Dissertations / Theses on the topic 'Shakespearean Tragedies'

This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello

This study challenges Charles Lamb's 1811 essay "On the Tragedies of Shakespeare, Considered with Reference to their Fitness for Stage Representation," which argues that Shakespeare's plays are better suited for reading than stage production. Each of the four chapters considers a specific argument Lamb raises against the theatre and the particular Shakespearean tragedy used to illustrate his point. The Hamlet chapter examines the supposed concessions involved in the actor/audience relationship. The Macbeth chapter challenges Lamb's Platonic view of Shakespearean characterization. The Othello chapter considers whether some characters and images, while acceptable to the reader's imagination, are improper on stage. Finally, the King Lear chapter considers the portrayal of the mind in the theatre, employing semiotic principles to examine the actor's expressive resources.

L’argument de cette recherche propose d’étudier le concept du pouvoir et ses manifestations chez les héroïnes tragiques de Shakespeare Ophélie, Desdémone, Lady Macbeth, et Cléopâtre. Cette étude suit deux axes d’interprétation, la domination et la résistance qui constituent le pouvoir féminin à travers ses productions verbales et ses projections mentales. Ces aspects sont explorés à travers une théorie de poétique cognitive et d'analyse de conversation. En parallèle, les théories critiques vont compléter la discussion des résultats trouvés. Ce travail explore comment les héroïnes tragiques de Shakespeare mènent leur propre résistance et exercent une contre-force à un poly-système patriarcal basé sur un héritage de séparation de genre. Ces personnages brossent un portrait distinctif d'héroïsme tragique féminin ; une voix indépendante et vibrante dans le texte shakespearien
The Shakespearean tragic heroines are a polemical topic. Critics are divided between a reading that describes them as complex and dynamic protagonists and a reading that sees their presence as ornamental and paper-thin in the Shakespearean dramatic tradition. This study examines tenets of power within four major tragic figures, Ophelia, Desdemona, Lady Macbeth, and Cleopatra. Conversation analysis and disciplines from cognitive poetics, text world theory and conceptual metaphor analysis, will be used to study these characters’ utterances and thoughts. The research shows that Ophelia, Desdemona, Lady Macbeth, and Cleopatra are actively involved in power relations. They manifest dominance, exercise resistance, and sow dissidence within masculine narratives of authority. The conclusion can also be drawn that the Shakespearean tragic heroine succeeds in breaking through patriarchal embargo, embraces power, and inaugurates a distinctive concept of female heroism

Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21167号
人博第839号
新制||人||202(附属図書館)
29||人博||839(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授 水野 眞理, 教授 髙谷 修, 准教授 桒山 智成, 教授 丸橋 良雄
学位規則第4条第1項該当

In Mourning before Death, I discuss the representation of maternal mourning in King John, the Henry VI trilogy, Richard III, Titus Andronicus, and Coriolanus. Primarily, I explore Shakespeare’s expansion of maternal roles from his source texts, especially their lamentations anticipating the death of sons in these plays. Shakespeare emphasises the grief experienced by mothers which is largely absent in the historical accounts on which the plays are based. My research address Phyllis Rackin’s definition of females as ‘anti-historians’ and examines how mothers in mourning intrude into historical events and confront masculine authority. This study focuses principally on Shakespeare’s representation of maternal authority in terms of mother-son relationships. The introduction identifies the importance of ‘women’s time’ and physical expressions of maternal distress and the dramatic conflicts these provoke. Chapter 2 examines how Constance’s grief affects the reaction of the audience to the power struggle in King John. Chapter 3 is concerned with how Margaret’s queenship in Henry VI disrupts the development of English kingship and endangers the existing Lancastrian rule. Chapter 4 discusses the psychological and physical meanings expressed through the use of the sitting posture, a gesture which embodies the mother’s pain. Chapter 5 discusses Shakespeare’s exploration of political wildness and barbarism through his representation of Tamora’s tragic passion. Chapter 6 discusses Volumnia’s maternity and her appropriation of the Roman concept of honour. The conclusion considers the strength of maternal authority and female power in Shakespeare’s representation of maternal mourning.

Humiliation has a powerful presence in Shakespeare's tragedies and late plays. With an unusual ability to reform and redeem, humiliation is not employed in these plays as one might expect. Cast in a form much influenced by the Protestant theology of Shakespeare's England, the humiliation that falls upon some of Shakespeare's most prominent characters is one that offers great hope and clarity. Drawn from the theology of three prominent Protestant Reformers, Martin Luther, John Calvin, and Richard Hooker, humiliation in Shakespeare's Hamlet serves to save the fragile queen and her sinister new husband from certain damnation. In The Tempest Prospero is humiliated in like fashion. This experience results in a more-than-magical reformation that turns the island into a place of reconciliation. King Lear's humiliation cures his faulty vision, allowing him to recognize a true love that pursues him with great passion and sacrifice. In Henry VIII the great Cardinal is averted from certain damnation, humiliation drawing him from a life of violence and manipulation. The jealous tyrants in The Winter's Tale, Cymbeline, and Othello are powerfully humiliated. This humiliation allows Leontes, Posthumus, and Othello to be released from their fearful bondage, at last made capable of seeing the true love of their wives. This thesis casts significant new light upon how much Shakespeare was influenced by the Protestant Reformation. Through a detailed examination of the use of theological language and concepts in the plays examined, this thesis argues that Reformation theology affords a powerful lens through which to read the journeys of the protagonists in Shakespearean tragedy and late plays. This powerful lens of Reformation theology brings to focus the way in which Shakespeare transforms, with great mastery, the humiliation of a man into the redemption of a soul.

Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第19078号
人博第731号
新制||人||175(附属図書館)
26||人博||731(吉田南総合図書館)
32029
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)准教授 桒山 智成, 教授 丸橋 良雄, 准教授 髙谷 修, 教授 依田 義丸
学位規則第4条第1項該当

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1980.
Made available in DSpace on 2013-12-05T19:23:13Z (GMT). No. of bitstreams: 1 321993.pdf: 3102579 bytes, checksum: f07cae36ba96145fff4d152377b1d44c (MD5)

My thesis investigates the functions of dreams and sleep within Shakespeare’s wider design of comedy and tragedy. Methodologically, it combines its focus on genre with a strong historicist component in order to reconstruct the early modern understanding of dreams and sleep that influenced Shakespeare’s approach to this material. Comparing Shakespeare’s representations of dreams and sleep with those in classical culture, from which dramatic genre, dream theory, sleep theory, and the deployment of dreams within comic and tragic structures originally derive, I argue that Shakespeare uses devices of dreams and sleep to support his deviation from those classical conventions of comedy and tragedy that he found incompatible with his aspiration towards a fuller, darker, and more complex representation of human nature, behaviour, and character. To that effect, I discuss how dreams and sleep in Shakespeare’s comedies introduce tensions that are neither resolved nor absorbed by the respective endings; and I show how dreams and sleep in the tragedies and tragic histories help emphasise human agency and responsibility at the expense of the ideas of fortune and supernatural determinism found in classical tragedy.

This thesis offers a significant reappraisal of the relationship between Hamlet, Othello, Macbeth, and the genre of domestic tragedy. In situating these tragedies in the context of portrayals of disrupted homes in cheap print, I explore social, spatial, ideological, and psychological constructions of the domestic in early modern England. I demonstrate how Shakespeare uses these constructions to stage how societal and familial pressures shape individual agency; how the integrity of the house is associated with the body of the housewife; and how household transgressions render the home permeable. Chapter One examines how the political analogy of the household with the state is negotiated in three shrew-taming plays, in ways that prefigure Shakespeare’s appropriations of domestic tragedy. Chapters Two, Three and Four explore these appropriations: Chapter Two argues that Shakespeare transfigures popular conceptions of adulterous murderesses in creating the figure of Gertrude; Chapter Three traces how Othello stages the relationship between domestic enclosure, female chastity, and illicit privacy; and Chapter Four suggests that Othello and Macbeth borrow dramaturgical tropes from domestic tragedies in staging household murder. Chapter Five compares Macbeth’s use of popular conceptions of withcraft with the later borrowings of The Witch of Edmonton, and argues that Shakespeare and Rowley, Ford, and Dekker use similar sources, to divergent effects. The innovations of domestic tragedy challenge the distinctions of early modern generic theory, showing how the transgressions of those in subordinate gender and class positions can attain tragic stature and threaten the security of the state. This thesis argues that in Hamlet, Othello, and Macbeth, Shakespeare creates new versions of domestic tragedy, using heightened language, foreign settings, and elite spheres to stage familiar domestic worlds. I thus propose a new way of understanding Shakespeare’s tragedies, domestic tragedy, and the significance of the disrupted home in early modern culture.

This dissertation will argue that the early modern theatre and the early modern church were both concerned with keeping the attention of their audiences, and that one of the ways that dramatic interest in Christopher Marlowe's and William Shakespeare's plays was generated was by staging acts that can be read as ambiguous, interrupted, failed or parodic confessions, prayers, and sermons. In particular, I will argue that when the characters in Marlowe’s and Shakespeare’s tragedies fail to find solace in acts that model reformed devotional practices, they eventually suffer the strange but dramatically engaging consequences of their tragic passions like despair, hatred, jealousy, fear, and rage. This dissertation, then, will bridge the turn to religion and affect studies as a means of arguing that early modern tragedy was consumed with attracting, and sustaining, the dramatic attention of the audience. While it is not possible to say, with any finality, why tragedies hook an audience's attention, it is possible to suggest how Marlowe's and Shakespeare's tragedies used the passions generated by the failure of model devotional acts as a means of capturing and sustaining the attention of the audience.
Arts, Faculty of
English, Department of
Graduate

Kada je profesor renesansneknjiževnosti na UCLA dr Majkl Alen krajemprošlog i početkom ovog veka počeo daobjavljuje svoje prevode dela Marsilija Fičinasa latinskog na engleski jezik, moglo bi se rećida je započeo novo poglavlje u šekspirologiji.Neuporedivo veća dostupnost ovih,svojevremeno izuzetno uticajnih, a umeđuvremenu gotovo zaboravljenih tekstovadovela je do obnove interesovanja književnokritičkihkrugova za fenomen poznat kaorenesansni neoplatonizam, praćene povećanomsvešću o tome koliko je sveobuhvatan isveprožimajući uticaj koji je ovaj neobični ieklektički sistem misli ostvario na Šekspirovadela, kao i dela mnogih njegovih savremenika.Renesansni neoplatonizam, iako niranije nije bio nepoznat šekspirolozima, dugo je bio zanemarivan pri tumačenjima Šekspirovihdela – posebno onih „ozbiljnijih“ – kao suvišemarginalan ili, u najboljem slučaju, suvišeoptimističan skup ideja o harmoniji kosmičkihsfera. Detaljnije čitanje Fičinovih tekstova, kaoi dela drugih neoplatoničara i njihovih drevnihizvora, pruža neprocenjiv uvid u „mračnu“stranu neoplatonizma, ali i „mračnu“ stranuŠekspirovih „mračnijih“ drama.Ovaj uvid nije zanimljiv samo saaspekta tumačenja književnosti. Šekspirovodoba, koje se sada najčešće naziva ranimmodernim periodom upravo iz tog razloga, dobaje u kome su utemeljeni mnogi kulturni obrascikoji su i dalje u opticaju. Upravo su Šekspirovadela u velikoj meri poslužila kao provodnik zaveliki broj tih obrazaca zbog široke i dugotrajnerecepcije koju su uživala.Polazeći od pretpostavke da se bazičnimetafizički koncepti mogu lako prenositi iugrađivati u temelje raznih ideologija unajširem smislu te reči i da su stoga njihovoiznošenje na površinu i analiziranje posebnozanimljivi i korisni, ova disertacija za svojfokus uzima jedan metafizički koncept koji činiosnovu renesansnog (a i svakog drugog)neoplatonizma. Taj metafizički koncept jestehijerarhijska i gotovo uvek rodno determinisanadihotomija duh/materija, čije se „mračnije“manifestacije u renesansnom neoplatonizmučesto zanemaruju ili pogrešno pripisujuhrišćanskim uticajima.Cilj ove disertacije je da se identifikujuoni aspekti Šekspirovih dela – pre svegatragedija i takozvanih „problemskih drama“ –koji su u saglasju sa dualističkom metafizikomrenesansnog neoplatonizma, zatim da seznačenja tih aspekata analiziraju u okviru temetafizike, te da se time iznađu daljeimplikacije ne samo za tumačenja Šekspirovihdela, već i za bliže razumevanje čitave našecivilizacije, koja bi se, pre no posthrišćanskom,moga slobodno nazvati postneoplatoničarskom.Kao hipoteza se postavlja očekivanje daće dualistički koncepti koji potiču izrenesansnog neoplatonizma biti pronađeni nanekolikim nivoima Šekspirovih odabranihtekstova, od zvučnog, preko metaforičkog, doalegorijskog. Daleko od toga da ponudinekakvo konačno tumačenje Šekspirovih dela,ova analiza će, nadamo se, prosto povećati brojnjihovih mogućih interpretacija.Metodi koji će biti korišćeni sueklektični. Najčešće će se koristiti klasičnakomparativna analiza – s jedne strane,metafizičkih sistema dostupnih Šekspiru putemrenesansnog neoplatonizma i, s druge strane,Šekspirovih dela (pre svega tragedija itakozvanih „problemskih drama“). Stavoviautorki i autora koji pripadaju feminizmu,novom istorizmu, dekonstrukciji i psihoanalizibiće citirani, a neke tehnike u okviru ovih školatumačenja korišćene pri daljoj analizi. Uznatnom delu disertacije koristiće sefeminističko čitanje metafizike, jer jeutvrđivanje rodno zasnovanih hijerarhija istereotipa jedna od implikacija metafizičkogdualizma duha i materije.Prva tri poglavlja ove disertacije suuvodna, od čega drugo i treće pružaju kratkiosvrt na razvoj dualizma duh/materija i samogkoncepta materije kroz istoriju evropskefilozofije i religije. Koncept femininodeterminisane, haotične i mračne materije,suprotstavljen konceptu maskulinodeterminisanog, racionalnog i svetlog duha,prati se u drugom poglavlju od svojih začetakau orfizmu, dionizijskim i eleuzinskimmisterijama i pitagorejskom pokretu, prekosvog najuticajnijeg proponenta Platona injegovih sledbenika, sa posebnim osvrtom naneoplatoničare, do mnogobrojnih dualističkihpokreta koji su pod njihovim direktnim iliindirektnim uticajem nicali diljem antičkog isrednjovekovnog sveta. Radikalni iliemanativni, prokosmički ili antikosmički,dualizam duha i materije – prenošen kroz spise iusmena učenja hermetičara, gnostika,manihejaca, bogumila i katara, pa katkad i krozsamo hrišćanstvo, koje mu je zvaničnosuprotstavljeno – pokazuje se kao neprekinutanit u istoriji evropske civilizacije.Treće poglavlje bavi se dualizmom duhai materije u renesansnom neoplatonizmu.Eklektičan, kompleksan i imanentnoparadoksalan fenomen poznat kao renesansnineoplatonizam nastaje kao rezultat snažnogistovremenog upliva više tipova dualizma ujudeohrišćansku misao – Platonovi rukopisistižu u zapadnu Evropu zajedno sa rukopisimaneoplatoničara i hermetičara, ali i pravim, živimkabalistima – koji sa oduševljenjem prihvataju,prisvajaju i prerađuju tzv. „hrišćanski“neoplatoničari na čelu sa Marsiliom Fičinom. Uokviru renesansnog neoplatonizma može seizdvojiti nekoliko sasvim različitih i međusobnonekompatibilnih struja: „čist“ neoplatonizam,magija, alhemija, gnosticizam, kabala ihermetizam. Sve one, bile prokosmičke iliantikosmičke, imaju u svojoj osnovi rodnodeterminisan hijerarhijski dualizam duha imaterije i, u najmanju ruku, ambivalentan odnosprema telu i kosmosu, a u odnosu na samumateriju – odnosno, šta se sa njom može ilimora činiti – mogu se uočiti tri široke kategorijekoje se mogu ilustrovati kroz primerdualističkih alegorijskih tumačenja mita oNarcisu.Plotinovo viđenje Narcisa kao prikazduha prevarenog  sopstvenim odrazom u kaljuzimaterije poredi se sa gotovo identičnim, alidrugačije percipiranim događajem opisanim uhermetičkom spisu Pimander, gde je pad duha umateriju u kojoj se ogleda opisan kao kreativničin ljubavi iz koga nastaje kosmos. Takoantikosmički nastrojeni Plotin moli čitaoca dase vine ka pravom duhovnom izvoru svog lepoglika, jer je druga opcija pad u kal materije.Treća opcija, koju nudi prokosmičkihermetizam, jeste ljubavni spoj duha i materijeu kom superiorni ali benevolentni maskuliniduh svojevoljno svojim odrazom formirainferiornu ali prijemčivu femininu materiju.Ove tri opcije se ogledaju u Šekspirovimdelima u centralnom delu disertacije (poglavlja4-9), koji se sastoji od komparativne analizepristupa materijalnom i telesnom u, s jednestrane, različitim strujama renesansnogneoplatonizma i, s druge strane, Šekspirovimdelima, najpre tragedijama i problemskimdramama.Pojedinačna poglavlja središnjeg deladisertacije bave se mogućim pristupimamateriji, ali takođe i mogućim koracima najednom neoplatoničarskom putu krozmaterijalni svet.Taj put počinje u „Tamnici“, kojom sebavi četvrto poglavlje. Istraživanjeantikosmičkih stavova prema materijalnom itelesnom u Šekspirovim tragedijama iproblemskim dramama dovodi do zaključka dasu oni u skladu sa antikosmičkim učenjimagnostika, manihejaca, bogumila, katara, ipesimista među neoplatoničarima. JunaciŠekspirovih tragedija i problemskih drama(Hamlet, Romeo, Kleopatra, Lir, Gloster, TitAndronik) svet i telo eksplicitno doživljavajukao tamnicu duše, a često se takva osećanja ipoređenja javljaju u doslovnim tamnicama (kaošto na svojoj koži iskuse Ričard II, Lir,Malvolio, Klaudio i Barnardin). Mora seprimetiti da su antikosmički stavovi kodŠekspirovih junaka najčešće posledicanekakvog šoka ili razočarenja.Mikrokosmosi drama kao što su Hamlet,Magbet, Kralj Lir i Mera za meru mogu se čitatikao alegorijski prikazi neoplatoničarskog paklau kome vlada haos mračne materije, a njihovivladari-uzurpatori kao zločesti demijurzi.Primećuje se dvojaka subverzivnost – ureligijskom i političkom smislu – korišćenjafigure kralja kao demijurga, kao i činjenice dapomoć utamničenima u njegovom mračnomdomenu uvek dolazi spolja, obično u figuridoketskog Hrista, koji dolazi da probudiuspavane iskre (Vojvoda u Meri za meru, duhHamletovog oca, Kordelija u Kralju Liru).Kada se svet posmatra kao tamnica čijije glavni tamničar lažljivi uzurpator, samaakcija postaje problematizovana i lako se nailazina stav da je kontemplacija bezbednija i čistijaopcija. Tako se Hamletov čuveni solilokvijmože čitati i kao suprotstavljanje opcije „biti“ ufiksnom, nepromenljivom duhu opciji „ne biti“u fluidnom i iluzornom svetu stalnog nastajanjai nestajanja materije. Mnogi Šekspirovi junaciizbegavaju da uprljaju ruke i odriču se svega,između ostalog i ljubavi, zarad viših ciljeva(Hamlet; Vojvoda, Izabela i Anđelo u Meri zameru).Ovo se u sledećem poglavlju,„Uznošenje“, pokazuje, opet uneoplatoničarskom diskursu, kao potencijalnopogrešan korak. U neoplatonizmom inspirisanojrenesansnoj teoriji ljubavi, čiji su najuticajnijipropagatori Fičino i Bruno, upravo se krozerotsko dostiže božansko, ali uz bitnoupozorenje da erotski poticaj mora dolaziti odnebeske, a ne zemaljske Venere, i da ne smeimati za cilj brak ili, još gore, blud. Narcis kojise ogleda u baruštini materije mora znati da jezaljubljen u sopstveni lepi odraz, a ne u tu baru,i mora se vinuti naviše, ka čisto duhovnombožanstvu kome je suštinski istovetan.Analizom Šekspirovih dela se utvrđuje da seprimeri uspešnog erotskog uzdizanja odmaterijalnog i telesnog mogu naći uglavnom ukomedijama, dok je u mračnijim dramamafigura nebeske Venere uvek bar donekleproblematizovana, kao što je to Dezdemona uOtelu. Takođe se dolazi do zaključka da je erosdualizma po definiciji narcisoidan, jer je uvektežnja istog za istim – duha za duhom,razdvojenim samim od sebe Drugim materije – ida je ovakva idealizovana ljubav, bilo semanifestovala homoerotski ili heteroerotski (aobe manifestacije se mogu naći kod Šekspira)neumitno neprijateljski nastrojena prema svakojstvarnoj ženskoj osobi pojedinačno i ženskomtelu uopšte.Poglavlje „Enoza“ bavi se stanjem kojepredstavlja krajnji cilj dualističke erotskežudnje, a to je mistično potpuno utapanje svakeiskre u svoje božansko izvorište. Svrhanarcisoidnog erosa dualizma se ispunjava takošto se maskulini duh sjedinjuje sam sa sobom.Iako je nijedna pravoverna monoteističkareligija ne priznaje kao legitimni cilj vernika,enoza je eksplicitno postavljena kao ishodištesvake duše u Fičinovom sistemu „hrišćanskog“neoplatonizma, bilo kao ishod čistekontemplacije ili vatrene žudnje. Kod Šekspirase figura enoze javlja uglavnom u ovomdrugom obliku, i to nikada bez poveće dozeambivalencije prema erotskom. Antonijevdijalog sa Erosom ilustruje nekoliko aspekataerotske enoze: brisanje granica izmeđuljubavnika i voljenog, onostranu prirodu„istinske“ ljubavi, povezanost seksualnosti ismrti, konačno nepostojanje identiteta iništavilo smrti kao krajnji cilj i ishod svakežudnje. Ovi aspekti se dalje istražuju i ilustrujukroz svoje manifestacije u Šekspirovimtragedijama i problemskim dramama (Hamlet,Romeo i Julija, Otelo, Troil i Kresida, Mera zameru, Julije Cezar, Timon Atinjanin). Zaključakje da Šekspir uvek zadržava ambivalencijuprema erotskom i da se svaka erotska smrt možetumačiti i kao enoza i kao pad.Sedmo poglavlje, „Silazak“, bavi seonim što se zbiva kada Narcis, zavedenodrazom svog duha u njima, zakorači u vodematerije. Fičino i Bruno su u svojim teorijamaljubavi jasni: ukoliko ljubavnik napravi kobnugrešku i posegne za telom osobe za koju mu seučini da ga erotski privlači, umesto da se,inspirisan njenom lepom formom, vine kačistoti duha odakle ta forma potiče, upašće upakao materijalnog. Zemaljska Venera možepod maskom nebeske zavesti naivnog i nevinogljubavnika i odvući ga u dubine materijalnogsveta, naizgled nudeći mu mogućnost uzleta kanebeskim visinama. Za to je dovoljna jedna noćprovedena sa njom. Ovaj zaplet se može naći, urazličitim varijacijama, u mnogim Šekspirovimdelima: Sve je dobro što se dobro svrši, Troil iKresida, Mera za meru, Romeo i Julija i Otelo.U svima je dovoljna jedna noć provedena sanjom da se nebeska Venera volšebnotransformiše u zemaljsku – čista Dijana ubludnu Jelenu, devica u kurvu – i utamničizlosrećnog ljubavnika u telesnost braka ilibluda, ili, još gore, na samo dno pakla ženskeseksualnosti, u haotično ništavilo pramaterije.Osmo poglavlje, „Ništavilo“, bavi seupravo onime što se nalazi na dnuneoplatoničarskog kosmosa – ništavilom koje seistodobno otkriva kao neoplatoničarska primamateria. Ona je uvek feminino determinisana –u neoplatonizmu je Hekata identifikovana samaterijom, a figura Hekate se i umikrokosmosima Šekspirovih mračnijihkomada pokazuje kao prava vladarka paklenogdomena zločestog uzurpatora (Ledi Magbet,Tamora, pa čak i Gertruda). Femininadeterminisanost pramaterije ogleda se kodŠekspira i u višeznačnom i često ponavljanomglasu, ili slovu, ili cifri – „O“ ili „0“ – kojemože biti matematički izraženo ništavilopramaterije, ali i oznaka za vaginalni otvor.Ovom višeznačju doprinosi i činjenica da se reč„nothing“ („ništa“), uvek zlokobno značajna rečkod Šekspira, mogla u jeziku ŠekspiroveEngleske koristiti u oba smisla. „O“ je i oznakaza matericu u kojoj se ljudsko biće, potadašnjim teorijama, zdušno prihvaćenim odstrane neoplatoničara, materijalizuje od očevogduha i majčine materije, i time materinstvodobija izrazito negativan prizvuk. Majka je takoja doprinosi materiju u procesu reprodukcije,čineći nas time smrtnim i pravdajući čestupovezanost figura materice i grobnice(„womb/tomb“), kao i očajnički pokušaj nekihjunaka – primerice, Koriolana – da se odmaterinskog tela radikalno odvoje, što čestodovodi do nasilnog i krvavog vraćanja u njega.Neoplatoničarska majka, pokazuje se, čestoproždire sopstvenu decu.U mnogim tragedijama se junak suočavasa pramaterijom koja se pojavljuje doslovnouobličena u „O“: primeri za ovu figuru supaklena jama u šumi višestruko povezana saTamorom i vaginalno determinisana u TituAndroniku, grobnica Kapuleta u Romeu i Juliji,veštičiji kotao u Magbetu, kao i vaginalni pakaokroz koji prolaze Lir i Timon u svojoj mašti.Hamlet se spušta u tri gradirana ponorapramaterije u svojoj istrazi o tome odakle dolazitrulež u Danskoj: Ofelijina, zatim Gertrudinaodaja, i na kraju otvoreni grob u koji uskače.Suočavanje sa materijalnom osnovom kosmosa,premda u tragedijama uglavnom najviše služitome da ilustruje paklene dubine do kojih sejunak i/ili njegov svet srozao, može dovestijunaka i do neke vrste regeneracije i ponovnogrođenja, kao što je slučaj sa Lirom.Suočavanje sa neformiranom materijommože dovesti neoplatoničarskog junaka i doprokosmičkih tendencija: može poželeti da u tajmračni haos unese red i lepotu forme iz višihkosmičkih sfera. Time se bavi poslednjepoglavlje centralnog dela disertacije, nazvano„Teurgija“. Narativ iz Pimandera oprimordijalnom duhovnom Čoveku kojiogledanjem u njenim tamnim vodamasvojevoljno daje formu voljenoj materijalnojPrirodi je, u kombinaciji sa Jamblihovomteorijom teurgije, dao podsticaj Fičinu daosmisli sopstvenu, i pored svog stalnoambivalentnog stava prema bilo kakvojinterakciji maskulinog duha sa femininommaterijom. Teurgija – koja može obuhvatatirituale, praktičnu magiju i alhemiju, ali i druganeimenovana delanja – nalazi se naprokosmičkom ekstremu neoplatonizma, kaoaktivan napor svakog pojedinca da uvede red ukosmos i, kao demijurg, i sam formira materijukoja mu je na raspolaganju.Kod Šekspira se primeri uspešneteurgije uglavnom mogu naći u kasnijimkomadima (takozvanim „romansama“), doktragedije i problemske drame obično prikazujuobrnut proces, u kome se kosmos svodi na haospramaterije. Ubijanje ili uklanjanje uspešnihteurga, koji održavaju red na svim nivoima –pojedinac, država, kosmos – dovodi do padačitavog domena u haos, kao što se može videti uMeri za meru, Hamletu i Magbetu. Figurauspešnog teurga ili maga oslikava se kaoneoplatoničarsko sunce koje oplođava i formiramrtvu materiju, dajući joj život, kao što je slučajsa solarnim kraljem Dankanom. Uspešan teurgje dobar kralj, otac, oličenje božanstva, što seistražuje kroz metaforu kovanja novca, koje,kao davanje svog lika i forme bezobličnommetalu, kao pravo pripada upravo ovimfigurama. Lirova izjava da sme da kuje novacpošto je on kralj se, međutim, može čitati i kaoizjava bilo kog teurgijski nastrojenog pojedinca,jer po metafizici prokosmičkih struja uneoplatonizmu svaka iskra duha ima pravo iobavezu da formira materiju po svomuzvišenom liku i uvodi poredak u nju.Prokosmički dualizam se time pokazuje kaopotencijalno politički i religijski čaksubverzivniji od antikosmičkog.Teurgija kao koncept je, dalje seprimećuje, ugrađena u nekolike diskriminatorneideologije: mag može figurirati kao kolonizatorkoji civilizuje inferiornije, telesnije,materijalnije „varvare“ ili kao krotitelj, opet,inferiornijih, telesnijih, materijalnijih žena. UBuri se, recimo, jasno vide oba procesa, kao iparadoks po kome je muškarac koji menja ikontroliše prirodu (Prospero) moćni mag, dok ježena koja čini to isto (Sikoraks) zlokobnaveštica.Ženske figure se u slikama vezanim zateurgiju javljaju u dve najčešće varijante. Uprvoj su predstavnice feminine materije, koja uprokosmizmu može biti „dobra“ ukoliko jedovoljno poslušna i prijemčiva kontroli iformiranju od strane maskulinog duha, koji timepostaje direktno odgovoran za nju, što dovodido pojačane anksioznosti. Neposlušna materijaje kod Šekspira često predstavljena kroz figureneposlušnih žena. Analiziraju se zanimljiveslike u kojima se pobuna kćerki (Šajlokove iLirovih) opisuje kao pobuna materijalnog itelesnog protiv duha koji daje život.Potencijalno neposlušna žena, doživljena kaopreviše materijalna i telesna jer aktivnimiskazivanjem ljubavi pre braka (Dezdemona,Julija, Kordelija) daje signal ocu i/ili mužu dajoj je požuda preča od dužnosti, može bitiodbačena, i tu se oslikava druga varijantaženske figure – kao spone kosmosa.Naime, Šekspirovi junaci, koji usledimanentne paradoksalnosti neoplatonizmanikada ne mogu znati kako se odnositi premaženskim figurama, često prave i grešku upravosuprotnu, ali isto tako fatalnu, kao što je padpred požudom zemaljske Venere, a to jeodbacivanje ženske ljubavi iz straha da je upitanju puka požuda. Ispostavlja se da je taljubav, kao što je slučaj u Kralju Liru i Otelu,ali i Zimskoj bajci, bila neoplatoničarski zlatnilanac ljubavi, spona kosmosa, koja ga je držalau harmoniji, a da bez nje haos pramaterijeponovo dolazi. Šekspir ovime dekonstruišedihotomiju ljubav/dužnost, i to koristećineoplatoničarsku metafiziku, u kojoj su obapojma sinonimi za harmoniju kosmosa kojuodržava uzvišena božanska ljubav. Kodelijinodgovor Liru da ga voli „according to my bond“(dužnost i spona su samo neka od mogućihznačenja ove reči) time dobija dodatne mogućeinterpretacije.Još jedna dihotomija koju Šekspirdekonstruiše upravo putem neoplatoničarskemetafizike jeste, u njegovo doba popularna,umetnost/priroda. Umetnost se – u smislu svegaumetnog i artificijelnog i svakog umeća, veštinei delanja koje uređuje i menja datost – čestosuprotstavljala „Bogom danoj“ prirodi upokatkad žestokim debatama, od kojih su nekeumele da potkače i pozorište. Ono po čemu seneoplatonizam razlikuje od pravovernihmonoteizama jeste, između ostalog, dvojakostshvatanja prirode i neinsistiranje na njenojnormativnosti. Dve prirode u neoplatonizmu,viša i niža, duhovna i materijalna, aktivna ipasivna, korespondiraju sa Venerom i Hekatom,a ova podvojenost prirode se najizrazitijeispoljava u Kralju Liru, ali se njenemanifestacije mogu naći i u Hamletu i Magbetu.Viša priroda koja kultiviše nižu kao što vrtlarkultiviše vrt – što je česta figura, kako kodrenesansnih neoplatoničara, tako i kod Šekspira– poistovećuje se sa umetnošću.Pozorišna umetnost kao ogledalo prirodeu Hamletovoj izjavi može se uneoplatoničarskom ključu čitati i kao teurgijskoupodobljavanje niže prirode višoj, a ne samokao puki mimetski prikaz čulne stvarnosti.Dramaturg se tako pokazuje kao teurg kojionom materijom koja mu je na raspolaganjumanipuliše e da bi i nju (svoje glumce,scenografiju i pozorište) i publiku transformisaoi preuredio po liku više prirode koja je njemu,po platoničarskim teorijama božanske poetskeinspiracije, dostupnija. Dok u tragedijamateurgijske umetničke tendencije ostajuneispoljene, a njihovi nesuđeni agenti (kao štosu Lavinija u Titu Androniku i Kasio iDezdemona u Otelu) obogaljeni i/ili ubijeni,usled čega kosmos ponovo postaje haos, uromansama se pojavljuju i uspešni umetniciteurzi.Paulina u Zimskoj bajci i Prospero u Burisu možda najbolji primeri, koji svojim„nadilaženjem“ prirode i ukazivanjem na višuistinu putem pozorišne iluzije pokazuju da jedramaturg verodostojniji stvaralac oddemijurga.Posle kratke rekapitulacijeparadoksalnih i često međusobnonekompatibilnih tumačenja Šekspirovih dela naosnovu aspekata metafizičkog dualizmapreuzetog iz renesansnog neoplatonizma, uzaključku ove disertacije predlaže se detaljnije idublje izučavanje uticaja neoplatoničarskogkoncepta materije, kao i dihotomijeduh/materija, na dalju književnost i kulturu.Ovo bi moglo da ima implikacije za studijeknjiževnosti, ali i studije kulture, rodne i kvirstudije.
We have in the past two decades, owingto the recently appearing translations of Ficino’sworks into English, witnessed a revival ofinterest in the phenomenon known asRenaissance Neoplatonism. Although notunknown to Shakespearologists, RenaissanceNeoplatonism has long been neglected ininterpretations of Shakespeare’s works –especially the “darker” ones – as an overlymarginal, eccentric, or optimistic concoction ofnotions on the harmony of the spheres. A deeperreading of Ficino’s texts, as well as those ofother Renaissance Neoplatonists and theirancient sources, offers an invaluable insight intothe “dark” sides of both Neoplatonism andShakespeare’s “darker” plays.This insight is also intriguing for areasof research other than literary criticism. It was in Shakespeare’s age – now usually referred toas the early modern period precisely for thisreason – that many of our own current culturalpatterns were shaped, and Shakespeare’s workscertainly served as one conduit. Using as itsstarting point the assumption that basicmetaphysical concepts can with great ease betransferred over time and space and built intothe foundations of differing ideologies in thebroadest sense of the word, and that unearthingand analyzing them is therefore an especiallyrewarding and useful endeavor, this dissertationchooses to focus on a metaphysical conceptwhich lies at the very basis of (Renaissance)Neoplatonism. The metaphysical concept inquestion is the nearly invariably gendered andhierarchized spirit/matter dichotomy, whosemore sinister and “darker” manifestations inRenaissance Neoplatonism have frequently beenneglected or misattributed to Christianinfluences.The aim of this dissertation is to identifythose facets of Shakespeare’s darker plays –primarily his tragedies and “problem plays” –that resonate well with the dualistic traditionsextant in Renaissance Neoplatonism, analyzetheir possible meanings within the contextsoffered by these religious and philosophicalsystems, and hopefully discover their furtherimplications for understanding bothShakespeare and certain aspects of so-calledWestern cultures. The hypothesis is that thedualistic concepts derived from RenaissanceNeoplatonism will resonate well with parts ofShakespeare’s work, revealing in theiroriginative context further notions illuminatingfurther meanings attributable to Shakespeare’stext and our cultural atmosphere, many of whichwill be paradoxical and contradictory – muchlike Renaissance Neoplatonism itself.The central portion of this thesis consistsof a comparative analysis of approaches to thematerial and the carnal existing in, on the onehand, various branches of RenaissanceNeoplatonism, and, on the other, Shakespeare’swork, primarily his tragedies and so-called“problem” plays. The individual chapters dealwith possible approaches to matter and alsopossible steps along a Neoplatonic journeythrough the material world. This journey beginsin “The Prison,” where the hero experiencesthose Neoplatonic sentiments that are on theanti-cosmic end of the spectrum. This, manyNeoplatonists would hope, can induce him toattempt an “Ascent” towards the purely spiritualspheres. This ascent is often also inspired byfemale figures stripped of all carnality. Theultimate goal of Neoplatonic ascent is“Henosis,” in which the hero becomes one withthe One. If the hero is not careful, allowinghimself to be lured downward by carnal femalefigures, or if he is very adventurous indeed, hecan instead begin a kenotic “Descent” into thedepths of matter. This descent will allow him toface the “Nothing” of formless prime matterwhich is at the basis of the cosmos and his ownmortal body. Faced with it, he will, someNeoplatonists would hope, realize that it is thisnothing that everything comes from, and willstrive to help the spiritual forces in the universe,of which he ultimately is one, form it lovingly.This is known as “Theurgy.”As predicted, the analysis shows that thedualistic concepts originating from RenaissanceNeoplatonism can indeed be found on severallevels of Shakespeare’s “darker” plays. Farfrom providing definitive answers to questionsraised by Shakespeare’s work, the profferedanalysis, as expected, merely increases thenumber of its possible interpretations.It is concluded that the Neoplatonicconcept of matter and its spirit/matterdichotomy exerted a formative influence notonly on Shakespeare and his age, but the agesthat followed as well, our own included. Thisinsight offers implications for further researchnot only in literary criticism, but also cultural,gender and queer studies.

Orientador: Verônica Fabrini Machado de Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T05:11:53Z (GMT). No. of bitstreams: 1 Saavedra_ClaudiaCarlaEchenique_D.pdf: 8077044 bytes, checksum: 8547a9c2f2c589fa4b2ad2d839809ca7 (MD5) Previous issue date: 2014
Resumo: Esta tese investiga três tragédias de William Shakespeare: Tito Andrônico, Ricardo III e Macbeth, e sua relação com a construção e defesa dos direitos humanos no mundo contemporâneo. Nós estabelecemos que tanto as narrativas como o discurso das realidades apresentadas nessas tragédias elisabetanas, oferecem um material que, mediado por o corpo total, dos atores e que, expostos diante da assembléia por meio de sua atualização teatral, contribuem para a compreensão de como operam, tanto os mecanismos de poder como o circulo trágico da vingança gerando violência. Postulamos que, elaboradas em comunidade, essas obras, educam e fornecem um terreno fértil para a elaboração da memória coletiva e, assim, alcançar uma compreensão compartilhada dos fenômenos que afetam nossas convivências latino-americanas
Abstract: The present study involves research on the construction and defense of Human Rights through an analysis of William Shakespeare¿s three tragedies: Tito Andronicus, Richard III, and Macbeth, in the context of contemporary Latinamerica. We establish that both narrative and discourse and the realities presented in these Elizabethan tragedies, mediated through the "total bodies" of actors exposed to the assembly, allow a deep comprehension of how power mechanisms operate and how violence and revenge circulate in society. These plays elicit in the community a sense of pity for the pain of others and thus help us reach a shared understanding of vital issues that affect societies in Latinamrica. We believe that Aristotelic catharsis and Brechtian estrangement may occur simultaneously, experienced as emotive consciousness
Doutorado
Artes Cenicas
Doutora em Artes

The work of Shakespeare has been popular to make film adaptations of from the birth of cinema. Macbeth, one of his most often played tragedies, is no exception. But how did Shakespeare portray Lady Macbeth in his play, and how do directors in the 21th century choose to portray her for a modern audience? I will try to find the answer to these questions by analyzing Shakespeare´s play as well as three modern adaptations. I will begin the thesis by looking at scholars´ view in questions regarding gender, free will, adaptations and genre before analyzing the play and the three movies. I will do this so in order to make comparisons between the play and the three adaptations. My conclusion is that Shakespeare wrote Lady Macbeth as a strong woman, an “unwomanly” woman of her time. The three adaptations also portray her as a strong woman, but in three different ways. I cannot draw any overall conclusions as this thesis is a subjective interpretation of text as well as picture, but further analysis of more adaptations of Macbeth can perhaps verify what has been stated in this thesis.

Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011
Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras
Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Gothic literary works are characterized as such by their ability to represent and evoke terror. The form this representation takes is varied; often terror originates in the atmospheric effects of settings, in the appearance of mysterious, supposedly supernatural phenomena, and, perhaps most significantly, in the behavior of villainous characters. Shakespearean tragedy participates in just such an exploration of the origins and effects of terror. This thesis will examine three aspects of the Shakespearean Gothic in three of his most frightening and disturbing tragedies: Macbeth, King Lear and Titus Andronicus. All three of these texts represent terror in ways that are significant not only for genre studies but for historicist cultural studies as well. Shakespeare's particular vision of the terrible tends to represent unruly women and ethnic minorities as demonized others who threaten normalized social and moral order, and also evokes a religious dread--a fear of the cruelty or, more radically, the nonexistence of God--that would have proved particularly disturbing for Early Modem Christian culture. This reading of Shakespeare demonstrates both the influence of his vision on later writers and the trans-historic applicability of the Gothic aesthetic.
Graduation date: 2004

Put simply, magical thinking is the belief that one may affect reality by thought alone. Where Freud classifies such a concept as neurotic delusion, Winnicott embraces the idea as a memory from infancy and argues that "omnipotence of thoughts" is the origin of creativity. Both viewpoints are represented in Shakespeare's universe, their positions sometimes at war in the playing out of the hero's dilemma. This dissertation traces the idea of magical thinking through psychoanalysis, anthropology, and art, then explores the battle of thoughts in Shakespeare's tragedies. Freud's viewpoint is well-founded in Hamlet: for thoughts in Denmark are not tools with which to control reality, but a reality that cannot be controlled. The hero drowns in thoughts. He cannot escape them, particularly the thought of Gertrude's infidelity, which resurfaces in dagger words and pregnant metaphors, to the point that sometimes Hamlet forgets his revenge. His search to find a plan to kill the king thus parallels his search to find a way to kill his thoughts. Hamlet tries to bury them in the actor, who can control his thoughts long enough to "act." Both Othello and Macbeth likewise flounder in thoughts they can't control. Othello's thought echoes Hamlet's thought of a woman's infidelity. Othello cannot live with this thought, forget or disprove it. Indeed the thought is like virginity itself: once thought, he can never reclaim his ignorance or his wife's innocence. So he buries the thought in Desdemona's body--then kills it. The thoughts that plague Macbeth, however, are the result, not the cause, of his killing. He murders Duncan and Banquo only to be buried alive with "those thoughts that should indeed have died/With them they think on." Hamlet tries to escape thoughts. Othello's thoughts betray him. Macbeth defies them. Cleopatra embraces them--wholeheartedly, She is the mistress of magical thinking, Winnicott's "good-enough mother," nursing Antony on desire. Though the lovers' dream to be legends, god and goddess, may be delusional, their wish is transformed into a beautiful illusion for the audience as they birth death as Elysium, tragedy as romance, through the magic of poetry.

Shakespeare’s works are renowned for the insight they present on the human condition. While his tragedies are defined by the journeys and suffering of male protagonists, the females of these tragedies contribute greatly to plot and character development. Though all the main female characters in Shakespeare’s tragedies die—or suffer fates worse than death—we can classify them in three types: villains, the perfect victims and tragic heroines. This classification, based on shared traits and outcomes, provides insight on the roles these women’s lives and deaths serve in the tragedies.

While a good deal of attention has been paid to pastoral and, less frequently, to antipastoral elements in Shakespeare's comedies and romances, the same does not hold for his tragedies. Granted, pastoral features, as one would expect, are not conspicuous in the tragic plays, but even their anti-pastoral ones have not received extended treatment. That is, they have not received extended treatment as anti-pastoral manifestations. So, for example, the furious tempest in King Lear has frequently been seen as a cataclysmic perturbation of Nature, and/or as an expression and reflection of Lear's condition, but only rarely as an anti-pastoral phenomenon. That is a gap this thesis seeks to fill. In treating of pastoral and its opposite in the three plays selected for study - King Lear, Macbeth and Othello - we have not been bound by a literal understanding of the genres in question. A broad interpretation has been preferred, in keeping with recent trends. Consequently, shepherds and shepherdesses will not be in evidence in the ensuing pages. Instead, the terms 'pastoral' and 'anti-pastoral' are understood to refer to such categories as setting, mood and attributes. Thus, for example, we spotlight the pastoral-like ambience of Macbeth's seat at Inverness when Duncan arrives there. The term 'pastoral' further implies attributes such as simplicity, mnocence, honesty, forthrightness, naturalness, loyalty, trustworthiness, trustfulness, decency, kindness, serenity, and a natural dignity, courtesy and modesty. The term 'anti-pastoral' implies a checklist of contrary qualities, few, if any, of them coloured by rural associations linked to the subgenre's historical development as a riposte to what was seen as pastoral's idealising falsification of the true conditions of rural life. Following an introductory chapter that offers a historical and theoretical sketch of the pastoral genre and the anti-pastoral reaction to it, each of the selected plays is accorded a close reading in terms of the pastoral and anti-pastoral criteria adumbrated above, with the emphasis falling, naturally enough, on anti-pastoral manifestations.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2003.

The thesis Love as Will to Dialogue in William Shakespeare's Tragedies deals with the analysis of selected characters' dialogues found in six William Shakespeare's tragedies. The aim of the thesis is to prove the given assumption of tragic ending caused by emotionally related characters and their mutual lack of communication in each play. The thesis is formally divided into theory and practical analysis. The theory is focused on definition of two major terms dialogue and love, from the view of linguistics, psychology, psychology of communication and philosophy. Following practical analysis offers detailed study of selected dialogues. The last part of the thesis summarizes the main implications found in analysis and proposes possible benefits of the work.

碩士
國立高雄師範大學
美術系碩士班
94
Abstract Shakespearean paintings are at its’ climax from 18th to 19th century, when this period is also a representative eras of Shakespearean paintings. The development of Shakespearean paintings has relations with the changing times and the raise of Shakespeare revival (or cult of Shakespeare). Though the causes of Shakespeare revival, or cult of Shakespeare, are various in difference countries, such as the reform of theatrical systems, the influence of esthetics, the growth of nationalism, and so on, all lead to the popularity of Shakespeare. Among Shakespearean paintings, ‘the four tragedies’ are the most copious in terms of quality as well as quantity. According to the matters of the four tragedies in Shakespearean paintings, I am going to analyze the various styles from the theme of ‘Love and Hatred’, ‘Madness’, ‘Death’, and ‘Supernatural’. Meanwhile, I will also analyze the diverse and prosperous images of the four tragedies in Shakespearean paintings, which can be characterized as the elements of the ‘dramatic’, ‘sublime’, ‘decorative’ and ‘modern’. As a whole, this thesis focuses on the four tragedies in Shakespearean paintings, and then compares the difference between the paintings and the textbooks, in order to research the diversity of literature paintings. Keywords: Shakespeare, the four tragedies, David Garrick, Alderman John Boydell, Charles Le Brun, Edmund Burke, Henry Fuseli, Victor Hugo, Eugène Delacroix, Romanticism, Victorian Age, Pre-Raphaelite Brotherhood, the middle age, sublime, supernatural