Foucault relates ''the organisation of discourse ...to the exercise of power" (10). One could also say that the power relationships in a society are reflected in the portrayal of a dialogue between different voices representing different sections of or classes in that society as in Bakhtin's principles of dialogism. I will explain the overall importance of these terms in more detail in the Introduction and the other relevant chapters. In the introductory chapter I will first provide a theoretical background for the thesis as a whole. Then I will look at the specific theoretical principles that are relevant to each chapter. In the chapter on the Henriad I will look at the way in which an alternative perspective on power relations and the role of the king are created by looking at them from the perspective of Bakhtin's concept of carnival. In the next chapter, I will show how Measure for Measure presents us with an evaluation of different strategies of power, which I will look at from the perspective of Foucault's theories on power, knowledge and discourse. In my chapter on The Tempest I will combine aspects of both theories in my analysis of a play that presents us with a complex analysis of power relationships as a social phenomenon. In the concluding chapter I will look at the different perspectives on power relationships that emerged from my previous chapters and attempt to see what its implications are for the representation of power relationships in Shakespeare's work and perhaps as a social phenomenon.
AFRIKAANSE OPSOMMING: In hierdie tesis gaan ek kyk na die wyse waarop magsverhoudinge uit gebeeld word in Shakespeare se dramas, met spesifieke verwysing na die sogenaamde "Henriad", Measure for Measure en The Tempest. Elke drama bestaan uit 'n netwerk van magsverhoudinge waarin verskillende vorme van mag op verskillende vlakke wisselwerking uitoefen. Verskillende karakters in bogenoemde dramas het toegang tot verskillende vorme van mag volgens hul posisie in die netwerke. Die manier waarop die wisselwerking tussen die verskillende karakters plaasvind kan ook verskuiwings en veranderinge in die netwerk van magsverhoudinge in die loop van die aksie veroorsaak, of daar deur beïnvloedword. Ek gaan Michel Foucault se teorieë oor die verhouding tussen mag, kennis en diskoers as 'n gids tot my analise van Measure for Measure gebruik. Ek gaan ook uitgesoekte aspekte van Mikhail Bakhtin se teorieë oor taal en literatuur, met spesifieke verwysing na die konsepte van "dialogisme" en "heteroglossia" of "meerstemmigheid", sowel as sy konsep van karnaval, wat 'n tydelike ommekeer in magsverhoudinge in 'n onoffisiële feestelike konteks impliseer, as 'n gids tot my analise van die Henriad gebruik. Ek sal 'n kombinasie van die teorieë van Foucault en Bakhtin gebruik in my analise van The Tempest. Ek het die terme "discourse" en "dialogue" as sleutel terme in die titel van hierdie tesis gebruik, nie net omdat hulle 'n belangrike rol in die teorieë van Foucault en Bakhtin onderskeidelik speel nie, maar ook omdat hulle 'n belangrike rol in die analise en uitbeelding van magsverhoudinge speel. Volgens Robert Young verbind Foucault die manier waarop diskoers georganiseer word met die uitoefening van mag (10). Mens kan ook sê dat die magsverhoudinge in 'n gemeenskap gereflekteer word in die uitbeelding van 'n dialoog tussen verskillende stemme wat verskillende dele van of klasse in die gemeenskap verteenwoordig soos in Bakhtin se beginsel van dialogisme. Ek sal die algehele belang van hierdie terme in meer besonderhede bespreek in die inleidingen die ander relevante hoofstukke verduidelik. In die inleidende hoofstuk gaan ek eers 'n teoretiese agtergrond vir die tesis as geheel verskaf Dan sal ek kyk na die spesifieke teoretiese beginsels wat relevant is tot elke hoofstuk. In die hoofstuk oor die Henriad gaan ek kyk hoe 'n alternatiewe perspektief op magsverhoudinge en die rol van die koning geskep word deur hulle te beskou van uit die perspektief van Bakhtin se konsep van karnaval. In die volgende hoofstuk sal ek kyk hoe Measure for Measure 'n evaluasie van verskillende magsstrategieë aan ons voorlê, waarna ek gaan kyk van uit die perspektief van Foucault se teorieë oor mag, kennis en diskoers. In my hoofstuk oor The Tempest gaan ek aspekte van albei die teorieë kombineer in 'n drama wat 'n komplekse analise van magsverhoudinge as 'n sosiale verskynsel aan ons voorln sosiale verskynsel aan ons voorlê. In die laaste hoofstuk gaan ek kyk na die verskillende perspektiewe op magsverhoudinge wat voortspruit uit die voorafgaande hoofstukke en kyk wat die implikasie daarvan vir die uitbeelding van magsverhoudinge in Shakespeare se werk en as 'n sosiale verskynsel is.
19
Leahy, William Jarleth. "Pageants, processions and plays : representations of royal and state power and the common audience in early modern England." Thesis, Brunel University, 2000. http://bura.brunel.ac.uk/handle/2438/4315.
Full textAbstract:
This thesis examines certain important aspects of theatrical practice in earlymodern England, as they were manifested in Shakespeare's history plays and pageant literature produced for Queen Elizabeth 1 on procession. This study regards the events marked by these two literary forms as discrete though related theatrical formations, and seeks to examine and question the ways in which Shakespearean criticism and pageant analysis regard both genres as aesthetically equivalent as well as being cultural forms both characterised and linked by their valorisation of state authority. This thesis asserts that such a conceptualisation simplifies the nature of the plays and the pageants as material events, as well as the literature produced for these events. Instead, it argues that a closer examination of the human context in which pageants, processions and plays occurred, and in which the literature for them was performed, enables the construction of an alternative viewpoint. A reprocessing of primary and secondary material while prioritising the fact that a large proportion of audiences who witnessed the pageants, processions and plays were comprised of the common people of early modern England, allows for different perceptions of these cultural events. The presence of these common people has traditionally been either ignored or undervalued and, through a close examination of contemporary records, this thesis proceeds to argue that, as they were the targets of official, dominant ideology, their presence was significant.
20
Jancsó, Daniella. "Excitements of reason the presentation of thought in Shakespeare's plays and Wittgenstein's philosophy." Heidelberg Winter, 2006. http://d-nb.info/98605559X/04.
Full text
21
Basile, Marius. "The quest for harmony in the final plays of William Shakespeare through divine love in relation to the pastoral tradition." Paris 10, 1994. http://www.theses.fr/1994PA100032.
Full textAbstract:
Shakespeare, dans ses dernières œuvres, traite sur le plan dramatique le thème des retrouvailles, de la réconciliation et du pardon. Shakespeare, par une nouvelle approche dramatique, montre aussi comment un homme retrouve sa précédente situation dans la vie en parfaite harmonie. Ce phénomène qui était présent au début de toutes ses dernières pièces, s'est perdu à cause d'un mal quelconque ou d'un méfait. Shakespeare démontre comment cette harmonie perdue a été retrouvée dans chaque pièce d'une façon cyclique. Dans toutes ses dernières œuvres, le dramaturge présente deux groupes différents de personnages évoluant dans deux mondes différents : les méchants, dans un monde naturel et les innocents dans un monde pastoral. Dans le monde naturel, au commencement, il y a les parents et les enfants, mais à cause des mauvaises actions des parents, les enfants ont été séparés. Le premier groupe reste dans le monde sophistique ou naturel pour souffrir et se repentir et le deuxième, les innocents, qui sont les victimes des premiers, ont été élevés en même temps dans un monde pastoral. A la fin, les parents, dans leur état de rédemption, retrouvent leurs enfants pour vivre en harmonie avec eux. Shakespeare présente le même processus dans toutes ses dernières pièces : "le conte d'hiver", "la Tempête" et "Cymbeline ", à travers l'exemple d'une famille bien organisée. Dans chaque pièce, l'histoire commence dans une famille royale harmonieuse avec tous les membres de la famille. Querelles, conflits à cause de la passion, de l'orgueil et des convoitises etc. . . Brisent l'atmosphère d'harmonie et cause la séparation éventuelle des enfants de la famille. Les membres sépares de cette famille royale se trouvent dans différents milieux sociaux. Les parents sont dans leur résidence royale, à l'exception de "la Tempête", et les enfants sont dans un milieu primitif ou pastoralShakespeare, in his final plays, dramatically deals with the theme of reunion, reconciliation and forgiveness. Shakespeare, through a new dramatic approach, also shows how a man regains his former state of affairs in life in perfect harmony. This phenomenon, which was present at the initial stage in all his final plays, has been lost, because of some evil or misdeeds. Here Shakespeare demonstrates how this lost harmony has been regained in each play through a circular pattern of movement. In all his final works, the playwright presents two different groups of people in two different worlds: evil-doers, in a sophisticated or naturel world and innocent people in a pastoral world. In the natural world, at the beginning, there are parents and children. Because of the parents’ evil deeds, the children have been separated. The former remains in the natural world to suffer and repent and the latter, the innocent, who are the victims of the former, have been brought up, at the same time, in the pastoral world. At the end, the parents, in their redeemed state, meet their children to be in harmony with them. Shakespeare presents the same process in all his final plays: "the winter's tale, "the tempest" and "Cymbeline", through h a well-organized family. In each play, the story begins in a harmonious royal family with all its family members. Disputes and conflicts, because of the passion, pride, lusts etc. . . Break this harmonious atmosphere, causing the eventual separation of the children from the family. The separated members of this royal family find themselves in different social surroundings. The parents are in their courtly residence, with the exception of "the tempest", and the children are in a primitive milieu or in a pastoral environment
22
Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.
Full textAbstract:
This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.In the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
23
Fagan, Dianne. ""The dark house and the detested wife" : sex, marriage and the dissolution of comedy in Shakespeare's problem plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37204.pdf.
Full text
24
O'Neill, Fionnuala Ruth Clara. "Beyond tragedy : genre and the idea of the tragic in Shakespearean tragedy, history and tragicomedy." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7841.
Full textAbstract:
This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare’s deployment of the complex trope of “nothing”. “Nothing” as a rhetorical trope and metaphysical idea appears across many of the tragedies, often becoming a focal point for the dramatic representation of scepticism, loss and nihilism. The trope is often associated with the space of the theatre, and sometimes with the dramaturgy of tragedy itself. However, it is also deployed within the histories and tragicomedies at certain moments which might equally be called tragic. “Nothing” therefore provides a starting-point for thinking about how the genres of history and tragicomedy engage with tragedy. Part I focuses on tragedy, including extended readings of Timon of Athens and King Lear. It explores Shakespearean drama as a response to the pressures of the early modern cultural preoccupation with, and anxiety about, scepticism. Stanley Cavell and other critics of early modern dramatic scepticism have tended to locate this engagement with scepticism within tragedy. However, this section shows that the same sceptical problematic is addressed across Shakespearean dramatic genres, with very different results. It then explores why scepticism should display a particular affinity for tragedy as a dramatic genre. Part II focuses on history, with particular reference to Richard II and Henry V. The trope of “nothing” is used as a starting-point to explore the intersection between Shakespearean history and tragedy. Engaging with Walter Benjamin’s theory of baroque tragedy as Trauerspiel (mourning-plays) rooted in history, it argues that Trauerspiel provides a useful generic framework against which to consider the mournful aesthetic of Shakespeare’s histories. Part III focuses on early modern tragicomedy and The Winter’s Tale, asking how Shakespeare achieves the transition from tragedy to tragicomedy in his later writing. It explores tragicomedy’s background on the early modern stage in theory and practice, paying particular attention to Guarini’s theory that pastoral tragicomedy frees its hearers from melancholy, and to the legacy of medieval religious drama and its engagement with faith and belief. Returning to the trope of “nothing”, this section shows that The Winter’s Tale addresses the same sceptical problematic as the earlier tragedies. Arguing that scepticism opens up a space for tragedy and nihilism in the first half of The Winter’s Tale, it demonstrates that Shakespeare finds in the genre of tragicomedy an aesthetic and dramatic form which allows him to move through, and beyond, the claims of tragedy.
25
Jin, Kwang Hyun. "A Reading of Shakespeare's Problem Plays into History: A New Historicist Interpretation of Social Crisis and Sexual Politics in Troilus and Cressida and Measure for Measure." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279130/.
Full textAbstract:
This study is aimed to read Shakespeare's problem comedies, Troilus and Cressida and Measure for Measure into the historical and cultural context of dynamically-changing English Renaissance society at the turn of the sixteenth century. In the historical context of emerging capitalism, growing economic crisis, reformed theology, changing social hierarchy, and increasing sexual control, this study investigates the nature of complicated moral problems that the plays consistently present. The primary argument is that the serious and dark picture of human dilemma is attributed not to Shakespeare's private imagination, but to social, political, economic, and religious crises in early modern England.
26
Mahmoudzadeh-Andwari, Amir. "The return of the abject : a psychoanalytic analysis of a selection of William Shakespeare's plays in the light of Julia Kristeva's theories of the mind." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/36152.
Full textAbstract:
The present research deals with the application of Julia Kristeva s psychoanalytic theories of the mind to a selection of William Shakespeare s plays. Kristeva s key psychoanalytic terms the symbolic, the semiotic and the abject are first elaborated in detail and are then applied to different situations and characters in the plays. The plays discussed in this thesis are A Midsummer Night s Dream, As You Like It and The Taming of the Shrew for the comedy section, Richard II, 1 & 2 Henry IV and Coriolanus for the English and Roman History section, and Romeo and Juliet, Macbeth and King Lear for the Tragedy section. The reason for choosing the above plays is that I believe there is a gap of knowledge in this regard and no thorough research on this scale has been conducted up to this time. The intention is to discuss and explicate the moments in which the dramatic heroes undergo some unconscious-driven experiences that can be best explained by Kristeva s post-Freudian psychoanalytic approach. In short, what I am going to show in the present study is the psychoanalytic assumption that Shakespearean characters, forced by internal or external elements, leave the symbolic and take refuge in the semiotic. In such moments, the characters inevitably face the abject which is an archaic memory comprising the elements of enchantment and horror. The abject can be best described as the archaic memories of a distant past when the self had no border and was associated with the semiotic, a subject s harmonious beginning. In its early childhood, to become a subject, an individual breaks its semiotic ties and, by so doing, enters the realm of the symbolic which is associated with grammar and law. The symbolic awards a subject a distinct identity and helps it stay on the route to signification. Kristeva s understanding of the process of individuation is explained by her subject in process , a journey in which a subject always oscillates between the symbolic and the semiotic. The key point in Kristeva s psychoanalytic thought is that the semiotic does not fade away and hovers around a subject s border of identity and remains a constant threat for its symbolic identity. To remain immune from the annihilating forces of the semiotic, a subject has to remain vigilant and protect its borders of identity. My main goal in this thesis is to show that, in some particular situations in the plays, Shakespearean characters fail to remain vigilant and, inevitably, their subjects are exposed to the abject. In other words, in moments of ambition, anger, love or fear, they surrender or take refuge in the semiotic and face the abject. Although Shakespearean plays have previously been approached by Sigmund Freud s (and some other major practitioners ) theories, the application of Kristeva s psychoanalytic theories of the mind gives the opportunity to approach the plays from a new perspective that would otherwise have remained unknown. Thus, the originality of this research lies in its extensive application of Kristeva s theories to the selected Shakespearean plays, theories that, although they derive from those of Freud, have the potential to shed light on those psychoanalytic aspects of the plays that Freud either neglected or left unfinished.
27
Roussell, Maggie E. "Rebels with a Cause: How Christopher Marlowe and William Shakespeare Subversively Challenge the Monarchy's Source of Power and Other Societal Norms of Early Modern England." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2356.
Full textAbstract:
This thesis examines the ways that Christopher Marlowe and William Shakespeare use their history plays to subvert the ideals of early modern England. Writing plays about historical events gave the playwrights freedom to depict certain things on stage that would have otherwise been unacceptable, and because they had history as their source, they could show events that were parallel to the current happenings in England and make commentary on those events.
28
Hjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.
Full textAbstract:
This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
29
Mullineux, Peter Newton. "An examination of the use of the contextual question in examining Shakespeare's plays at the standard ten level in Cape Education Department schools." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1001412.
Full textAbstract:
Six years as a sub-examiner of both literature and written work made me aware of a personal dissatisfaction with the system of examining. This research examines in detail the use of the contextual question in examining Shakespeare's plays. The main concern has been to try to deduce what constitutes a good set of contextual questions. This area appears to have attracted little detailed research. However, there is much general writing on the teaching of literature. There is no major conclusion in the dissertation but rather a series of conclusions related to the concept of the contextual question. These are summarised towards the end of chapter three. Some general recommendations appear at the end of chapter three as a sub-heading. The findings of this investigation indicate a need for further research into the system of examining literature in the Cape. It is hoped that teachers and examiners reading this dissertation will be able to use the findings to provide a possible framework for the setting of sound contextual questions
30
Chiang, Y. C. "Renaissance queenship in William Shakespeare's English history plays." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1344188/.
Full textAbstract:
This thesis explores how queens in Shakespeare’s English history plays manipulate virtues, space, and memory to embody a specific demeanour in the contexts of early modern England. In the late 1990s, Jean E. Howard’s and Phyllis Rackin’s Engendering a Nation established a feminist study of Shakespeare’s English history plays, focusing on how women support or undermine patriarchal authorities. Yet analysing women’s words and actions in the light of nationalism, New Historicism, and women’s traditional roles as daughters, wives, and mothers within feminism restricts potential readings of women in early modern English literature. This thesis then studies the most powerful women, the queens, to see how they establish themselves as models or counterexamples for women. It first distinguishes between queens regnant, regent, and consort, and investigates the relationship between queenship and kingship. It then traces the three stages of the queens’ ‘career’: the pursuit, practice, and residue of queenship. The ‘pursuit’ analyses how queens-to-be implement their virtues in accepting and rejecting kings’ favours. The queenly virtues parallel and contrast to Machiavelli’s idea of ‘virtú’ and Pierre Bourdieu’s theory of ‘cultural capital’. Entitled to exceptional royal status, queens transgress the boundaries of gender and space divisions, while their subversive behaviours are often endorsed by patriarchs. Finally, when queens are widowed, deposed, or divorced, they engage themselves in writing histories; they become monuments presenting alternative memories and insubordinate voices against patriarchal grand narratives. Shakespeare’s queens create iconographical paradigms, which are so recognisable and iconic that their queenship is reiteratively reproduced and appropriated in arts and real practices of later periods. Using early modern arguments and modern theories, this thesis provides a synthesised reading of queens in Shakespeare’s English histories, shedding new light on the position of women in early modern England.
31
Rothschild, Fleur. "Recovering Romeo and Juliet : a study of critical responses to the play from 1597." Thesis, King's College London (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265757.
Full text
32
Van, Niekerk Marthinus Christoffel. "Shakespearian play deconstructive readings of The merchant of Venice, the tempest, Measure for measure and Hamlet /." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-11092004-115656/.
Full text
33
Green, Benjamin Stephen. "A skopos-based analysis of Breytenbach’s Titus Andronicus." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20107.
Full textAbstract:
Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Breyten Breytenbach's Afrikaans translation of William Shakespeare's Titus Andronicus is a little known member of the corpus of Afrikaans Shakespeare plays. Published without annotations in South Africa in 1970 and performed in Cape Town in the same year, it has never been performed again and the text has attracted no academic review or led to any subsequent editions. However, situated in 1970 in the heyday of the Apartheid regime, the play's production broke attendance records in Cape Town and was accompanied by substantial public controversy. In this thesis, the author analyses Breytenbach's translation in order to determine whether the translator had an ideological agenda in performing the translation. The analysis is based on a preliminary discussion of culture and ideology in translation, and then uses the Skopostheorie methodology of Hans J. Vermeer (as developed by Christiane Nord) to assess the translation situation and the target text. The target text has been analysed on both a socio-political and microstructural level. The summary outcome of the analysis is that the translator may possibly have tried to promote an anti-Apartheid ideology by translating the play. The outcome is based on several contextual factors such as the socio-political situation in South Africa in which the translated play was published and performed, the translator's stated opposition to the Apartheid system, the choice of Titus Andronicus for translation and production, and to a lesser extent the level of public controversy that accompanied the target text's production in the theatre.
AFRIKAANSE OPSOMMING: Breyten Breytenbach se Afrikaanse vertaling van William Shakespeare se Titus Andronicus is 'n min bekende eksemplaar van die versameling Shakespeare toneelstukke in Afrikaans. Dit is sonder enige annotasies in 1970 in Suid-Afrika uitgegee, en is dieselfde jaar in Kaapstad opgevoer. Sedertdien is dit nooit weer opgevoer nie, en die teks het geen akademiese kritiek ontlok nie. Die teks is ook nooit weer herdruk nie. Maar in 1970, tydens die toppunt van die Apartheidregime, het hierdie toneelstuk se opvoering bywoningsrekords oortref en dit is deur aansienlike openbare omstredenheid gekenmerk. In dié tesis ontleed die skrywer Breytenbach se vertaling om te bepaal of die vertaler 'n ideologiese agenda in die vertaling van die toneelstuk gehad het. Die ontleding word op 'n voorlopige bespreking van kultuur en ideologie in die vertaalproses gegrond, en maak dan gebruik van die Skopostheorie van Hans J. Vermeer (soos verwerk deur Christiane Nord) om die omstandighede ten tyde van die vertaalproses sowel as die doelteks self te ontleed. Die doelteks is op sowel sosiaalpolitiese as mikrostrukturele vlak ontleed. Die samevattende uitkoms van die ontleding is dat die vertaler moontlik 'n anti-Apartheid ideologie probeer bevorder het deur hierdie toneelstuk te vertaal. Hierdie uitkoms is gegrond op verskeie samehangende faktore, soos die sosiaalpolitiese omstandighede in Suid-Afrika waarin die toneelstuk uitgegee en opgevoer is, die vertaler se vermelde teenkanting teen die Apartheidstelsel, die keuse van Titus Andronicus vir vertaling en opvoering, en tot 'n mindere mate die vlak van openbare omstredenheid wat gepaard gegaan het met die doelteks se opvoering in die teater.
34
Segall, Kreg. ""I see the play so lies that I must bear a part" : metatext in Shakespeare and Spenser /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.
Find full textAbstract:
Thesis (Ph.D.)--Tufts University, 2001.Adviser: Judith Haber. Submitted to the Dept. of English. Includes bibliographical references (leaves 206-212). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
35
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.
Full textAbstract:
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.
36
Haydu, Leah E. "I am Prosper, I am Ariel, I am Caliban a metatheratical approach to Neil Gaiman's The Sandman /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=761.
Full text
37
Cifranic, Jaclyn Christine. "Sexual Politics: A Modern Adaptation of William Shakespeare's "Measure for Measure"." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1493825629186289.
Full text
38
Scoville, Tamara Lynn. "The Play's the Thing: Investigating the Potential of Performance Pedagogy." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2157.pdf.
Full text
39
Askar, Amina. "The play of languages : heteroglossia and polyphony in Shakespeare's two tetralogies." Paris 4, 2007. http://www.theses.fr/2007PA040029.
Full textAbstract:
Cette étude se propose d’inscrire le plurilinguisme qui caractérise les deux tétralogies historiques de Shakespeare dans un cadre interprétatif unifié. Elle entreprend de démontrer que les pièces historiques de Shakespeare peuvent être considérées comme un ensemble polyphonique, marqué par une pluralité d’idiomes, et qui fonde sa cohérence dans une évolution progressive. Nous plaçons la variété des registres linguistiques au centre de l’analyse. C’est elle qui propulse l’action des pièces. La Renaissance dans son ensemble est marquée par le plurilinguisme de sa culture. Nous reconstruisons cette « hétéroglossie », signalant par ce choix terminologique le cadre bakhtinien dans lequel s’inscrit notre recherche. En effet, le but de notre étude est double : d’une part, il s’agit d’appliquer à notre corpus la théorisation bakhtinienne de la multiplicité stylistique, d’autre part, nous tentons de préciser un certain nombre de termes bakhtiniens en les articulant aux défis interprétatifs que posent les drames de Shakespeare. Shakespeare subordonne la mise en scène de l’hétéroglossie à l’élaboration d’un mythe historique qui consacre l’identité de la nation anglaiseThis study sets out to analyse the plurilinguism which characterises the two historical tetralogies of Shakespeare within a unified interpretative framework. It undertakes to show that the historical plays of Shakespeare can be regarded as a polyphonic unit, marked by a plurality of idioms, progressively conveying a sense of coherence. The variety of the linguistic registers is at the centre of the analysis. This linguistic diversity propels the dramatic action of the plays. The Renaissance as a whole is marked by the plurilinguism of its culture. The focus of this study is on heteroglossia, the terminological choice revealing the Bakhtinian framework in which the research is situated. The goal of this study is twofold: on the one hand, the aim is to apply Bakhtin’s theories of stylistic multiplicity to the Shakespearean corpus; on the other hand, a certain number of Bakhtinian terms are specified within the context of the interpretative challenges which the dramas of Shakespeare pose. Shakespeare subordinates the dramaturgy of heteroglossia to a historical myth which contributes to the elaboration of the identity of the English nation
40
Johnson, Toria Anne. "'Piteous overthrows' : pity and identity in early modern English literature." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4197.
Full textAbstract:
This thesis traces the use of pity in early modern English literature, highlighting in particular the ways in which the emotion prompted personal anxieties and threatened Burckhardtian notions of the self-contained, autonomous individual, even as it acted as a central, crucial component of personal identity. The first chapter considers pity in medieval drama, and ultimately argues that the institutional changes that took place during the Reformation ushered in a new era, in which people felt themselves to be subjected to interpersonal emotions – pity especially – in new, overwhelming, and difficult ways. The remaining three chapters examine how pity complicates questions of personal identity in Renaissance literature. Chapter Two discusses the masculine bid for pity in courtly lyric poetry, including Philip Sidney's Astrophil and Stella and Barnabe Barnes's Parthenophil and Parthenophe, and considers the undercurrents of vulnerability and violation that emerge in the wake of unanswered emotional appeals. This chapter also examines these themes in Spenser's The Faerie Queene and Sidney's Arcadia. Chapter Three also picks up the element of violation, extending it to the pitiable presentation of sexual aggression in Lucrece narratives. Chapter Four explores the recognition of suffering and vulnerability across species boundaries, highlighting the use of pity to define humanity against the rest of the animal kingdom, and focusing in particular on how these questions are handled by Shakespeare in The Tempest and Ben Jonson, in Bartholomew Fair. This work represents the first extended study of pity in early modern English literature, and suggests that the emotion had a constitutive role in personal subjectivity, in addition to structuring various forms of social relation. Ultimately, the thesis contends that the early modern English interest in pity indicates a central worry about vulnerability, but also, crucially, a belief in the necessity of recognising shared, human weakness.
41
Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
Full textAbstract:
In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
42
Kelly, Joseph L. "William Shakespeare's Parable of "Is" and "Seems": Ironies of God's Providence in Hamlet and Measure for Measure." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/89.
Full textAbstract:
This thesis examines Hamlet and Measure for Measure as related “problem plays.” In these plays, Shakespeare uniquely combines the genre of parable and the literary device of irony as a means to involve his audience in the experience of ordeal and deliverance that both reorients the protagonists’ personal, political, and ultimately theological assumptions and prompts spiritual insight in the spectator. As in a parable, a spiritual dimension opens subtly alongside each story to inform the play’s action and engage the spectator in the underlying theological discourse. Irony invites the audience to see the disparity between pretended or mistaken reality and the spiritual truth—between what “seems” and what “is.” As these complex dramatized parables unfold, potent tapestries of multilayered thematic irony coalesce into providential irony that exalts, rather than defeats, the protagonists and ultimately determines the outcome.
43
Loftus, Ann Elizabeth. "The public face of personal qualities : a study of four political plays of Shakespeare." Phd thesis, 1989. http://hdl.handle.net/1885/139152.
Full text
44
Maker, Keith Errol. "Images of the garden and the fall in the middle plays of Shakespeare." Thesis, 2014. http://hdl.handle.net/10210/11762.
Full text
45
Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman." Thesis, 1988. http://hdl.handle.net/2440/18714.
Full text
46
Malá, Anna. "Politická rétorika v Shakespearových hrách." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404454.
Full textAbstract:
Political Rhetoric in Shakespeare's Drama Bc. Anna Malá MA Thesis Abstract This thesis focuses on political rhetoric in William Shakespeare's plays. It approaches History plays, Roman plays, and Tragedies in order to compare whether the rhetoric used differs among the genre in connection to the state system which it presents - Republic or Monarchy, with the intention to describe the difference. The main criteria for this description are the imagery and rhetorical strategies used in specific situation both by the ruler and by some of the subjects concerning the ruler.
47
Baloyi, 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 textAbstract:
The study adopts a theory of Descriptive Translation Studies to undertake a comparative analysis of stylistic devices in Shakespeare’s two plays, Julius Caesar and Macbeth and their Xitsonga translations. It contextualises its research aim and objectives after outlining a sequential account of theory development in the discipline of translation; and arrives at the desired and suitable tools for data collection and analysis.Through textual observation and notes of reading, the current study argues that researchers and scholars in the discipline converge when it comes to a dire need for translation strategies, but diverge in their classification and particular application for convenience in translating and translation. This study maintains that the translation strategies should be grouped into explicitation, normalisation and simplification, where each is assigned specific translation procedures. The study demonstrates that explicitation and normalisation translation strategies are best suited in dealing with translation constraints at a microtextual level.
The sampled excerpts from both plays were examined on the preference for the analytical framework based on subjective sameness within a Skopos theory. The current study acknowledges that there is no single way of translating a play from one culture to the other. It also acknowledges that there appears to be no way the translator can refrain from the influence of the source text, as an inherent cultural feature that makes it unique. With no sure way of managing stylistic devices as translation constraints, translation as a problem-solving process requires creativity, a demonstration of mastery of language and style of the author of the source text, as well as a power drive characterised by the aspects of interlingual psychological balance of power and knowledge power. These aspects will help the translator to manage whatever translation brief(s) better, and arrive at a product that is accessible, accurate and acceptable to the target readership. They will also ensure that the translator maintains a balance between the two languages in contact, in order to guard against domination of one language over the other.
The current study concludes that the Skopos theory has a larger influence in dealing with anticipating the context of the target readership as a factor that can introduce high risk when assessing the communicability conditions for the translated message. Contrariwise, when dealing with stylistic devices and employ literal translation as a translation procedure to simplification, the translator only aims at simplifying the language and making it accessible for the sake of ‘accessibility’ as it remains a product with communicative inadequacies. The study also concludes by maintaining that translation is not only transcoding, but the activity that calls for the translator’s creativity in order to identify and analyse the constraints encountered and decide on the corresponding translation strategies.African Languages
D. Litt. et Phil. (African Languages)
48
"A study of Cantonese translation of play titles, character names, songs, settings and puns in six Shakespeare's comedies." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888989.
Full textAbstract:
Grace Chor Yi Wong.Publication date from spine.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves [131]-139).
Acknowledgments --- p.i
Abstract --- p.ii
Chapter Chapter 1. --- Introduction --- p.1
Chapter 1.0 --- Background --- p.1
Chapter 1.1 --- Scope of Study --- p.2
Chapter 1.2 --- Translation vs. Adaptation --- p.5
Chapter 1.3 --- Translating for the Stage --- p.7
Chapter Chapter 2. --- Translation of Titles --- p.11
Chapter 2.0 --- Introduction --- p.11
Chapter 2.1 --- Classification of Titles --- p.12
Chapter 2.2 --- Translation of Titles of Six Shakespeare's Comedies --- p.17
Chapter 2.3 --- Conclusion --- p.27
Chapter Chapter 3. --- Translation of Names of Characters --- p.29
Chapter 3.0 --- Introduction --- p.29
Chapter 3.1 --- Various Strategies at Work --- p.31
Chapter 3.2 --- Names for Stage Performance --- p.37
Chapter 3.3 --- Translation of Names of Characters in Six Comedies --- p.41
Chapter 3.4 --- Conclusion --- p.51
Chapter Chapter 4. --- Translation of Songs --- p.53
Chapter 4.0 --- Songs as a dramatic Device in Shakespeare's Comedies --- p.53
Chapter 4.1 --- The Translation of Songs in Five Comedies --- p.56
Chapter 4.1.1 --- The Two Gentlemen of Verona --- p.57
Chapter 4.1.2 --- A Midsummer Night's Dream --- p.60
Chapter 4.1.3 --- As You Like It --- p.68
Chapter 4.1.4 --- Twelfth Night --- p.78
Chapter 4.1.5 --- The Tempest --- p.89
Chapter 4.2 --- Conclusion --- p.97
Chapter Chapter 5. --- Settings of the Six Comedies --- p.99
Chapter 5.0 --- Introduction --- p.99
Chapter 5.1 --- Settings and the Translation of Titles --- p.101
Chapter 5.2 --- Settings and the Translation of Character Names --- p.104
Chapter 5.3 --- Settings and the Translation of Songs --- p.105
Chapter 5.4 --- Conclusion --- p.108
Chapter Chapter 6. --- Translation of Puns --- p.109
Chapter 6.0 --- Introduction --- p.109
Chapter 6.1 --- Translation of Puns in Six Comedies --- p.111
Chapter 6.2 --- Conclusion --- p.124
Chapter Chapter 7. --- Conclusion --- p.127
Bibliography --- p.131
49
Smith, Tamara Leanne. "Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-921.
Full textAbstract:
In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of American citizenship and culture. In 1821, Edmund Kean’s refusal to perform in Boston caused a scandal that revealed a widespread fixation among social elites with delineating the ethnic and economic limits of citizenship in a republican nation. In 1849, an ongoing rivalry between the English tragedian William Charles Macready and his American competitor Edwin Forrest culminated in the deadly Astor Place riot. By configuring the actors as champions in a struggle between bourgeois authority and working-class populism, the New York press inserted these local events into international patterns of economic conflict and revolutionary violence. Nearly twenty years later, the arrival of the Lydia Thompson Burlesque Troupe in 1868 drew rhetoric that reflected the popular press’ growing preoccupation with gender, particularly the question of woman suffrage and the preservation of the United States’ international reputation as a powerfully masculine nation in the wake of the Civil War.
Three distinct cultural currents pervade each of these case studies: the new nation’s anxieties about its former colonizer’s cultural influence, competing political and cultural ideologies within the United States, and the changing perspectives and agendas of the ascendant popular press. Exploring the points where these forces intersect, this dissertation aims to contribute to an understanding of how popular culture helped shape an emerging sense of American national identity. Ultimately, this dissertation argues that in the mid-nineteenth century northeastern United States, popular theatre, newspapers, and audiences all contributed to a single media formation in which controversial English performers became a rhetorical antipode against which “American” identity could be defined.text