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1
Johnson, Virginia Bristol. "Costume designs for Macbeth by William Shakespeare". Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=2962.
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Thesis (M.F.A.)--West Virginia University, 2003.Title from document title page. Document formatted into pages; contains vi, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 34-35).
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Podara, Eleni. "Macbeth". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-178040.
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Tato práce dokumentuje Scénická a kostýmní procesu navrhování pro výrobu divadelním představení Shakespearovy hry Macbeth jako vyrobené Pražského shakespearovské společnosti.Výroba byla provedena v Divadle Kolowrat, od 07.11.2013 do 22.listopadu 2013. Navíc produkce cestoval do Houstonu v Texasu v Rice Village divadle Main Street Theater společnosti. Je tam hráli od 27. února do 9. března 2014. Tato práce zahrnuje analýzu hry a postavy a popisuje podrobně proces návrhu a provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu provedení designu. Závěry o všech aspektech tohoto procesu jsou k dispozici.
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet, Le Roi Lear et Macbeth : la clairvoyance sublime de l'égarement /". Villeneuve-d'Ascq : Les presses universitaires du Septentrion, 1997. http://catalogue.bnf.fr/ark:/12148/cb37717827p.
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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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Loucks, Jessica Lenore. "The nature of nurture : fluids as indicators of naturalness in Macbeth /". Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000579/02/2009FT.htm.
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Thesis (M.A.) -- Central Connecticut State University, 2009.Thesis advisor: Stephen Cohen. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 68-70). Abstract available via the World Wide Web.
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.
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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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McFall, Edwin K. "Tragic hero to antichrist : Macbeth, the Oedipus Tyrannus of the English Renaissance /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/10234.
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Clausen, Christoph. "Macbeth multiplied : negotiating historical and medial difference between Shakespeare and Verdi /". Amsterdam : Rodopi, 2005. http://catalogue.bnf.fr/ark:/12148/cb40132819c.
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Metcalf, John Maurice Carleton University Dissertation English. "The presentation of Jacobean witchcraft beliefs in Shakespeare's Macbeth". Ottawa, 1992.
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Myers, Lynette Mary. "The poetry of prevarication : a study of the functional integration of style and imagery with character andaction in Shakespeare's Macbeth / Lynette Mary Myers". Thesis, Potchefstroom University for Christian Higher Education, 1985. http://hdl.handle.net/10394/10076.
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I have proved that prevarication is a current that initiates the evil actions
that are committed.
I have traced some of the oblique, dishonest euphemisms used by Macbeth
and Lady Macbeth in their language in their attempt to deceive
themselves and others of their intentions. This linguistic device sharpens
our awareness of their prevarication and avoidance of facing the truth,
and their attempt at self-deception and equivocation. They enter into
physical and spiritual duplicity.
The Witches are structurally important and function in contributing to the
ambiguous action of the play, and initiate the symbolism of darkness and
evil that prevails. Macbeth's echoic diction links him to the forces of
equivocation. Banquo dismisses their information, whereas Macbeth's
empathy with the Witches and his ripeness for corruption result in the
same information becoming disinformation to him.
Macbeth's prevarication continues in order to secure his position obtained
through heinous crimes and his lack of integrity in a world where it is
difficult to distinguish appearance and reality.
Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a
prevaricator by means of obliquity and mutual intrigue, and shows her
shrewdness and hypocrisy towards Duncan. She undermines logic,
imagination and metaphysics and overpowers Macbeth's indecision to
commit the murder, as she acts as a "thorn" to his conscience challenging
his manhood and courage. Macbeth is coerced into acceding to the
murder as a result of Lady Macbeth's bombastic exposure of the frailties
violated by evil.
The images of blood and sight merge when Macbeth sees his horrific hands
after the murder a murder that symbolically "murders" sleep.
Shakespeare uses the Porter to indicate the "equivocator" is synonymous
with Macbeth, the prevaricator.
Storms accompany the central action of the murder of Duncan, and the
tremendous upheaval of nature reflects the tempest roaring within
Macbeth. Macbeth's swollen, puffed up, deceptive language in his false
declaration of his mourning for the loss of Duncan, illustrates his ability
to prevaricate at his best. After Duncan's murder, Macbeth continues to
secure his power and security by his desperate series of futile murders,
which he commits without a moral self-catechismal examination of his
conscience: he prevaricates with impunity.
From their earlier close intimate association there is a deterioration in
the relationship between Macbeth and Lady Macbeth: their ways have
separated through guilt and lack of trust. Lady Macbeth declines to a
languid, exhausted woman in the sleep-walking scene, as she recalls her
past crimes and atrocities. Her personal confusion, anguish and
disorientation result in a cataclysmic shudder that leads to her physical
and spiritual implosion. Macbeth remains physically aggressive. His
tactics for his physical confrontation with death are irrevocable: he
suffers an isolated spiritual implosion in his virtual negation of life.
I have shown that Macbeth is an orchestrated composition in which
prevarication is the tool used for furthering ambition that motivates the
action of the drama.Thesis (MA)--PU vir CHO, 1986
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McCleary, Mary. "Textual composition and the Macbeth, Othello, and Falstaff of Shakespeare and Verdi". Thesis, Boston University, 2012. https://hdl.handle.net/2144/32035.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti. The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort.
2031-01-02
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Winkler, Stephanie. "Lady Macbeth narrada : dialogismo e responsabilidade em Shakespeare e Leskov". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16448.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014.Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-10T18:02:50Z No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5)
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O objetivo deste trabalho é comparar duas personagens femininas: Lady MacBeth de Shakespeare e Lady MacBeth de Leskov. A partir de uma análise bakhtiniana, pretende-se mapear as diferenças entre essas Ladies. A primeira, do teatro, é uma personagem elevada, cuja ação desmedida é dotada de uma ambição que a levaria a superar sua condição de nobreza. Tudo isso, ligado a um entendimento da tragédia e do herói trágico a partir de princípios aristotélicos, clássicos e de sua releitura pelo dramaturgo inglês. A segunda, da prosa, é uma pessoa comum. Envolvida por uma narrativa cotidiana, sua ambição não-heróica, egoísta e violenta, a conduz a uma satisfação pessoal, afetiva e individualista. Além disso, há uma grande afinidade entre Leskov e Dostoiévski ao criar personagens no mundo literário com características humanas excepcionalmente realistas. Tudo isso, problematizado em consonância com a perspectiva benjaminiana em seu texto “O Narrador” – paradigma do tradutor brasileiro Paulo Bezerra. Tendo em vista que o foco de análise é justamente Leskov, ficam muito evidentes os elementos narrativos, orais e escritos, que respondem e estabelecem um dialogismo com Shakespeare e com a literatura e cultura russas do século XIX. ____________________________________________________________________________________ ABSTRACT
The main purpose of this thesis is to compare two feminine characters: Shakespeare's Lady Macbeth and Leskov's Lady Macbeth of Mtsensk. From a Bakhtin based analysis, the intention is to map out the differences between these two Ladies: the first one, from the theatre, is a distinguished character, whose extreme measures are blinded by the ambition of surpassing her condition of nobility - all of this linked to an understanding of tragedy and the tragic hero based on Aristotelic principals. The other lady is a commoner, written in an everyday narrative in prose. Her personal ambition is non-heroic at the same time that it is individualist and violent, an attitude that provides personal satisfaction. Also, there is great affinity between Leskov and Dostoyevsky in creating fictional characters that have exceptionally realistic human qualities. All these aspects will then be examined from Walter Benjamin's perspective in his text The Storyteller. Having in mind that the focus of this research is Leskov, the narrative, oral and written elements become quite evident because they respond and establish a dialogism with Shakespeare and Russian literature and culture of the XIX century.
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Xaver, Savannah. "Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies". University of Toledo Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1450433405.
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Queluz, Rebeca Pinheiro. "Macbeth de Gabriel Villela : uma re-criação da tragédia Shakespeariana". reponame:Repositório Institucional da UFPR, 2015. http://hdl.handle.net/1884/37885.
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Orientadora : Profª Drª Célia Arns de MirandaDissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 02/04/2015
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Área de concentração: Estudos literários
Resumo: Na história da adaptação, apropriação e tradução shakespeariana, Macbeth, considerada uma das quatro grandes tragédias, ocupa um lugar privilegiado. Os temas presentes nessa peça (ambição desmedida, aparência e realidade, o peso da culpa, a corrupção do poder, violência, tirania) fornecem material para incontáveis releituras e interpretações, em qualquer espaço ou tempo, seja no cinema, na literatura, no palco, nas artes em geral. Com relação às encenações, só no Brasil há registros de, pelo menos, quatorze montagens da peça realizadas por diferentes diretores teatrais desde 1970. Esta pesquisa tem como objetivo discutir uma das encenações da "peça escocesa" cuja estreia se deu em 2012 no Teatro Vivo em São Paulo. Tal montagem teve Gabriel Villela na direção e Marcelo Antony e Claudio Fontana nos papéis do protagonista Macbeth e de sua esposa e cúmplice Lady Macbeth, respectivamente. Villela é um dos mais importantes encenadores brasileiros, profundo conhecedor de Shakespeare. Em seu currículo constam outras três peças do bardo inglês, a saber: Romeu e Julieta, Sonhos de uma noite de verão e Ricardo III. Faz parte da proposta do diretor mineiro mesclar o erudito com o popular, as tradições brasileiras com influências estrangeiras, no intuito de aproximar a literatura clássica do espectador. Para nossa análise, foram utilizados uma gravação em formato de DVD, a tradução de Marcos Daud e o texto do espetáculo fornecidos pela produção. Essa pesquisa compartilha os pressupostos teóricos de Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. Em Macbeth, Villela propõe uma reflexão em torno dos binômios vida e arte, realidade e ficção, entre aquilo que é ou não é, entre a aparência e a realidade. Ele concretiza essa proposta, principalmente, através da introdução de elementos épicos e metateatrais. Os artifícios da construção dramática confrontam o espectador a todo momento, levando-o a manter uma atitude de distanciamento crítico. A encenação também incorpora na materialização cênica múltiplas leituras de Macbeth, presentes implícita ou explicitamente, no trabalho coletivo de produtores, cenotécnicos, coreógrafos, maquiadores, figurinistas, sonoplastas, contrarregras, figurantes e atores. Palavras-chave: Adaptação. Shakespeare. Macbeth. Teatro brasileiro. Gabriel Villela.
Abstract: In the history of Shakespearean adaptation, appropriation and translation, Macbeth, considered one of the four great tragedies, occupies a privileged place. The themes present in this play (excessive ambition, appearance and reality, the burden of guilt, the corruption of power, violence, tyranny) provide material for countless readings and interpretations in any space and time, be it in the cinema, on stage, literature, and arts in general. Regarding theater, in Brazil alone there are records of, at least, fourteen stagings of the play performed by different directors since 1992. This research aims to discuss one of the productions of the Scottish play which had its premiere in 2012 at the Vivo Theater in São Paulo. This production was directed by Gabriel Villela and had Marcelo Antony and Claudio Fontana in the roles of Macbeth and Lady Macbeth, respectively. Villela is one of the most important Brazilian directors and he has a deep knowledge of Shakespeare. His resume lists three other plays of the English bard: Romeo and Juliet, A Midsummer Night's Dream, and Richard III. In his works, Villlela mixes the popular and the classic, and Brazilian traditions and foreign influences, in order to make classic literature more accessible to the spectator. Our analysis used a DVD recording of this production, the translation by Marcos Daud, and the screenplay provided by the producers. This research shares the theoretical assumptions of Linda Hutcheon, Robert Stam, Caroline Spurgeon, A.C. Bradley, Patrice Pavis, Barbara Heliodora, José Roberto O'Shea. In Macbeth, Villela proposes a reflection between the binomials of life and art, fiction and reality. He materializes this proposal mainly through the introduction of epic and metatheatrical elements. The devices of the dramatic construction confront the viewer at all times, causing him/her to maintain an attitude of critical distance. The staging also incorporates in the scenic materialization multiple readings of Macbeth, implicitly or explicitly present in the collective work of producers, directors, scenic, lighting, sound, and costume designers, choreographers, makeup artists, stagehands, background actors and main actors. Key-words: Adaptation. Macbeth. Gabriel Villela.
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet", "Le roi Lear", "Macbeth" : la clairvoyance sublime de l'égarement". Nancy 2, 1995. http://www.theses.fr/1995NAN21009.
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Les héros des grandes tragédies de Shakespeare s'égarent et grâce à cette dérive orchestrée par le dramaturge parviennent à transcender leur nature pour accéder à un savoir précieux. Ils quittent la pénombre ambiante et s'élèvent vers une connaissance lumineuse qui leur permet de reconsidérer la signification de l'expérience humaine. Hamlet s'enlise dans les sables mouvants de la conscience, Lear est terrassé par la folie et Macbeth se lance corps et âme dans le mal. Ces trois personnes fascinent du fait de la grandeur dont ils sont investis au terme de leur parcours et du mystère qui dramatique : Shakespeare ne présente pas des hommes mais des "êtres de mots" et tout ce qui leur arrive n'est que l'image d'une destinée. Le théâtre obéit à des lois qui lui sont propres et l'analyse du langage, de même que le rapport au spectateur sont au cœur de la démarche que le critique doit adopter. Le public assiste à la désintégration de personnages soudain grandis par la reconnaissance (anagnoris en grec) de la petitesse des hommes mais qui s'avèrent incapables de tirer parti de ce savoir chèrement acquis. Les spectateurs, inclus dans la représentation par un jeu de miroirs vertigineux, sont les seuls bénéficiaires de l'expérience représentée. Shakespeare s'est efforcé de débarrasser ses contemporains du carcan de l'espérance afin de privilégier une approche plus vraie et plus enrichissante de leur parcoursThe heroes of the great tragedies of Shakespeare lose their way and manage, thanks to this drift organized by the playwright, to transcend their nature and attain to a precious knowledge. They leave the darkness of their world and rise to a bright light which enables them to take a new look at the meaning of human experience. Hamlet sinks into the quicksands of his consciousness, Lear is overcome by madness and Macbeth commits himself body and soul to evil. These three characters fascinate owing to the greatness they are endowed with at the end of their course and to the mystery they are shrouded in. Their fates are approached in terms of dramatic writing technique: Shakespeare does not introduce us to men but to 'word creatures' and all that happens to them is nothing but the image of a destiny. The theatre obeys its own rules and the analysis of the words; along with the relation to the spectators are the be-all and end-all of the method the critic must use. The audience attends the disintegration of characters that suddenly grow in stature as they realize how meaningless man's life is. This recognition (anagnorisis in Greek) proves pointless in that the dramatis personae are unable to take advantage of that painful revelation. The public, included in the performance thanks to breathtaking mirroring effects, are the only people who can actually draw
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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare". Caen, 2010. http://www.theses.fr/2010CAEN1587.
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La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecqueThe main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
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Freitas, Mônica de. "Shakespeare sob o olhar sul-africano: Macbeth na adaptação uMabatha, de Welcome Msomi". Universidade Federal de Viçosa, 2017. http://www.locus.ufv.br/handle/123456789/11706.
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A presente dissertação propõe um estudo comparativo entre a peça inglesa Macbeth (1605-06), de William Shakespeare, e a adaptação sul-africana uMabatha (1969), de Welcome Msomi. Esta pesquisa é embasada pelos Estudos Comparados e pela Teoria da Adaptação através dos trabalhos de Linda Hutcheon (2013), Robert Stam (2008), Julie Sanders (2006), Daniel Fischlin e Mark Fortier (2000), e visa analisar as diferenças e similaridades da obra de Msomi em relação à obra shakespeariana, bem como as estratégias utilizadas pelo autor para criar a sua adaptação Zulu. São observadas, ainda, através da transposição cultural, as particularidades da peça sul- africana que a tornam uma obra singular como, por exemplo, a origem do autor, o período político em que a África do Sul estava imersa quando Msomi criou sua obra e, principalmente, qual peça shakespeariana ele escolheu para adaptar. Após uma profunda análise e discussão, foi possível perceber que a relação intertextual entre as obras é parte de um processo natural da constituição da Literatura. Verificamos, também, que este intercâmbio de ideias e inspirações está presente, também, nas relações entre as artes de modo geral e que, de forma alguma, este processo deve ser visto como algo negativo, legando às obras posteriores a conotação de “cópias” das obras-fonte. Detectamos, da mesma maneira, que não existe um texto “puro”, sem interferências textuais de outras obras, e que isso não retira em nada a originalidade de um texto, pois cada autor é único, e ainda que se trate de uma obra adaptada, há sempre a forma particular de o autor interpretar e trazer à vida a sua própria arte. É isso o que vemos em uMabatha.
This dissertation proposes a comparative study between the English play Macbeth (1605-06) by William Shakespeare and the South African adaptation uMabatha (1969), by Welcome Msomi. This research is based on Comparative Studies and Theory of Adaptation through the work of Linda Hutcheon (2013), Robert Stam (2008), Julie Sanders (2006), Daniel Fischlin and Mark Fortier (2000), and aims to analyze the differences and similarities of Msomi's work in relation to the Shakespearean work and the strategies used by the author to create his Zulu adaptation. It is observed yet, through the cultural transposition, the particularities of the South African play which make it a singular work, such as the origin of the author, the political period in which South Africa was immersed when Msomi created her work and, mainly, which play written by Shakespeare he chose to adapt. Upon a deep analysis and discussion, we perceive that the intertextual relation between the works is part of a natural process of the constitution of Literature. We verified also that this exchange of ideas and inspirations is also present in the relations between the arts in general and that in no way can this process be seen as negative, bequeathing the subsequent works the connotation of "copies" of the source works. We also find that there is no "pure" text without textual interferences from other works, and that this does not remove the originality of a text, since each author is unique, and even if it is an adapted work, there is always a particular way in which the author interprets and brings to life his art - and this is what we see in uMabatha.
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Ludwig, Carlos Roberto. "Tensões políticas e psicológicas em 'MacBeth' e no drama de Shakespeare". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15321.
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A proposta de dissertação de mestrado, intitulada Tensões Políticas e Psicológicas em Macbeth e no Drama de Shakespeare, é fazer uma leitura crítica à luz dos aspectos históricos e dos problemas psicológicos apresentados na obra de Shakespeare (1564-1616). Serão analisados os problemas políticos, históricos e psicológicos em Macbeth e no drama shakespeariano, pois, percebe-se uma intrínseca relação entre as tensões políticas e históricas e a consciência na obra de Shakespeare, nem sempre elucidada pela crítica contemporânea. Assim, notam-se dois elementos opostos, que geram tais conflitos: de um lado, o Estado monárquico, cuja necessidade é manter uma ordem harmônica e estável, que, para isso, cria mecanismos punitivos que regem e determinam a conduta do indivíduo, como por exemplo as idéias de ordem, de justiça retributiva, pregadas nas homilias, e da mística dos dois corpos do rei; de outro, o indivíduo, por exemplo Macbeth, cujo desejo entra em conflito com o Estado e sua necessidade de ordem, a fim de tentar sobrepô-los para satisfazer sua vontade. Como se observa, a oposição dos problemas históricos se revelam não só no plano político, mas Shakespeare também cria artifícios estéticos que ampliam as tensões políticas no plano psicológico. Assim, elementos históricos como o tiranicídio e a monarcomaquia vão figurar como elementos propulsores das tensões psicológicas. Essa dissertação está organizada em três capítulos. O primeiro capítulo, intitulado Tensões Políticas e Históricas em Macbeth e no Drama de Shakespeare, apresenta problemas históricas amplamente discutidos na era elisabetana e jacobina como a tirania, a monarcomaquia, a violação da soberania, as idéias de ordem e a teoria os dois corpos do rei. No segundo capítulo, Consciência no Drama de Shakespeare e na era Elisabetana e Jacobina, pretende-se mostrar como tais problemas históricos desencadeiam tensões psicológicos em algumas peças de Shakespeare, em particular em Macbeth, Richard II, Richard III e Hamlet. No terceiro capítulo, Tensões Psicológicas em Macbeth: a Consciência e a Ambição, apresenta-se uma análise da consciência e da ambição em Macbeth, como uma reação a esses embates entre o estado, seus mecanismos superegóicos e o indivíduo.This master thesis, entitled Political and Psychological Tensions in Macbeth and in the Shakespearean Drama, aims to analise Shakespeare’s (1564-1616) masterpiece in terms of historical aspects and psychological issues. I propose to analise political, historical and psychological problems in Macbeth and in the Shakespearean Drama, for we can perceive an intrinsic connection between these political and historical tensions, and conscience in Shakespearean work, which is not always explained by some contemporary critics. At this point, there are two opposing elements, which create such conflicts: on the one hand, there is the monarchal State, whose necessity is to keep the harmonious and stable order, which hence forge punitive tools in order to control and determine the individual behaviour, such as the order ideas, retributive justice, and the theory of the King’s two bodies, which were preached in the homilies; on the other hand, there is the individual, for instance Macbeth, whose desire comes into conflict with the monarchal State and its necessity of order, for satisfying his will. That opposition of the historical problems appears not only in the political realm, but Shakespeare creates aesthetic devices as well, which spread out the political tension into the psychological level. Thus, historical issues as tyrannicide and monarchomachy will reappear as propulsioning elements to the psychological tensions. This thesis is organised in three chapters. The first one, entitled Political and Historical Tensions in Macbeth and in the Shakespearean Drama, presents some historical issues widely discussed in the Elizabethan and Jacobean Ages, such as tyrany, monarchomachy, the violation of sovereignty, the order ideas and the theory of the king’s two bodies. In the second chapter, Conscience in the Shakespearean Drama and in the Elizabethan and Jacobean Ages, it is presented how these historical problems unchain psychological tensions in some of the Shakespeare’s plays, especially in Macbeth, Richard II, Richard III and Hamlet. In the third one, Psychological Tensions in Macbeth: Conscience and Ambition, it is provided an analysis of conscience and ambition in Macbeth, as a result of a reaction against these collisions between the monarchal State, its superegoic mecanicisms and the individual.
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Shugar, Seth. "Knowing is not enough : Akrasia and self-deception in Shakespeare's Macbeth". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99391.
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Traditionally, Macbeth has been read as a morality tale about the perils of ambition. The question that has implicitly animated most treatments of the play is, "Why does Macbeth kill Duncan?" By shifting the emphasis away from Macbeth's motives for killing Duncan onto his inability to refrain from killing him, I draw attention to the striking fact that, in killing King Duncan, Macbeth acts against a fully considered better judgment not to. This suggests the possibility that Macbeth's much-discussed ambition can be understood as a subset of the broader theme of akrasia , the condition in which an agent is unable to perform an action he knows to be right. After identifying and exploring the theme of akrasia in several of Shakespeare's plays, I go on to situate Macbeth's murder of Duncan in the context of the long literary and philosophical debate on incontinence. I then suggest four interrelated explanations of Macbeth's akrasia. First, Macbeth's connection to the motivational conditions of his knowledge is shallow; he does not feel what he knows. Second, Macbeth's lack of self-control is habitual because his weak connection to the conative dimension of his knowledge prohibits him from appealing to techniques of skilled resistance. Third, his habitual lack of self-control renders him vulnerable to Lady Macbeth's taunts, which not only deplete the motivation supporting his better judgment but also prevent him from giving full deliberative weight to his better judgment. Finally, Macbeth also engages in a consistent pattern of self-deception that not only facilitates his akratic slaughter of King Duncan but also enables him to murder Banquo and MacDuff's family. My explanation of how Macbeth is able to act self-deceptively against his better evidence echoes my account of how he is able to act akratically against his better judgment: he does not feel what he knows.
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Cusimano, Maria. "Temptation, Sin, and the Human Condition in Shakespeare's Macbeth". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1969.
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William Shakespeare’s Macbeth is colored with religious overtones. His play incorporates elements of religious beliefs of Renaissance England. Aside from its historical basis, Shakespeare’s Macbeth alludes to stories from Scripture as well as Renaissance religious practices and beliefs, particularly regarding witchcraft, prophecy, and the dangers of sin. Through this myriad of sources, Shakespeare offers a vivid and grotesque depiction of a man demise due to his involvement with sin, offering a profound caution to his audience of the dangers of temptation and sin.
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Suchánková, Eva. "Bedřich Smetana - inspirace Shakespearem se zaměřením na skladbu Macbeth a Čarodějnice". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202976.
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The master thesis deals with the piano sketch Macbeth and the Witches written by Bedřich Smetana. First of all, the reader is familiarized with the biography of B. Smetana, where the deciding moment for writing this music piece is captured. The inspiration by William Shakespeare is put to a broader context with Smetana's work. The original drama is compared with Smetana's music. The sketch has been revised four times since its creation, in 1912 by Jindřich Káan z Albestů, in 1924 by Roman Veselý, in 1961 by Václav Štěpán and in 1981 by Jan Novotný. The last two revisions were compared in detail and many differences were found in the marking of the tempo, the notation, pedalization, dynamics and fingering, last but not least mistakes were found, so their removal was suggested. In the ending of the thesis, there are recommendations concerning the practising of the piece from my own professional experience.
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Lejri, Sélima. "Dionysisme et possession démoniaque dans les Bacchantes d'Euripide et Macbeth de Shakespeare". Paris 3, 2006. http://www.theses.fr/2006PA030033.
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Bien qu'il n'y ait pas de preuves satisfaisantes quant à l'apprentissage classique de Shakespeare et à l'éventuelle filiation grecque de sa tragédie, on peut néanmoins s'interroger sur les parallélismes parfois frappants, entre, d'un côté, les principales facettes du dionysisme (phénomène de possession et de transe propre au dieu grec Dionysos) tel qu'il est dépeint par Euripide dans Les Bacchantes, et de l'autre, ses diverses déclinaisons (sorcellerie, hystérie, troubles politiques, bouc émissaire, retour du monde vert, etc. ) dans Macbeth. Au-delà des limites de l'influence directe ainsi que du mythe propre à Dionysos, la problématique de l'intertextualité permet de proposer une lecture à la fois anthropologique et psychanalytique des deux œuvresEven though there is no evident proof concerning Shakespeare's familiarity with the classics and eventually the Greek affiliation of his tragedies, we may raise questions about the parallelism, sometimes blatant, between, on the one hand, the major facets of Dionysianism (trance and possession phenomena proper to the greek god Dionysus) as depicted by Euripides in The Bacchae and, on the other hand, its various configurations (witchcraft, hysteria, political turmoil, scapegoating, the vegetative cycle, etc. ) in Macbeth. Beyond the limits of direct influence and the specific Dionysian myth, we suggest an intertextual reading of both works based on anthropological and psychoanalytic perspectives
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Rafimomen, Afsaneh. "Nature et pouvoir dans les tragédies de Shakespeare, quel conflit ? : l'exemple de Hamlet, Othello, King Lear et Macbeth". Nice, 2011. http://www.theses.fr/2011NICE2012.
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Cette étude présente, dans une première partie, une réflexion sur l'idée de nature dans quatre tragédies de William Shakespeare dans la perspective d'un lien que nous établissons, dans une deuxième partie, avec l'idée fondamentale de pouvoir. L'analyse des personnages en tant qu'éléments centraux à cette tension entre les deux notions, le rappel de la façon dont Shakespeare les situe par rapport à l'une et à l'autre, nous amènent à envisager le passage de la dyade "nature/ pouvoir" à la triade "nature- homme - pouvoir" comme le ressort essentiel de la tragédie shakespearienne. Cette prise de conscience de la centralité du thème du pouvoir, qui s'articule sur la tension et non sur le parallélisme entre macrocosme et microcosme, nous a conduite à tenter de découvrir non pas comment mais pourquoi Shakespeare a semé tant d'allusions et de références à la nature dans les œuvres analysées. Nous sommes ainsi arrivée à la conclusion que le thème de la nature remplit la fonction de masque, de "décor", de "bruitage" à plusieurs autres messages et, par voie de conséquence historique, à postuler l'hypothèse de l'appartenance de Shakespeare à deux courants de pensée qui prévalaient déjà à l'époque élisabéthaine, le stéganographie et l'herméneutiqueThis study, which is centered on four tragedies by William Shakespeare, puts forward a reflection not only on the notion of nature in these plays - the object of the first part - but also on the deep-rooted problematic link which it entertains, we purport to prove, with the notion of power - the object of our second part. The analysis of the characters as central elements to this tension between the two notions, supported, as will be shown, by a reminder of the way Shakespeare situates their decisions and actions precisely in relation to nature and power, leads us to consider the passage from the nature/power dualism to the nature/man/power triad as the mainspring of Shakespearian tragedies. This realization of the central position of the theme of power which actually hinges on the tension, and not on the parallelism, between the macrocosm and the microcosm, induces us to try to find not how but why Shakespeare introduces so many allusions and references to nature. We thus come to the conclusion that nature as a theme has taken on the function of a mask, a setting, a kind of "background noise", almost acting as a cover of many other messages, so that we may eventually venture the hypothesis that Shakespeare may well belong to two trends of thought already prevailing in Elizabethan times: steganography and hermeneutics
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Vahedian, Bahram. "Shakespeare et le "livre du destin" dans richard ii, hamlet, macbeth, kinglear, the tempest". Caen, 1993. http://www.theses.fr/1993CAEN1137.
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Le but de cette these est d'etudier le probleme du destin a travers les cinq pieces qui correspondent aux differentes etapes de l'evolution de shakespeare. Le premier chapitre- plan intellectuel de l'epoque concernant les notions qui definissent le mot destin. Cette partie demontre la preoccupation du poete qui s'exprime par un langage symbolique. Nous constatons que le dramaturge s'oriente de plus en plus vers une idee deterministe du destin. Il fait l'analogie entre son art et le monde ; ainsi la nature serait une scene ou l'homme-acteur est appele a jouer son role. Le deuxieme chapitre, qui est consacre a l'etue des pieces en particulier, illustre comment shakespeare traduit sa pensee a travers les images et la structure des ses oeuvresThe aim of this thesis is to study the problem of destiny in shakespeare's five plays selected for this end. These plays correspond in fact to different stages of the poet's evolution. The first chapter looks at the intellectual background of the tine. In this chapter we find a recurrent imagery concerning the notions which define the word-destiny. The poet turns into his art in order to clarify the mysteries : he compares the world to playhouse where man-actor is called by a divine power to play his part. The second chapter goes down into a more detailed study of the plays. It finds that shakespeare conveys his ideas through dramatic means such as imagery and the structure of his plays
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Fernandes, Renan. "Cena Teatral e Recepção Estética o olhar dos críticos para os espetáculos Trono de Sangue (1992) e Macbeth (1992)". Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/16396.
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In Brazil, since 1985 after the end of military dictatorship and the return to democratic
freedoms - all segments of society have undergone significant changes, being observed
also in artistic doings, especially in theater. If, before the productions turned their eyes
mostly for the scenic composition of shows that prioritized issues related to engaging in
an action against oppression established, now permeate the reflections by the trade
issue, as well as the search for new conceptions of aesthetic languages .Within this
perspective, the purpose of this study is the analysis of critical theatrical performances
involving Macbeth (Fagundes Artistic Productions, directed by Ulysses Cruz) and
Throne of Blood (Macunaíma Group, directed by Antunes Filho), both in 1992.
Sought, therefore, raise discussions, within the historical perspective, allowing to
understand the issues swathing the reception of the shows and their relationship to the
contemporary theatrical scene.No Brasil, a partir de 1985 após o fim da ditadura militar e o retorno às liberdades democráticas todos os segmentos sociais passaram por significativas mudanças, observadas também nos fazeres artísticos, em especial no teatro. Anteriormente grande parte as produções voltavam seus olhares majoritariamente para a composição cênica de espetáculos que priorizavam temáticas ligadas ao engajamento político. Tratava-se da ação contra a opressão estabelecida pela censura e perseguição política. Nesse novo momento que se estabelecia as reflexões perpassavam pela questão comercial assim como pela busca de novas concepções de linguagens estéticas. Dentro dessa perspectiva, a proposta deste trabalho é a análise das críticas teatrais envolvendo os espetáculos Macbeth (Fagundes Produções Artísticas, direção de Ulysses Cruz) e Trono de Sangue (Grupo Macunaíma, direção de Antunes Filho), ambas em 1992. Buscou-se, portanto, suscitar discussões que, dentro da perspectiva histórica, permitam a compreensão das questões envolvidas na recepção dos espetáculos e suas relações com a cena teatral contemporânea.
Mestre em História
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Saavedra, Claudia Carla Echenique 1962. "Shakespeare além do espaco tempo : uma conversa sobre direitos humanos nas tragedias Titus Andronicus, Ricardo III e Macbeth". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285241.
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Orientador: Verônica Fabrini Machado de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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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
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Olchowy, Rozeboom Gloria. "Bearing men : a cultural history of motherhood from the cycle plays to Shakespeare". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56598.pdf.
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Avignone, Francesca <1994>. "«He has no children!» Impatto della Critica Psicoanalitica sull’Interpretazione e Messinscena Moderna del Macbeth di William Shakespeare nella Trasposizione Lirica di Giuseppe Verdi". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16761.
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L'elaborato si prefigge lo scopo di mettere in luce il ruolo che la psicoanalisi riveste oggigiorno nell'interpretazione dell'opera shakespeariana. Quest'analisi muoverà i suoi primi passi partendo dalle indagini psicoanalitiche, le quali hanno avuto come soggetto principale la figura di Lady Macbeth, per poi concentrarsi sulla critica anteriore allo scritto di Freud "Alcuni tipi di carattere tratti dal lavoro psicoanalitico" e sulla critica che è seguita allo scritto. La trasposizione lirica di Giuseppe Verdi è stata presa come esempio da cui partire poiché è stata la prima rappresentazione in Italia che fosse più fedele al modello inglese. Seguirà quindi un’analisi del periodo all’interno del quale si inserisce la prima rappresentazione, ideata per il Teatro della Pergola a Firenze nel 1847, sino ad arrivare ad alcune esempi dei giorni nostri. L'impatto di Freud sarà maggiormente ravvisabile nelle messinscene moderne in quanto i registi contemporanei mostreranno di aver subito maggiormente l’influenza del filone psicoanalitico che vede in Freud una delle sue figure più eminenti.
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Wagler, Madeleine S. "“`Mine honor is my life’: An Examination of William Shakespeare’s Portrayal of the Connection Between Life and Honor”". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619094691716642.
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Mezghanni, Miriam. "Unsettling heroines : towards a cognitive poetics exploration of power dynamics (Ophelia, Lady Macbeth, Desdemona and Cleopatra as case studies)". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30015.
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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 shakespearienThe 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
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Palomo, Berjaga Vanessa. "Josep Maria de Sagarra, traductor de "Macbeth": anàlisi i comparació amb l'original de Shakespeare i amb les traduccions franceses, castellanes i catalanes precedents". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/393969.
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Aquesta tesi doctoral estudia la traducció de "Macbeth" (1959) que va fer Josep Maria de Sagarra. Les aportacions principals són les següents: 1) esbrinar les influències en la traducció de Sagarra de traductors francesos, castellans i catalans precedents (François-Victor Hugo, Maurice Maeterlinck, Magí Morera i Galícia, Luis Astrana Marín, Cebrià Montoliu, Diego Ruiz i Cèsar August Jordana) tot evidenciant les relacions nacionals i transnacionals que s’estableixen entre ells; 2) indicar quins són els trets característics del text de Sagarra comparant la seva traducció amb l’original de Shakespeare, tenint en compte tant les crítiques positives com negatives que han rebut les seves traduccions de les obres del dramaturg anglès; 3) determinar les aportacions de Sagarra respecte a les traduccions catalanes anteriors de "Macbeth"; 4) analitzar les similituds i diferències entre els tres estadis del text de Sagarra (manuscrit, edició de bibliòfil i edició d’Alpha); 5) determinar, gràcies a la troballa dels manuscrits, les dates de les traduccions de Shakespeare que va fer Sagarra; i 6) proposar i aplicar un model de classificació per estudiar les similituds i diferències entre un text literari i la seva traducció i entre diferents traduccions literàries del mateix text.
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Martins, Daniela Weber Barata. "As influências estrangeiras e a transposição cultural na obra de Akira Kurosawa através da análise do filme Kumonosujô (蜘蛛巣城, Trono manchado de sangue, 1957)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/158352.
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Porterfield, Melissa Rynn. "Warning, Familiarity and Ridicule: Tracing the Theatrical Representation of the Witch in Early Modern England". Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1114108678.
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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], ii, 104 p. Includes bibliographical references (p. 101-104).
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Bongiolo, Arianna <1991>. "William Shakespeare's Macbeth Problems and Challenges in Staging the Scottish Play". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10871.
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Over the years, Macbeth has been widely admired, but on the stage it has not managed to achieve the “iconic” status of many productions of Hamlet and King Lear. Actually, no other play by Shakespeare has so extensively disappointed the audiences. Moving into the 20th century, Macbeth stage history is littered with failure. Despite the play’s bold outline, there are in fact, specific difficulties which any director must confront. The first of these is the role and staging of the supernatural elements of the play, specifically the Witches, the dagger, and Banquo’s ghost. It has proved to be very challenging to find a convincing way to stage the witches for modern audiences without falling into merely comic stereotypes. Another major problem seems to be the close concentration on two central figures, Macbeth and Lady Macbeth who need to be unusually well matched. This has proved to be very difficult to achieve. The play is also unusual in its portrait of two people going through a crisis together and in the lack of vivid secondary characters such as Mercutio in Romeo and Juliet or Hamlet’s Ophelia. The focus is so strongly on the two leading performers that the lives of the other cannot sustain the comparison. There has, however, been considerable interest in the witches who opens the play dramatically.
Success in staging Macbeth has lately been the exception rather than the rule; but there have been successes. A rare case of fully satisfying performance is Trevor Nunn’s Macbeth. In 1976 he directed Ian McKellen and Judi Dench at The Other Place theatre in Stratford-upon-Avon giving to the audience one of the most successful productions of the play. In 1978, the performance was recorded for television and critics proclaimed it the best since the famous Laurence Olivier –Vivien Leigh production at Stratford Upon Avon in 1955. That landmark production survives only through the director’s promptbook, photographs, reviews and reconstructed staging of the story .
The aim of this work is to see how the staging of Macbeth has changed in its history to date. The issues raised briefly in this introduction will recur: the features of the Elizabethan period and theatres, Macbeth in performance, the importance of adaptation and the audience reception of the play.
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Esteves, Lenita Maria Rimolli. "As bruxas de Macbett no "Original" e em quatro traduções brasileiras : a inquisição das diferenças". [s.n.], 1992. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269630.
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Orientador : Rosemary ArrojoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese tem como objeto quatro traduções da tragédia Macbeth, de William Shakespeare. Enfocando principalmente as três bruxas e sua relaçãoo com o destino de Macbeth, a tese se propoe a verificar as diferenças de tratamento que cada uma das traduções deu a esta questão. Partindo de uma concepção pós-estruturalista de tradução, segundo a qual a mesma é vista como uma transformação e nao como um mero transporte de significados, a tese serâ desenvolvida no sentido de se comparar as diferenças de configuraçbes dadas às bruxas e verificar quais seriam as consequencias dessas diferenças na consideração do texto da tragédia como um todo. Embasada em teorias que não consideram o texto como um receptáculo de significados a serem extraldos pelo leitor, esta tese pretende demonstrar que as bruxas configuradas em cada tradução são diferentes das demais, o que acaba fazendo com que as traduções se transformem em diferentes tragédias de Macbeth.Textos distintos que são fruto de diferentes leituras do "original". . A história do texto "original" de Macbeth serà analisada, com o objetivo de se demonstrar como este texto é fragmentado, tendo passado por várias transformaçbes até chegar à sua forma atual. Essa visão fragmentada do texto em questao ratificará a noção de "original" que será adotada neste trabalho, ou seja, que o "original" representa uma possibilidade de múltiplas leituras, e nãoo se apresenta como texto terminado, pronto, à espera de um leitor que o decifre corretamente
Abstract: Not informed.
Mestrado
Mestre em Linguística Aplicada
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Belot, Gondaud Caroline. "La figure du couple machiavélique". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040178.
Texto completoResumen
La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavéliqueThe figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple
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Baloyi, Mafemani Joseph. "A comparative analysis of stylistic devices in Shakespeare’s plays, Julius Caesar and Macbeth and". Thesis, 2015. http://hdl.handle.net/10500/20036.
Texto completoResumen
The study adopts a theory of Descriptive Translation Studies to undertake a comparative analysis of stylistic devices in Shakespeare’s two plays, Julius Caesar and Macbeth and their Xitsonga translations. It contextualises its research aim and objectives after outlining a sequential account of theory development in the discipline of translation; and arrives at the desired and suitable tools for data collection and analysis.Through textual observation and notes of reading, the current study argues that researchers and scholars in the discipline converge when it comes to a dire need for translation strategies, but diverge in their classification and particular application for convenience in translating and translation. This study maintains that the translation strategies should be grouped into explicitation, normalisation and simplification, where each is assigned specific translation procedures. The study demonstrates that explicitation and normalisation translation strategies are best suited in dealing with translation constraints at a microtextual level.
The sampled excerpts from both plays were examined on the preference for the analytical framework based on subjective sameness within a Skopos theory. The current study acknowledges that there is no single way of translating a play from one culture to the other. It also acknowledges that there appears to be no way the translator can refrain from the influence of the source text, as an inherent cultural feature that makes it unique. With no sure way of managing stylistic devices as translation constraints, translation as a problem-solving process requires creativity, a demonstration of mastery of language and style of the author of the source text, as well as a power drive characterised by the aspects of interlingual psychological balance of power and knowledge power. These aspects will help the translator to manage whatever translation brief(s) better, and arrive at a product that is accessible, accurate and acceptable to the target readership. They will also ensure that the translator maintains a balance between the two languages in contact, in order to guard against domination of one language over the other.
The current study concludes that the Skopos theory has a larger influence in dealing with anticipating the context of the target readership as a factor that can introduce high risk when assessing the communicability conditions for the translated message. Contrariwise, when dealing with stylistic devices and employ literal translation as a translation procedure to simplification, the translator only aims at simplifying the language and making it accessible for the sake of ‘accessibility’ as it remains a product with communicative inadequacies. The study also concludes by maintaining that translation is not only transcoding, but the activity that calls for the translator’s creativity in order to identify and analyse the constraints encountered and decide on the corresponding translation strategies.African Languages
D. Litt. et Phil. (African Languages)
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O'Connor, Robert Francis. "That Bellona's bridegroom : Macbeth's warrior ethic". Phd thesis, 1999. http://hdl.handle.net/1885/144745.
Texto completo
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Ndove, Mkhancane Daniel. "Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of Macbeth". Thesis, 2005. http://hdl.handle.net/10500/2508.
Texto completoResumen
This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter.
The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible.
The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories.African Languages
D. Litt. et Phil. (African Languages)