Dissertationen zum Thema „Criticism, textualshakespeare, william , 1564-1616“
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Travis, Keira. „Infinite gesture : an approach to Shakespearean character“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102740.
Der volle Inhalt der QuelleThe project's main original contribution is its way of re-conceiving the relationships among several currents in Shakespeare studies. My discussion engages with recent work in textual studies. Examples include work by Leah Marcus and Paul Werstine. It also engages with historically informed treatments of wordplay. Examples include work by Margreta de Grazia and Patricia Parker. And it addresses work that could be said to be part of a move in the field toward "ethical criticism." Examples include work by Stanley Cavell and John Guillory. As well, my discussion engages with psychoanalytic criticism by Marjorie Garber, Coppelia Kahn, and others. While I do not consider myself a psychoanalytic critic, the affinity my approach has with psychoanalysis has to do with my interest in making explicit some of the implications of unreflectively chosen metaphors, word associations, etc. The implications that concern me most are those that have to do with the ways interpreters relate to each other.
Wright, Daniel L. „Shakespeare as Anglican apologist : sacramental rhetoric and iconography in the Lancastrian tetralogy“. Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720328.
Der volle Inhalt der QuelleDepartment of English
Edelman, Charles. „The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare“. Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
Der volle Inhalt der QuelleBayer, Mark 1973. „Changing of the guards : theories of sovereignty in Shakespeare's Richard II“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27927.
Der volle Inhalt der QuelleSuch an analysis reveals a shift in the mode of theoretical discourse. Richard's divine-right/monarchical approach to sovereignty based in an overarching ecclesiastical power base gives way to Bolingbroke's pragmatic and consensus driven politics. This shift mirrors the movement in late 16$ rm sp{th}$ and early 17$ rm sp{th}$ century England from traditional religious arguments offered by Richard Hooker, John Whitgift, and residually by James I to a more secular political discourse inaugurated by Machiavelli and his English adherents and symptomatic of the reign of Elizabeth herself. Roughly speaking this modulation follows the pattern of paradigm shifts in the physical sciences exposed by Thomas Kuhn's influential Structure of Scientific Revolutions (1962). The emergent theory, while marking a rapid and overwhelming reorientation of the terms and initial presuppositions of political discourse, draws in many crucial respects on the accrued tenets of the outgoing paradigm. The play therefore acts as a retroactive representation of a political reformation which occurred much later than the events depicted in the play.
Bar-On, Gefen. „True light, true method : science, Newtonianism, and the editing of Shakespeare in eighteenth-century England“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102786.
Der volle Inhalt der QuelleFagan, Dianne. „"The dark house and the detested wife" : sex, marriage and the dissolution of comedy in Shakespeare's problem plays“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37204.pdf.
Der volle Inhalt der QuelleSlights, Jessica. „The moral architecture of the household in Shakespeare's comedies /“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35946.
Der volle Inhalt der QuelleEarnshaw, Felicity. „Shakespeare and freedom of conscience“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0028/NQ50152.pdf.
Der volle Inhalt der QuelleLiBrizzi, Marcus. „Interpretive ground and moral perspective : economics, literary theory, early modern texts“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42080.
Der volle Inhalt der QuelleIn the first part of the discussion, we critique theories in which the literary text is conceptualized as an economy. After distinguishing three distinct models of the "textual economy," we evaluate them in terms of their logical consistency and normative presuppositions. Selecting the model that is the most logically consistent and normatively valuable, we study two early modern works to see if this model operates as an intentional device implicated in a work's form and content. The works chosen are William Shakespeare's Sonnets and William Bradford's history "Of Plimoth Plantation," both of which display a facination with economic discourse.
The second part of the discussion takes up the question of economics in the theory and practice of putting texts in context. We distinguish four different models of contextualization that depend on economic categories. Explicitly or implicitly, contemporary research agendas and critical positions depend on these categories to situate a literary text in a specific setting. An economic category like exchange, for example, is frequently privileged as a common ground, a shared quality or characteristic used to integrate a text with a context. After critiquing models of contextualization, we synthesize the best they have to offer into a new framework. We then use this framework to situate the texts by Shakespeare and Bradford into the historical settings of their production and reception. The result is a picture of the text in context that is vital, a moving picture, quite unlike the customary still life of artifact and background.
Rowan, Stephen Charles. „A dancing of attitudes : Burke’s rhetoric on Shakespeare“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25965.
Der volle Inhalt der QuelleArts, Faculty of
English, Department of
Graduate
Tuerk, Cynthia M. „"Harmless delight but useful and instructive" : the woman's voice in Restoration adaptations of Shakespeare“. Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14895.
Der volle Inhalt der QuelleKehler, Torsten. „The necessity of affections : Shakespeare and the politics of the passions“. Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38210.
Der volle Inhalt der QuelleBurnett, Linda Avril. „The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.
Der volle Inhalt der QuelleIn the first part, I maintain that feminist dramatic re-vision is one manifestation of an unrecognized tradition of women's writing in which criticism is expressed through fiction. I also argue that the project of feminist dramatic re-vision embodies a feminist "new poetics."
In the second part, I examine the aesthetics and politics of tragedy from a feminist perspective. Feminist arguments against tragedy are, in effect arguments against patriarchy. But it is the theorists and critics of tragedy---not the playwrights---who are unequivocally aligned with patriarchy. Playwrights like Euripides and Shakespeare can be seen to destabilize tragedy in their plays.
In the third part, I show how recent feminist playwrights (Jackie Crossland, Dario Fo and Franca Rame, Deborah Porter, Caryl Churchill and David Lan, Maureen Duffy, Alison Lyssa, The Women's Theatre Group and Elaine Feinstein, Joan Ure, Margaret Clarke, and Ann-Marie MacDonald) counter tragedy by extrapolating from the arguments presented by Euripides and Shakespeare in The Medea, The Bacchae, King Lear, Hamlet, Romeo and Juliet and Othello , and by allocating voice and agency to their female protagonists.
Acker, Faith D. „'New-found methods and ... compounds strange' : reading the 1640 'Poems: Written by Wil. Shake-Speare. Gent'“. Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3461.
Der volle Inhalt der QuelleHeard, Rachel E. „Shakespeare, gender and the rhetoric of excuse“. Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14747.
Der volle Inhalt der QuelleMcGrade, Bernard J. „Grabbe und Shakespeare“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.
Der volle Inhalt der QuelleAdair, Vance. „The Shakespearean object : psychoanalysis, subjectivity and the gaze“. Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/1857.
Der volle Inhalt der QuelleGreen, Bryony Rose Humphries. „A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice“. Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1710/.
Der volle Inhalt der QuelleMcElfresh, Darlene S. „Machiavellianism and Motherhood: Shakespeare's Inversion of Traditional Cultural Roles“. Xavier University / OhioLINK, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352478936.
Der volle Inhalt der QuelleClosel, Régis Augustus Bars 1985. „Diálogos Miméticos entre Sêneca e Shakespeare = As Troianas e Ricardo III“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270174.
Der volle Inhalt der QuelleDissertação (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
Spates, William H. „Imagining corrupt consumption : the genesis and evolution of the pox metaphor in sixteenth-century England (1494-1606)“. Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14657.
Der volle Inhalt der QuelleMorrill, Richard Brooke. „"Warriors of the Working-day" Class in Shakespeare's Second Historical Trilogy“. Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/MorrillRB2004.pdf.
Der volle Inhalt der QuelleBirge, Amy Anastasia. „"Mislike Me not for My Complexion": Shakespearean Intertextuality in the Works of Nineteenth-Century African-American Women“. Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278175/.
Der volle Inhalt der QuelleLoberg, Harmonie Anne Haag. „Hamlet haven : an online, annotated bibliography“. University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.
Der volle Inhalt der QuelleDrouin, Jennifer. „"To be or not to be free" : nation and gender in Québécois adaptations of Shakespeare“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85904.
Der volle Inhalt der QuelleBulman, Helen Lois. „Concepts of folly in English Renaissance literature : with particular reference to Shakespeare and Jonson“. Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/3475.
Der volle Inhalt der QuelleDoyle, Anne-Marie. „Shakespeare and the genre of comedy“. Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.
Der volle Inhalt der QuelleRumbold, Kate Louise. „All the men and women merely players : quoting Shakespeare in the mid-eighteenth-century novel“. Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670136.
Der volle Inhalt der QuelleJenson, DeAnna Faye. „Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2“. CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2536.
Der volle Inhalt der QuelleCephus, Heidi Nicole. „Corporeal Judgment in Shakespeare's Plays“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.
Der volle Inhalt der QuelleGreen, Benjamin Stephen. „A skopos-based analysis of Breytenbach’s Titus Andronicus“. Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20107.
Der volle Inhalt der QuelleENGLISH ABSTRACT: Breyten Breytenbach's Afrikaans translation of William Shakespeare's Titus Andronicus is a little known member of the corpus of Afrikaans Shakespeare plays. Published without annotations in South Africa in 1970 and performed in Cape Town in the same year, it has never been performed again and the text has attracted no academic review or led to any subsequent editions. However, situated in 1970 in the heyday of the Apartheid regime, the play's production broke attendance records in Cape Town and was accompanied by substantial public controversy. In this thesis, the author analyses Breytenbach's translation in order to determine whether the translator had an ideological agenda in performing the translation. The analysis is based on a preliminary discussion of culture and ideology in translation, and then uses the Skopostheorie methodology of Hans J. Vermeer (as developed by Christiane Nord) to assess the translation situation and the target text. The target text has been analysed on both a socio-political and microstructural level. The summary outcome of the analysis is that the translator may possibly have tried to promote an anti-Apartheid ideology by translating the play. The outcome is based on several contextual factors such as the socio-political situation in South Africa in which the translated play was published and performed, the translator's stated opposition to the Apartheid system, the choice of Titus Andronicus for translation and production, and to a lesser extent the level of public controversy that accompanied the target text's production in the theatre.
AFRIKAANSE OPSOMMING: Breyten Breytenbach se Afrikaanse vertaling van William Shakespeare se Titus Andronicus is 'n min bekende eksemplaar van die versameling Shakespeare toneelstukke in Afrikaans. Dit is sonder enige annotasies in 1970 in Suid-Afrika uitgegee, en is dieselfde jaar in Kaapstad opgevoer. Sedertdien is dit nooit weer opgevoer nie, en die teks het geen akademiese kritiek ontlok nie. Die teks is ook nooit weer herdruk nie. Maar in 1970, tydens die toppunt van die Apartheidregime, het hierdie toneelstuk se opvoering bywoningsrekords oortref en dit is deur aansienlike openbare omstredenheid gekenmerk. In dié tesis ontleed die skrywer Breytenbach se vertaling om te bepaal of die vertaler 'n ideologiese agenda in die vertaling van die toneelstuk gehad het. Die ontleding word op 'n voorlopige bespreking van kultuur en ideologie in die vertaalproses gegrond, en maak dan gebruik van die Skopostheorie van Hans J. Vermeer (soos verwerk deur Christiane Nord) om die omstandighede ten tyde van die vertaalproses sowel as die doelteks self te ontleed. Die doelteks is op sowel sosiaalpolitiese as mikrostrukturele vlak ontleed. Die samevattende uitkoms van die ontleding is dat die vertaler moontlik 'n anti-Apartheid ideologie probeer bevorder het deur hierdie toneelstuk te vertaal. Hierdie uitkoms is gegrond op verskeie samehangende faktore, soos die sosiaalpolitiese omstandighede in Suid-Afrika waarin die toneelstuk uitgegee en opgevoer is, die vertaler se vermelde teenkanting teen die Apartheidstelsel, die keuse van Titus Andronicus vir vertaling en opvoering, en tot 'n mindere mate die vlak van openbare omstredenheid wat gepaard gegaan het met die doelteks se opvoering in die teater.
Hjul, Lauren Martha. „The family in Shakespeare's plays: a study of South African revisions“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.
Der volle Inhalt der QuellePonelis, Karlien. „Die invloed van die Plautiniese klug op die moderne klug“. Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52206.
Der volle Inhalt der QuelleENGLISH ABSTRACT: The present thesis deals with the impact of the ancient Greek farce on modem literature with specific reference to the play Kinkels innie Kabel (1971) by the contemporary Afrikaans author André P. Brink. This play is loosely based on Shakespeare's The Comedy of Errors, which in tum derives from Plautus' Menaechmi. Brink's play thus resonates with an entire European tradition. The relationship between the modem and the ancient farce is studied with reference to the concept of comedy. Comic effects, the difference between comedy and tragedy in respect of the handling of vital issues and the comic vision of the playwright are all taken into account. The analysis of the development of Athenian Old Comedy to the Roman Comedy refers to the contribution of Plautus and Terence to the continuation and revitalisation of Greek New Comedy. A comparison of these two playwrights reveals the characteristics of the farce and the difference between farce and comedy. The modem relevance of the farce is studied on the basis of Brink's text. For this purpose Plautus' original plot, the Shakespearian version and Brink's rendition are discussed and compared. On the basis of the similarities and differences in plot, caricaturisation, misidentifications, politics, fantasy, coincidence, irony, farcical violence, mechanical structure, temporal structure and linguistic register, the influence of the ancient farce on its modem counterpart is demonstrated. In addition to farce, Brink employs the classical devices of satire and parody to drive home his (political) message. Finally it is shown that the farcical in Plautus, Shakespeare and Brink serves a significant and serious thematic purpose.
AFRIKAANSE OPSOMMING: Hierdie verhandeling handel oor die impak van 'n antieke Griekse komedievorm, die klug, op moderne werke en denke. A.P. Brink se verhoogstuk Kinkels innie Kabel (1971) is 'n vrye verwerking van William Shakespeare se The Comedy of Errors. Laasgenoemde werk is weer op sy beurt gebaseer op Plautus se Menaechmi. In sy verwerking van Plautus en Shakespeare laat A.P. Brink die hele Europese tradisie deurklink. Die verhouding tussen die moderne klug en die antieke klug word bestudeer deur te fokus op die term komedie: die verhouding daarvan met lag en hoe die komedie van die tragedie verskil ten opsigte van die hantering van lewensproblematiek en komiese visie van die komedieskrywer, maak deel uit van hierdie bespreking. Die komedie se herkoms en ontwikkeling vanaf die Ou Komedie tot die Romeinse Komedie, val ook onder die soeklig. In aansluiting hiermee word Plautus en Terentius bespreek as twee komedieskrywers wat 'n rol gespeel het in die oorlewering en verlewendiging van die Griekse Nuwe Komedie. Hierdie twee skrywers word ook met mekaar vergelyk sodat die eienskappe van die klug geïllustreer word, en hoe dit in wese verskil van komedie. Die relevansie van die klug in moderne denke word bestudeer aan die hand van Brink se teks. In hierdie verband word daar 'n uiteensetting gegee van die oorspronklike Plautiniese verhaal, die Shakespeariaanse weergawe en die Brinkiaanse teks. Aan die hand van die ooreenkomste en verskille in intrige, karikaturisering, identiteitsvergissings, politiek, die fantasie-element, toeval, ironie, klugtige geweld, die meganiese struktuur, die tydstruktuur en taalregister word die invloed van die antieke klug op die moderne klug geïllustreer. Benewens die klug word Brink se werk ook verder beïnvloed deur twee klassieke middele, met name satire en parodie. Hiermee bring Brink sy (politieke) boodskap tuis. Ten slotte word die dieperliggende temas in Plautus, Shakespeare en Brink se werk bespreek deur aan te toon dat die werk nie net om die klugtige gaan nie, maar ook die meer ernstige.
Miller, Brenda. „Murky Impressions of Postmodernism: Eugene Gant and Shakespearean Intertext in Thomas Wolfe's Look Homeward, Angel and Of Time and the River“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc5143/.
Der volle Inhalt der QuelleCriswell, Christopher C. „Networks of Social Debt in Early Modern Literature and Culture“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
Der volle Inhalt der QuelleBenson, Fiona. „The Ophelia versions : representations of a dramatic type, 1600-1633“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
Der volle Inhalt der QuelleMaker, Keith Errol. „Images of the garden and the fall in the middle plays of Shakespeare“. Thesis, 2014. http://hdl.handle.net/10210/11762.
Der volle Inhalt der QuelleDriver, Duncan. „Character and selfhood in Hamlet and the history of Hamlet criticism“. Phd thesis, 2007. http://hdl.handle.net/1885/150026.
Der volle Inhalt der QuelleDobranski, Shannon Prosser. „Absent fathers in Shakespeare's middle comedies“. 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077529.
Der volle Inhalt der QuelleJory, Colin H. „The Hamlet first quarto debate, 1725-1950 : an evaluative survey“. Phd thesis, 2002. http://hdl.handle.net/1885/151810.
Der volle Inhalt der QuelleAppel, Ian S. „"Present fears" and "Horrible Imaginings" : Gothic elements in Shakespearean Tragedy“. Thesis, 2003. http://hdl.handle.net/1957/30850.
Der volle Inhalt der QuelleGraduation date: 2004
Edelman, Charles. „The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman“. Thesis, 1988. http://hdl.handle.net/2440/18714.
Der volle Inhalt der Quelle„Mourning in Shakespeare: different aspects of surviving death“. 2006. http://library.cuhk.edu.hk/record=b5892978.
Der volle Inhalt der QuelleThesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves ).
Abstracts in English and Chinese.
Acknowledgements --- p.V
Chapter Chapter One --- Introduction --- p.2
Chapter Chapter Two --- Proper Degree of Mourning --- p.16
Chapter Chapter Three --- Gender and Mourning --- p.40
Chapter Chapter Four --- Failed Mourning --- p.69
Chapter Chapter Five --- Conclusion --- p.95
Works Cited --- p.99
Faherty, Dionna E. „A feminist love story : the cinematic possibilities of Shakespeare's Juliet“. Thesis, 2000. http://hdl.handle.net/1957/33075.
Der volle Inhalt der QuelleGraduation date: 2001
Eskew, Douglas Wayne 1976. „Shakespeare on the verge : rhetoric, tragedy, and the paradox of place“. 2008. http://hdl.handle.net/2152/18304.
Der volle Inhalt der Quelletext
„Aspects of music in Shakespearean drama“. 2004. http://library.cuhk.edu.hk/record=b5896377.
Der volle Inhalt der QuelleThesis (M.Phil.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (leaves 123-132).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.2
Chapter Chapter Two --- Medical Aspects in Shakespearean Drama --- p.11
Chapter Chapter Three --- """If music be the food of love ´ؤ´ح:: Music as an Indicator of a Person's Attitude toward and Position in Love" --- p.47
Chapter Chapter Four --- "Music: ""The patroness of heavenly harmony´ح" --- p.81
Chapter Chapter Five --- Conclusion --- p.112
Works Cited --- p.123
„A study of Cantonese translation of play titles, character names, songs, settings and puns in six Shakespeare's comedies“. Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888989.
Der volle Inhalt der QuellePublication date from spine.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves [131]-139).
Acknowledgments --- p.i
Abstract --- p.ii
Chapter Chapter 1. --- Introduction --- p.1
Chapter 1.0 --- Background --- p.1
Chapter 1.1 --- Scope of Study --- p.2
Chapter 1.2 --- Translation vs. Adaptation --- p.5
Chapter 1.3 --- Translating for the Stage --- p.7
Chapter Chapter 2. --- Translation of Titles --- p.11
Chapter 2.0 --- Introduction --- p.11
Chapter 2.1 --- Classification of Titles --- p.12
Chapter 2.2 --- Translation of Titles of Six Shakespeare's Comedies --- p.17
Chapter 2.3 --- Conclusion --- p.27
Chapter Chapter 3. --- Translation of Names of Characters --- p.29
Chapter 3.0 --- Introduction --- p.29
Chapter 3.1 --- Various Strategies at Work --- p.31
Chapter 3.2 --- Names for Stage Performance --- p.37
Chapter 3.3 --- Translation of Names of Characters in Six Comedies --- p.41
Chapter 3.4 --- Conclusion --- p.51
Chapter Chapter 4. --- Translation of Songs --- p.53
Chapter 4.0 --- Songs as a dramatic Device in Shakespeare's Comedies --- p.53
Chapter 4.1 --- The Translation of Songs in Five Comedies --- p.56
Chapter 4.1.1 --- The Two Gentlemen of Verona --- p.57
Chapter 4.1.2 --- A Midsummer Night's Dream --- p.60
Chapter 4.1.3 --- As You Like It --- p.68
Chapter 4.1.4 --- Twelfth Night --- p.78
Chapter 4.1.5 --- The Tempest --- p.89
Chapter 4.2 --- Conclusion --- p.97
Chapter Chapter 5. --- Settings of the Six Comedies --- p.99
Chapter 5.0 --- Introduction --- p.99
Chapter 5.1 --- Settings and the Translation of Titles --- p.101
Chapter 5.2 --- Settings and the Translation of Character Names --- p.104
Chapter 5.3 --- Settings and the Translation of Songs --- p.105
Chapter 5.4 --- Conclusion --- p.108
Chapter Chapter 6. --- Translation of Puns --- p.109
Chapter 6.0 --- Introduction --- p.109
Chapter 6.1 --- Translation of Puns in Six Comedies --- p.111
Chapter 6.2 --- Conclusion --- p.124
Chapter Chapter 7. --- Conclusion --- p.127
Bibliography --- p.131
O'Connor, Robert Francis. „That Bellona's bridegroom : Macbeth's warrior ethic“. Phd thesis, 1999. http://hdl.handle.net/1885/144745.
Der volle Inhalt der Quelle„Negotiating development from childhood to young adulthood in Shakespeare“. 2005. http://library.cuhk.edu.hk/record=b5892507.
Der volle Inhalt der QuelleThesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 108-114).
Abstracts in English and Chinese.
Abstract --- p.i
論中文摘要 --- p.iii
Acknowledgements --- p.iv
Prologue: Childhood and Adolescence as Plurality of Cultural Constructs --- p.1
Chapter Chapter one: --- """Childhood hath Saved me!"": Idealization of Children" --- p.19
Chapter Chapter two: --- Growing Up in Shakespeare: Nostalgia for Origin --- p.44
Chapter Chapter Three: --- """I am not that I play"": Androgyny and Cross-dressing as an Initiation Process" --- p.72
Epilogue: Reaching Young Adulthood: Courtship and Marriage as a Rite of Maturation --- p.103
Works Cited --- p.108
Campbell, Paul. „Recovering the sporting context of Shakespeare's Henry V : reading court tennis in Elizabethan and Jacobean England“. Phd thesis, 2007. http://hdl.handle.net/1885/146652.
Der volle Inhalt der Quelle