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1
Gross, Anna Lynn. "The Flipped Classroom: Shakespeare in the English Classroom." Thesis, North Dakota State University, 2014. https://hdl.handle.net/10365/27512.
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Bergmann and Sams? twenty-first century flipped classroom method was reviewed in depth to determine its effectiveness in improving student achievement and enjoyment of studying Hamlet by William Shakespeare, a text that is difficult to both read and comprehend. The flipped method was implemented into one of two 12th grade general English classes in rural Minnesota. The first section of 12th grade general English read the play aloud using the traditional read-aloud method and completed an in-depth passage analysis chart for homework. The second section, the intervention group, used the flipped method and read the play on their own with accompanying video podcasts and then worked together in class with both peer and teacher help to complete the passage analysis chart. After finding similar final assessment scores, the flipped classroom may prove to be successful in an English class studying difficult literature.
2
Keller, Jessica. "Will's Words: Using Language-Learning Technology to Teach Shakespeare in the Classroom." Kent State University Honors College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1556983934107981.
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Blade, Jamie. "Variety is the Key: Teaching Shakespeare in Secondary English Classrooms." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_hontheses/7.
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This thesis explores the reasons teachers teach Shakespeare, especially his plays, in Secondary English classrooms, which plays teachers teach and why they teach them, and a catalog of methods of teaching Shakespeare. The catalog includes methods of introduction, literary analysis, performance, multimedia, and technology, as well as methods that integrate multiple approaches. The thesis stresses the integration of multiple approaches and the employment of a variety of methods.
4
Lenahan, Patrick. "Interacting with Shakespeare's figurative language: a project in materials development for the L2 classroom." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1003463.
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This project arises from recent initiatives aimed at transforming Shakespeare studies in South African high schools, so as to make those studies more learner-centred and interactive, as well as a more useful communicative language-learning experience for second-language (L2) students. It is this interactive methodology that the present project seeks to extend to the relatively neglected area of Shakespeare's figurative language. Drawing on schema theory and response-based approaches to literature teaching, the project shows that figurative language is especially conducive to interactive treatment, whereby students might be encouraged to make sense of metaphors and similes out of their "background knowledge". Guidelines are indicated for putting this into practice in the L2 classroom; and on the basis of these guidelines, materials are developed for an interactive approach to Shakespeare's figurative language. The central phase in this development process involves trying out the materials in five African high schools and then analysing the data collected from them. The classroom try-outs were profitable in so far as they raised issues that had been overlooked in the earlier, theoretical, stage of the development process. A good overall response to the materials' learner-centred approach was indicated, although students experienced difficulties with certain essential tasks. Most seriously, while the materials were successful in accessing students' background knowledge in the form of associations, they were less successful in getting students to use this knowiedge in interpreting metaphors for themselves. Reasons for this feature, and others, are considered and solutions posited. Recommendations for implementing the materials in a larger teaching programme are made.
5
Cushman, Camille. "Re-imagining Reading Instruction for English Language Learners: A Performance Ethnography of Collaborative Play, Inquiry and Drama with Shakespeare in a Third Grade Classroom." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313604713.
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Korcsolan, Judit. "Teaching Shakespeare’s Romeo and Julietin L2 adult education : A qualitative study on teachers’ and students’ opinions on Shakespeare and his language as a topic in the EFL classroom in formal and non-formal adult education." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-11576.
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This essay presents a literary study for adult students of English at English A level at Komvux (municipal adult education) and Vuxenskola (a study association for adult non-formal learning). It has its basis in the question whether reading Shakespeare in the original version is suitable for language learners as form, and is beneficial as content. The classic play Romeo and Juliet by Shakespeare features in the course book Read and Log on used by the English A group at Komvux in my chosen municipality. The primary aims of the study were to explore teachers’ attitude and views on teaching literature – the classics in general, and Shakespeare in particular – to adult language learners, and students’ reactions and opinions about a lesson on Shakespeare and Romeo and Juliet in the original language with regards to content and usefulness.
7
Khan, Amir. "Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24310.
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This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror.
8
Stålnacke, Klara. "Equality in the Classroom : A Norm Critical Approach to Teaching Democratic Values Using Shakespeare’s A Midsummer Night’s Dream, The Tempest and The Taming of the Shrew." Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-160125.
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The curriculum for upper secondary school clearly states that every school is obliged to ensure that teaching centres on and implements democratic values in order to prevent discrimination (Skolverket, 2013). How to do this however, is up to the local school to decide. Norm-critical pedagogy shows that in order to inculcate democratic values in education, the individual teacher must design the teaching material so that it focuses on such values (Bromseth & Darj, 2010). The purpose of this study, and the aim of this essay, is to investigate how democratic values can be implemented in classroom practice using Shakespeare’s The Tempest, A Midsummer Night’s Dream and The Taming of The Shrew. English classes in the courses English 5 and English 6 were asked to read extracts from each of the plays, and then evaluate the play of choice in terms of the socio-political reality of the late Renaissance portrayed in the extracts, through the prism of today’s democratic values. The pupils were assisted in the task by having close-reading questions to answer, and later a smaller written assessment in form of a blog-entry, in order to help develop their thinking. The results of the study show that the pupils were perfectly able to evaluate and discuss values and practices such as equality, racism or sexism based on their reading. From a normpedagogical approach to teaching, it therefore seem that Shakespeare’s The Tempest, A Midsummer Night’s Dream and The Taming of The Shrew can be utilised as teaching material in order to help foster the development of democratic values, and discussions around the same, into the classroom.
9
Leonard, Alice. "Error in Shakespeare : Shakespeare in error." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.
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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
10
Altindag, Zumrut. "Rereading Shakespeare." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605279/index.pdf.
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This thesis is a comparative study of how Shakespeare&rsquos ideas transcend the boundaries of his own time and still remain as the major sources of inspiration for modern dramatists. Arnold Wesker and Eugé
ne Ionesco explore the concept of the "
other"
leading to loss of identity and awareness of non-being embedded in Shakespeare&rsquo
s works. The main argument is that the contemporary playwrights reinterpret Shakespeare&rsquo
s works in the light of some modern issues and ideas to reveal the entrapment of the individual.
11
Coodin, Sara. "Philosophizing Shakespeare." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96702.
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Philosophizing Shakespeare explores the impact of Classical virtue ethics on Shakespeare's dramatic art, particularly his art of characterization. By focusing on the vernacular tradition of practical virtue ethics in Renaissance England – a tradition importantly distinct from institutional Latin philosophizing, but equally bound up with Aristotle's ethical thought -- I maintain that vernacular moral-philosophical writings share Shakespeare's interest in the dynamics of situated moral reasoning, particularly within the domains of social and domestic life. This practical, worldly emphasis, I argue, represents the foundation for ethical decision-making and for ethos (moral character) in Shakespeare. Philosophizing Shakespeare therefore argues for the importance of thinking about Shakespeare's characters as moral agents, while also demonstrating some of the historical and philosophical roots to the concept of moral agency in Shakespeare's England.By contextualizing practical English-language moral-philosophical writings within the tradition of Renaissance Aristotelian thought and, in particular, the critically neglected strain of vernacular Aristotelianism in the Renaissance, Philosophizing Shakespeare builds on recent historical scholarship by Charles Schmitt and David Lines, who have recast Aristotle as a formative though eclectic influence on Renaissance European culture until well into the seventeenth century. At the same time, I consider Shakespeare's use of Aristotelian philosophical ideas as a typically eclectic kind of adaptation. In my discussion on The Merchant of Venice, I propose that Shylock is animated by a concept of virtue quite distinct from Aristotle's, but nevertheless just as central to his motivation as a character and behavior within the play. By focusing on the philosophical problem of akrasia (weakness of the will or moral incontinence), I also emphasize ways in which plays such as The Winter's Tale problematize Classically modeled selves.Ma thèse Philosophizing Shakespeare explore l'impact de l'éthique de la vertu classique sur l'art dramatique de Shakespeare, à savoir sur l'art de sa caractérisation. L'éthique de la vertu pendant la renaissance anglaise comprend une vaste sélection d'écrits et d'écrivains, des interprètes de Thomas d'Aquin aux pamphlétaires. Dans cette thèse, je me focalise sur la tradition vernaculaire de l'éthique de la vertu pratique en Angleterre de la Renaissance – une tradition qui est particulièrement distincte de la philosophie latine institutionnelle, mais qui est également coincé par la pensée éthique aristotélicienne. Contrairement à la philosophie académique, les écrits vernaculaires de la philosophie morale s'inscrivent à l'intérêt de Shakespeare pour la dynamique du raisonnement moral dans des situations spécifiques, particulièrement dans les domaines de la vie sociale et domestique. Cette emphase pratique et mondaine représente le fondement pour le savoir décisif éthique et pour l'ethos, ou le caractère moral, celui-ci étant présent dans des manuels de comportement en anglais et des traités sur la santé humaine et l'émotion. Je propose ici qu'il existe un lien considérable entre la conception de soi offerte par la philosophie morale articulée par ces écrivains et la caractérisation shakespearienne des individus tels que Shylock. A travers l'exploration ce qui constitue l'analyse des personnages de Shakespeare comme ayant une conception éthique, je me focalise sur les manières dont les notions de vertu servent de source de ce qui s'avère être une orientation hautement idiosyncratique pour les personnages de Shakespeare. Ainsi, je fournis un contexte pour leurs choix pratiques qui dote ces choix et leur comportement d'une signification morale. En plaçant les écrits de la philosophie morale en langue anglaise dans le contexte de la tradition de la pensée de la Renaissance aristotélicienne, et en particulière, dans la trop négligée variété d'aristotélisme vernaculaire pendant la Renaissance, je me base sur l'érudition de Charles Schmitt et David Lines, qui ont reformulé Aristote comme ayant une influence formatrice, quoique éclectique, sur la culture européenne de la Renaissance jusque le dix-septième siècle était bien entamé. A la fois, nous considérons l'usage de Shakespeare des concepts philosophiques aristotéliciens comme une espèce d'adaptation typiquement éclectique. En se focalisant sur des problèmes philosophiques tels que l'acrasie (l'incontinence, ou la faiblesse de volonté), l'auto déception, et l'excès émotionnel, les chapitres individuels de ma thèse se concentrent sur les manières dont les pièces de Shakespeare représentent en même temps que problématisent des « soi » façonnés classiquement.
12
Pilkington, Ace G. "Screening Shakespeare." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329017.
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Rodrigues, Ângela Lamas. "Forgetting Shakespeare." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102298.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2013-07-16T00:34:50Z (GMT). No. of bitstreams: 0
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Maquerlot, Jean-Pierre. "Shakespeare maniériste." Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10050.
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Cette these s'efforce de montrer qu'une partie de la production theatrale shakespearienne gagne a etre envisagee a la lumiere du manierisme. Il s'agit de cinq pieces ecrites entre 1599 et 1604: jules cesar, hamlet, troilus et cressida, tout est bien qui finit bien et mesure pour mesure. Cette reevaluation s'appuie sur une definition du manierisme elaboree a partir d'un corpus representatif de plusieurs tendances du manierisme italien (raphael, michel-ange, le rosso, le pontormo, le parmesan, le bronzino et le tintoret. ) la definition s' articule autour des deux figures structurales de la disparite et du decentrement. Elle manifeste que l'artiste a le souci de valoriser sa propre maniere et d'exhiber les pouvoirs de l'art. Dans les arts visuels, le moment manieriste s'affirme contre les ideaux de la haute renaissance. Au theatre, avec shakespeare, il s'affirme contre une dramaturgie aux formes et aux contenus heterogenes mais marquee par le formalisme rhetorique. Othello signe la fin du moment manieriste de shakespeare car cette esthetique narcissique et joueuse se revele incapable de susciter les emotions fortes qu'on attend de la tragedie.
15
Silverstone, Catherine Emma. "Spectres of Shakespeare : embodying Shakespeare in performance 1979-2002." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270327.
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Lambert, Pamela Faye. "Acting in Shakespeare: Singular sensations in Shakespeare and song." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1443.
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The purpose of this project was to determine if it was possible to take Shakespeare's text and, preserving the language, present it in a way which would make it more accessible to a modern audience. It was also important to maintain the appropriate acting style and technique that distinguishes classical acting.
17
Collins, Jennifer Rebecca. "Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306856322.
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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.
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Sun, Yanna. "Shakespeare in China." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.
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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.
20
Dogan, Buket. "Shakespeare'." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609471/index.pdf.
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ABSTRACT
SHAKESPEARE&rsquoS HAMLET AS A PRECURSOR OF THE THEATRE OF THE ABSURD Dogan, Buket M.A., in English Literature Supervisor: Assoc. Prof. Dr. Ü
nal Norman May 2008, 121 Pages Being regarded as a dramatist of all times, Shakespeare and his work is studied with a modern view point by many critics. Every historical period finds in him what it is looking for and what it wants to see. Shakespeare is part of a modern tradition trying to mirror human psychology and condition in all its absurdity. The innovations that the theatre of the Absurd has brought to the stage not only provide an influence for the works of the later generations but also, they make it possible to look back at the past works of the theatre with a contemporary critical eye. Shakespeare&rsquo
s vision of the world is similar to that of the absurdists, mainly due to their shared confidence in humanity&rsquo
s capacity to endure, and the precarious nature of human existence. This thesis analyzes Shakespeare&rsquo
s masterpiece Hamlet, mainly the drama of its protagonist, as a precursor of Absurd drama. In Hamlet, Shakespeare represents man&rsquo
s existential anxiety and precarious condition in a nonsensical world, which is stripped of all logical explanations and accounts. To examine the play in the context of the theatre of the Absurd, it will be discussed in relation to Samuel Beckett&rsquo
s Waiting for Godot and Endgame with regard to their common concerns for the themes of the theatre of the Absurd such as uncertainty and inertia.
21
McGrade, Bernard J. "Grabbe und Shakespeare." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.
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Tungtang, Paradee. "Shakespeare in Thailand." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/36865/.
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Unlike most Asian nations to which Shakespeare was imported with the colonizers during the mid-1800s to impose Western literary culture on the colonized, in the case of Thailand, it is the other way round. Thailand (or Siam as it was called then) managed to escape colonization by Western powers, but during this politically unstable period, Siam felt the urgent need to westernize the country. A period of intensive westernization thus began. Shakespeare arrived as one of several significant elements of the nation’s self-westernization in literary education. In 1916, the name of Shakespeare became widely known in Siam as one of his plays, The Merchant of Venice, was translated by King Vajiravudh (1881-1925), who is highly regarded as a prolific dramatist and all-around man of letters in the country. The King himself initiated Western literary translation by translating three plays by Shakespeare, namely The Merchant of Venice (1916), As You Like It (1921), and Romeo and Juliet (1922), and also by adapting Shakespeare’s Othello (1925) into a Siamese conventional dance drama playtext. Although there were some other attempts before and after the King to translate Shakespeare, none of them has been successful in leaving a memorable impact in Thai literary circles as much as the King’s version. Translating and staging Shakespeare’s works in Thailand became rare, practised only within a small circle of literary scholars. During the first few decades of the twentieth century, there have been a handful of attempts to translate and stage Shakespearean plays by commercial Thai theatre practitioners. To stage Shakespeare’s plays in Thailand especially in a contemporary context, most production teams have encountered a similar difficulty, that of bridging the gap to bring Shakespeare to Thai popular audiences who embrace different backgrounds in dramatic practice and aesthetics. The main purposes of this study are, therefore, to examine how Shakespeare has been translated, staged, and received by Thai readers and audiences from the late nineteenth century when Shakespeare was introduced in Siam until today, and to locate his influences and impact on Thai literary and theatrical culture. This study is designed to shed light on the history of Thai translations of Shakespeare and also to provide an analysis of the translation strategies adopted by early Thai translators to domesticate Shakespeare into the Thai context. So the thesis examines the process of text appropriation and domestication adopted by Thai translators and theatre practitioners to make Shakespeare accessible to Thai readers and popular audiences. The use of Shakespeare’s plots and allusions to Shakespeare’s plays in contemporary Thai television soap operas is also another main focus of the study. This study also suggests that the domestication process applied to Shakespeare both in translation and in staging is influenced by the changes in the social, political and aesthetic contexts of each different period; furthermore, the process of domestication obviously becomes less problematic the further the country moves towards westernization.
23
Garbin, Lidia. "Scott and Shakespeare." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366840.
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Barber, Clair. "Shakespeare and cyberspace." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288165.
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Finnerty, Páraic. "Emily Dickinson's Shakespeare /." Amherst : University of Massachusetts press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40144864w.
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Cassal, Steve Howard. ""Honesty" in Shakespeare /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
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Bouchara, Abdelaziz. "Politeness in Shakespeare." [S.l. : s.n.], 2002. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10047849.
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Cuyler, Grenville. "Shakespeare and Jung." Thesis, University of Birmingham, 1985. http://etheses.bham.ac.uk//id/eprint/3114/.
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I contend that Jung provides insights in keeping with Shakespeare's own intent as in many respects they were "of like mind." It is the attempt of this thesis to demonstrate how this might be so, comparing Jung's own writings with those of Shakespeare. The Introduction provides an overview: what the thesis sets out to do. The first chapter represents a highly technical treatment for determining an exact location for the Globe Playhouse. It is as if one were an archaeologist requiring as much evidence as possible for determining where the foundations might lie within a given site. But this determination of the Globe's center and the shape of the Globe's groundplan represent a mandala form ("mandala" is the Sanskrit word for "circle"). Jung's work after his departure from Freud (1913-1928) became progressively more concentrated on the significance of mandalas (his first mandala drawing was in 1916). The mandala form represented integration and evidence for it was found not only in the dreams of his patients but in the artifacts of all civilizations - in the groundplans for cities and buildings, and in the art and religious practices of diverse peoples reaching back to Rhodesian cliff-drawings. I relate Hamlet and its use of soliloquy to the central motif of the mandala the protection of the center. Using his Tavistock Lectures as a point of departure, Chapters 2-3 take up Jung's figure of the Psyche, divided up into ectopsychic, endopsychic, personal unconscious, and collective unconscious "spheres." "Chapter 2: The Four Functions" deals with Hamlet, Othello, The Winter's Tale, and Measure for Measure. "Chapter 3: The Shadow" refers to King Lear, The Tempest, and A Midsummer Night's Dream. After a consideration of King Lear, I relate Joseph Campbell's "journey of the hero" to Jung's figure of the Psyche with reference to the three plays mentioned above. Chapter 4 treats Jung's descriptions of "anima" and "animus" in relation to Macbeth. Some attention is then given to the characters of Ophelia, Gertrude, Desdemona, Cordelia, and Hermione, and their depreciation. "Chapter 5: Jungian Criticism" takes up the way in which literature may be viewed from the angle of Jung-oriented criticism with particular reference to Hamlet, Macbeth, Henry IV, Part I, Twelfth Night, Much Ado About Nothing, and King Lear. The Conclusion is followed by Appendices A-G which summarize and amplify Jungian thinking treated in this thesis and conclude with a statement about Shakespeare by Peter Brook. The Bibliography Section provides a list of works consulted in relating the Globe Playhouse to its site and works consulted in regarding the Globe and Shakespeare's work in the light of C. G. Jung.
29
Hughes, Jacob Alden. "Shakespeare the Chaucerian." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/j_hughes_041309.pdf.
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Thesis (M.A. in English literature)--Washington State University, May 2009.Title from PDF title page (viewed on Apr. 26, 2010). "Department of English." Includes bibliographical references (p. 69-75).
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Fernie, Ewan. "Shame in Shakespeare." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14961.
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This thesis is a critical study of the theme of shame in Shakespeare. The first chapter defines the senses in which shame is used. Chapter Two analyses the workings of shame in pre-renaissance literature. The argument sets aside the increasingly discredited shame-culture versus guilt-culture antithesis still often applied to classical and Christian Europe; then classical and Christian shame are compared. Chapter Three focuses on shame in the English Renaissance, with illustrations from Spenser, Marlowe, Jonson, and Milton. Attention is also paid to the cultural context, for instance, to the shaming sanctions employed by the church courts. It is argued that, paradoxically, the humanist aspirations of this period made men and women more vulnerable to shame: more aware of falling short of ideals and open to disappointment and the reproach of self and others. The fourth chapter is an introductory account of Shakespearean shame; examples are drawn from the plays and poems preceding the period of the major tragedies, circa. 1602-9. This lays the groundwork, both conceptually and in terms of Shakespeare's development, for the main part of the thesis, Part Two, which offers detailed readings of Hamlet, Othello, King Lear, Antony and Cleopatra, and Coriolanus. In Each case, a consideration of the theme of shame illuminates the text in question in new ways. For example, and exploration of shame in Hamlet uncovers a neglected spiritual dimension; and it is argued that, despite critical tradition, shame, rather than jealousy, is the key to Othello, and that Antony and Cleopatra establishes the attraction and limitation of shamelessness. The last Chapter describes Shakespeare's distinctive and ultimately Christian vision of shame. In a tail-piece it is suggested that this account of Shakespearean shame casts an intriguing light on a little-known interpretation of Shakespeare's last days by the historian E.R.C. Brinkworth.
31
Camilotti, Camila Paula. "Shakespeare na Itália." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/128974.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014.Made available in DSpace on 2015-02-05T20:33:14Z (GMT). No. of bitstreams: 1 331233.pdf: 5710828 bytes, checksum: dcf8a06a94c58f902670987b954782ae (MD5) Previous issue date: 2014
O objetivo desta pesquisa reside em analisar o processo criativo e artístico do diretor italiano Giorgio Strehler na produção e direção de duas peças shakespearianas: Rei Lear e A Tempestade. As montagens teatrais, intituladas pelo diretor como Re Lear e La Tempesta, foram encenadas, respectivamente, em 1972 e 1978, no Piccolo Teatro de Milão, na Itália, e foram muito importantes para a sociedade italiana da época. Dessa forma, no estudo das produções italianas, busca-se explorar, com base nos conceitos de Tradução Intersemiótica, as passagens mais relevantes e/ou mais reveladoras para o contexto sóciopolítico italiano da época e que influenciaram, de alguma forma, a tradição shakespeariana na dramaturgia italiana. As análises mostraram que Strehler buscou, tanto em Re Lear, quanto em La Tempesta, evidenciar a metateatralidade existente nas respectivas peças shakespearianas e, com isso, gerar uma reflexão acerca do teatro e sua função social, política, histórica e civil em determinada sociedade, tempo e espaço.
Abstract : This research aims at analysing the creative and artistic process of the Italian diretor Giorgio Strehler in the production and direction of two Shakespearian playtexts: King Lear and The tempest. The Italian productions -- entitled Re Lear and La Tempesta -- were staged, respectively, in 1972 and in 1978, at Piccolo Teatro di Milano, Italy, and were important to the Italian society of the time. Thus, in the analysis of the productions, I attempted to explore, based on concepts of Intersemiotic Translation, the most revealing and/or relevant passages to the Italian socio-political context of the time that influenced, in a way or another, the Shakespearian tradition in Italian dramaturgy. The analyses have shown that Strehler attempted to highlight -- in both productions -- the metatheatricality that exists in these Shakespearian playtexts and, from this perspective, encourage a reflection upon theater and its social, political, historical, and civic functions in a certain society, time, and space.
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Faria, Fabio Coura de. "Shakespeare meets rock." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/174689.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2016.Made available in DSpace on 2017-04-11T04:12:53Z (GMT). No. of bitstreams: 1 344852.pdf: 1618921 bytes, checksum: 8a92dc48d5bf529c6a1c7d164cdd1cd0 (MD5) Previous issue date: 2016
Esta dissertação investiga a adaptação da peça A Tempestade, de William Shakespeare, para o álbum Aqua, lançado em 2010 pela banda brasileira de heavy metal Angra. A trajetória histórica da peça nos últimos séculos sofreu impactos políticos e teóricos com a ascensão do pós-colonialismo. Em 1950, Octave Mannoni desencadeou, em Psychologie de la colonization, crescente atenção à peça Shakespeareana em cenários onde ideologias anticoloniais estavam por emergir, como a África e o Caribe. De forma análoga, George Lamming apropriou Shakespeare a perspectivas pós-coloniais com sua coleção de ensaios intitulada The Pleasures of Exile (1960), com sua (re)interpretação dos personagens Próspero e Caliban. O álbum Aqua, através do uso de mecanismos de adaptação específicos, tais como elementos melódicos, letras e material paratextual, aborda diferentes temas, personagens e situações da peça, ao mesmo tempo em que adentra questões pós-coloniais. A adaptação musical desenvolve, na canção "A Monster in Her Eyes", uma releitura da relação entre Próspero e Caliban, que ressoa com a teoria crítica pós-colonial, subvertendo a representação de Caliban como um monstro e resguardando sua soberania nativa. Relações dialógicas entre a peça e o álbum são traçadas com o suporte de A Theory of Adaptation, de Linda Hutcheon, no intuito de analisar os meios de expressão por trás do fenômeno de adaptação musical, que apropria obras adaptadas para diferentes públicos e contextos espaciotemporais.
Abstract : The present thesis investigates the adaptation of William Shakespeare?s The Tempest into the music album entitled Aqua, released by the Brazilian heavy metal band Angra in 2010. The historical trajectory of the The Tempest throughout the last centuries underwent political and theoretical impacts with the rise of postcolonialism. In 1950, Octave Mannoni unleashed, with Psychologie de la colonization, the sparkle for an increasing attention to the play in places where anticolonial ideologies would soon emerge, noticeably Africa and the Caribbean. Similarly, George Lamming approached Shakespeare in the light of postcolonial perspectives with his collection of essays entitled The Pleasures of Exile (1960), a (re)interpretation of The Tempest that focuses on its characters Prospero and Caliban. Angra?s music album Aqua, through the usage of its specific adaptation apparatuses such as melodic elements, lyrics, and paratextual material, addresses different themes, characters, and situations from The Tempest while bringing a postcolonial perspective to the fore. Moreover, the musical adaptation provides, with the song ?A Monster in Her Eyes?, a reinterpretation of the relationship between Prospero and Caliban which resonates with postcolonial critical theory, subverting the depiction of Caliban as a monster and giving voice to his claim as a native sovereign. This theoretical interplay is analyzed under the light of Linda Hutcheon?s A Theory of Adaptation as a means to observe the means of expression behind the musical adaptation phenomenon, channeling the adapted works to alternative publics, settings, and temporal contexts.
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Kang, Taekyeong. "Negotiating with Shakespeare /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487946776020727.
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Reynolds, Simon. "Shakespeare and Heliodorus." Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368029.
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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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Biewer, Carolin. "Die Sprache der Liebe in Shakespeares Komödien : eine Semantik und Pragmatik der Leidenschaft /." Heidelberg : Winter, 2006. http://www.gbv.de/dms/bs/toc/515599174.pdf.
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Tsui, Kam Jean, and 徐錦. "Rewriting Shakespeare: a study of Lin Shu's translation of tales from Shakespeare." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41634202.
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Tsui, Kam Jean. "Rewriting Shakespeare a study of Lin Shu's translation of tales from Shakespeare /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41634202.
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Kozuka, Takashi. "Shakespeare in purgatory : a study of the Catholicising movement in Shakespeare biography." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/40561/.
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The twentieth and the twenty-first centuries have Catholicised Shakespeare. At the heart of this movement lie the so-called Lancastrian theories: that Shakespeare spent some time during his `lost years' in Lancashire and that he is to be identified with `Will[i]am Shakeshafte' in the will of the Catholic magnate, Alexander Hoghton of Lea. Although the proponents of the theories - aptly called `Lancastrians' - agree in terms of the identification of `Shakeshafte' with Shakespeare, their arguments vary and sometimes even contradict each other. We have, therefore, Lancastrian theories (plural). They are attempts to investigate the whereabouts of Shakespeare during the `lost years' and to find out the means by which he entered the London theatre. The Lancastrian theories can be seen in part as a counter-movement against recent Shakespeare scholarship that has been preoccupied with theory. Paradoxically, another stimulus for the revival of biographical studies is literary critics' interest in early modem history, which materialist criticism, especially new historicism, has brought in since the 1980s. Religion has become a major issue in Shakespeare studies. The modem historiography of the English Reformation, especially `revisionism', which emphasises the continuation of medieval Catholicism after the Reformation, has provided significant energy for the development of the Lancastrian theories. Furthermore, the Lancastrians have their own agenda - personal ambitions and motivations, some of which are not altogether scholarly. However, these theories are for the most part based on a chain of speculations, and tend to state them as fact. The biographers, whether Lancastrians or not, who believe Shakespeare and his family to have been Catholics are unfamiliar with the religious condition in Elizabethan England, including anti-Catholic acts and the penalties imposed on recusants. Their arguments also neglect other Elizabethan customs. These biographers' lack of profound knowledge of socio-political and religious history of Elizabethan England has produced inaccurate dramatisation of Shakespeare's life. One other disabling tendency among these biographers is to neglect negative evidence and disregard alternative interpretations. Their approaches to Shakespeare biography simplify the complexity of documentary evidence and produce narrowness of view. In Elizabethan England a series of continuous religious negotiations and renegotiations took place. Through this struggle, the clear-cut division between Catholicism and Protestantism was deconstructed, and there emerged `religious pluralism' -a compromise between Catholicism and Protestantism. It was in this complex matrix that Shakespeare was born, grew up and wrote plays and poems. It is against this cultural background that we should study Shakespeare's life (or lives).
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Folest, Estelle. "Shakespeare et la voix." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00485954.
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Dans l'oeuvre dramatique de Shakespeare, la voix a le pouvoir de séduire et de faire naître le désir, d'atteindre l'âme comme les émotions et d'y insuffler un mouvement, d'ordonner et d'harmoniser les rapports entre les hommes, ou encore d'agresser, de blesser, de maudire, voire de tuer. La belle acoustique du Théâtre, du Globe ou des Blackfriars, permettait à la voix de résonner en se mêlant à des effets musicaux et à des bruits pour former des paysages sonores qu'il s'agit d'entendre et de déchiffrer.
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CANTU', VERA. "Hazlitt critico di Shakespeare." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/512.
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La tesi investiga la critica shakespeariana di Hazlitt, concentrandosi sulle analisi alle quattro maggiori tragedie del bardo, Macbeth, Othello, Hamlet e King Lear. Uno dei i principali e più importanti obiettivi della tesi è quello di dimostrare come la critica shakespeariana di Hazlitt si discosti da quello che è solitamente conosciuto come “character criticism”, mettendo in luce l’interesse del critico romantico non soltanto per i personaggi, ma anche per la trama e la struttura generale dei drammi, e per le interpretazioni teatrali dei drammi stessi. Il capitolo uno riunisce le recensioni, i saggi, le lezioni e le pubblicazioni che costituiscono il vasto apparato critico shakespeariano di Hazlitt, fornendo un’interessante ed ampia panoramica delle principali fonti della sua critica shakespeariana. I capitoli due e tre presentando un’analisi puntuale delle letture hazlittiane delle quattro grandi tragedie di shakespeare, rispettivamente di Macbeth e Othello, Hamlet e King Lear. Vengono evidenziati gli elementi che permettono di inserire Hazlitt fra i maggiori esponenti del Romanticismo critico inglese e di proporlo come acuto precursore di argomentazioni novecentesche su Shakespeare.The dissertation investigates Hazlitt’s Shakespearean criticism, focusing mainly on his analysis of Shakespeare’s major tragedies, Macbeth, Othello, Hamlet and King Lear. One of the main and most important objectives of the dissertation is that of demonstrating that Hazlitt’s Shakespearean criticism differs from what is usually known as “character criticism”, underlining the critic’s interest not only for the characters, but also for the plot and the general structure of the plays, and for the theatrical interpretations of the plays themselves. Chapter one collects the reviews, the essays, the lectures and the many publications that constitute Hazlitt’s vast Shakespearean criticism. It provides an interesting and wide overview of the main sources of Hazlitt’s Shakespearean criticism. Chapters two and three present an accurate analysis of Hazlitt’s readings of Shakespeare’s great tragedies, respectively Macbeth and Othello, Hamlet and King Lear. These chapters bring to light the elements that allow Hazlitt to be included among the major English Romantic critics and that establish him as acute forerunner of twentieth-century Shakespearean theses.
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Pleinen, Constanze. "Das Übernatürliche bei Shakespeare /." Hamburg : Kovač, 2009. http://www.verlagdrkovac.de/978-3-8300-4050-7.htm.
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Foster, Jennifer L. "Shakespeare and republican Rome." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28567.pdf.
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Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.
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Ryle, Simon John. "Shakespeare, cinema and desire." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610267.
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Joughin, John J. "Shakespeare and the aesthetic." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413733.
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Johnson, David. "Shakespeare and South Africa /." Oxford [GB] : Clarendon press, 1996. http://catalogue.bnf.fr/ark:/12148/cb370959733.
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Pleinen, Constanze. "Das Übernatürliche bei Shakespeare." Hamburg Kovač, 2008. http://d-nb.info/993926711/04.
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Kenny, Amy. "Domestic relations in Shakespeare." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/42121/.
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This thesis investigates how the size, structure and function of the family presented in Shakespeare's plays relates to an early modern understanding of the importance and function of the family. By examining domestic manuals, pamphlets, treatises and diaries from the early modern period, I establish what was considered normative domestic behaviour at the time and analyse Shakespeare's plays through these contemporary attitudes, specifically their treatment of privacy, household structure and medical beliefs surrounding reproduction and gynaecology. This thesis seeks to focus on the way in which people's positions in the family change over time, from infancy to adulthood, and how these relationships are represented in Shakespeare's plays. Beginning with marriage, where the family is first formed; I examine Othello and Macbeth, and show how the marriages in these plays, while tragic, are cherished and valued. Succession was integral to the legacy and sustainability of a family, which is the topic of the next chapter, in which I explore the notions of how children are conceived and raised in Richard III and The Winter's Tale. The transition from childhood into adulthood was fraught with change in both housing and legal circumstances, and this struggle in adolescence is clearly depicted in Romeo and Juliet, which comprises the third chapter. Aside from the familial relationships of husband and wife and parent and child, the most influential relationships were those of siblings, which I investigate in a number of plays in the fourth chapter. Finally, I focus on the traditional and complicated nuclear families in The Merry Wives of Windsor, Hamlet and Coriolanus, and analyse how the family is highlighted and valued in each of these plays. The thesis concludes that throughout Shakespeare's work, the family is privileged over war, nobility and absolute patriarchal control, emphasising that it is vital to understanding and analysing Shakespeare's plays.
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Murray, K. M. "Shakespeare and auteur cinema." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680231.
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This thesis offers a timely reappraisal of authorship in Shakespeare film adaptations. It analyses the films of nine auteur-directors, breaking new ground by using an interdisciplinary framework (drawn from literary, film and cultural studies) to resituate the auteur at the confluence of commerce. and cultural politics. Contesting still-normative paradigms that hold the auteur as either self-detelmining creativity or casualty of industry, I maintain that auteur Shakespeare is a plurally constituted, restlessly changing phenomenon whose every instance is constihlted by and through a unique meshing of material, social and intertextual processes. Chapter One surveys the histories of auteurist and Shakespeare on film criticism, drawing on each to argue for the necessity of an approach attentive to the auteur's roles both inside and outside cinema. Chapter Two demonstrates precisely the need for such a dual focus insofar as it assesses the persistent influence on the reception of Welles's Shakespeare films of a mythologised auteur persona. Chapter Three adopts a Bourdieu-inflected perspective on Laurence Olivier's and Kenneth Branagh's Shakespearean undertakings, uncovering in them aspirations towards legitimacy. Chapter Four conceptualises Franco Zeffirelli's work as middlebrow auteur cinema - ideologically safe and commercially orientated. Chapter Five, by contrast, suggests that Derek Jarman's films exemplify auteur Shakespeare's counter-hegemonic possibilities. Chapter Six also focuses on dissident articulations: it posits Julie Taymor's oeuvre as a feminist counter-point (though, finally, a problematic one) to auteur cinema's androcentrism. Chapter Seven uses close reading to delineate Akira Kurosawa's and Grigori Kozintsev's affiliations to art cinema. The final chapter examines Vishal Bhardwaj's adaptations in light of transnational theory, positing forms of exchange as a crucial interpretive concern. These analyses yield important evidence of Shakespeare's multidimensional significance to various filmic culhlres and subcultures. In tum, they newly illuminate the essential part that commercial and political formations have played in reauthoring past and present incarnations of auteur and Shakespeare.