Dissertations / Theses on the topic '1564-1616 Plays Shakespeare'
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Edelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09PH/09phe21.pdf.
Full textOlchowy, Rozeboom Gloria. "Bearing men : a cultural history of motherhood from the cycle plays to Shakespeare." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56598.pdf.
Full textDu, Toit Seugnet. "Of discourse and dialogue : the representation of power relationships in selected plays by Shakespeare." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53758.
Full textENGLISH ABSTRACT: In this thesis I will look at the way in which power relationships are presented in Shakespeare's dramas, with specific reference to the so-called ''Henriad'', Measure for Measure and The Tempest. Each play consists of a network of power relationships in which different forms of power interact on different levels. Different characters in the above-mentioned plays have access to different forms of power according to their position within these networks. The way in which the characters interact could also cause or be influenced by shifts and changes in the networks of power relationships that occur in the course of the action. I will use Michel Foucault's theories on the relationship between power, knowledge and discourse as a guide to my analysis of Measure for Measure. I will also use selected aspects of Mikhail Bakhtin's theories on language and literature, with specific references to the concepts of "dialogism" and "heteroglossia" or "manyvoicedness", as well as his concept of carnival, which implies a temporary inversion in power relationships in an unofficial festive context, as a guide to my analysis of the Henriad. I will use a combination of the theories of Foucault and Bakhtin in my analysis of The Tempest. I have chosen the terms "discourse" and "dialogue" as key terms in the title of this thesis not only because they play an important role in the theories of Foucault and Bakhtin respectively, but also because they play an important role in the analysis and representation of power relationships. According to Robert Young, Foucault relates ''the organisation of discourse ...to the exercise of power" (10). One could also say that the power relationships in a society are reflected in the portrayal of a dialogue between different voices representing different sections of or classes in that society as in Bakhtin's principles of dialogism. I will explain the overall importance of these terms in more detail in the Introduction and the other relevant chapters. In the introductory chapter I will first provide a theoretical background for the thesis as a whole. Then I will look at the specific theoretical principles that are relevant to each chapter. In the chapter on the Henriad I will look at the way in which an alternative perspective on power relations and the role of the king are created by looking at them from the perspective of Bakhtin's concept of carnival. In the next chapter, I will show how Measure for Measure presents us with an evaluation of different strategies of power, which I will look at from the perspective of Foucault's theories on power, knowledge and discourse. In my chapter on The Tempest I will combine aspects of both theories in my analysis of a play that presents us with a complex analysis of power relationships as a social phenomenon. In the concluding chapter I will look at the different perspectives on power relationships that emerged from my previous chapters and attempt to see what its implications are for the representation of power relationships in Shakespeare's work and perhaps as a social phenomenon.
AFRIKAANSE OPSOMMING: In hierdie tesis gaan ek kyk na die wyse waarop magsverhoudinge uit gebeeld word in Shakespeare se dramas, met spesifieke verwysing na die sogenaamde "Henriad", Measure for Measure en The Tempest. Elke drama bestaan uit 'n netwerk van magsverhoudinge waarin verskillende vorme van mag op verskillende vlakke wisselwerking uitoefen. Verskillende karakters in bogenoemde dramas het toegang tot verskillende vorme van mag volgens hul posisie in die netwerke. Die manier waarop die wisselwerking tussen die verskillende karakters plaasvind kan ook verskuiwings en veranderinge in die netwerk van magsverhoudinge in die loop van die aksie veroorsaak, of daar deur beïnvloedword. Ek gaan Michel Foucault se teorieë oor die verhouding tussen mag, kennis en diskoers as 'n gids tot my analise van Measure for Measure gebruik. Ek gaan ook uitgesoekte aspekte van Mikhail Bakhtin se teorieë oor taal en literatuur, met spesifieke verwysing na die konsepte van "dialogisme" en "heteroglossia" of "meerstemmigheid", sowel as sy konsep van karnaval, wat 'n tydelike ommekeer in magsverhoudinge in 'n onoffisiële feestelike konteks impliseer, as 'n gids tot my analise van die Henriad gebruik. Ek sal 'n kombinasie van die teorieë van Foucault en Bakhtin gebruik in my analise van The Tempest. Ek het die terme "discourse" en "dialogue" as sleutel terme in die titel van hierdie tesis gebruik, nie net omdat hulle 'n belangrike rol in die teorieë van Foucault en Bakhtin onderskeidelik speel nie, maar ook omdat hulle 'n belangrike rol in die analise en uitbeelding van magsverhoudinge speel. Volgens Robert Young verbind Foucault die manier waarop diskoers georganiseer word met die uitoefening van mag (10). Mens kan ook sê dat die magsverhoudinge in 'n gemeenskap gereflekteer word in die uitbeelding van 'n dialoog tussen verskillende stemme wat verskillende dele van of klasse in die gemeenskap verteenwoordig soos in Bakhtin se beginsel van dialogisme. Ek sal die algehele belang van hierdie terme in meer besonderhede bespreek in die inleidingen die ander relevante hoofstukke verduidelik. In die inleidende hoofstuk gaan ek eers 'n teoretiese agtergrond vir die tesis as geheel verskaf Dan sal ek kyk na die spesifieke teoretiese beginsels wat relevant is tot elke hoofstuk. In die hoofstuk oor die Henriad gaan ek kyk hoe 'n alternatiewe perspektief op magsverhoudinge en die rol van die koning geskep word deur hulle te beskou van uit die perspektief van Bakhtin se konsep van karnaval. In die volgende hoofstuk sal ek kyk hoe Measure for Measure 'n evaluasie van verskillende magsstrategieë aan ons voorlê, waarna ek gaan kyk van uit die perspektief van Foucault se teorieë oor mag, kennis en diskoers. In my hoofstuk oor The Tempest gaan ek aspekte van albei die teorieë kombineer in 'n drama wat 'n komplekse analise van magsverhoudinge as 'n sosiale verskynsel aan ons voorln sosiale verskynsel aan ons voorlê. In die laaste hoofstuk gaan ek kyk na die verskillende perspektiewe op magsverhoudinge wat voortspruit uit die voorafgaande hoofstukke en kyk wat die implikasie daarvan vir die uitbeelding van magsverhoudinge in Shakespeare se werk en as 'n sosiale verskynsel is.
Basile, Marius. "The quest for harmony in the final plays of William Shakespeare through divine love in relation to the pastoral tradition." Paris 10, 1994. http://www.theses.fr/1994PA100032.
Full textShakespeare, in his final plays, dramatically deals with the theme of reunion, reconciliation and forgiveness. Shakespeare, through a new dramatic approach, also shows how a man regains his former state of affairs in life in perfect harmony. This phenomenon, which was present at the initial stage in all his final plays, has been lost, because of some evil or misdeeds. Here Shakespeare demonstrates how this lost harmony has been regained in each play through a circular pattern of movement. In all his final works, the playwright presents two different groups of people in two different worlds: evil-doers, in a sophisticated or naturel world and innocent people in a pastoral world. In the natural world, at the beginning, there are parents and children. Because of the parents’ evil deeds, the children have been separated. The former remains in the natural world to suffer and repent and the latter, the innocent, who are the victims of the former, have been brought up, at the same time, in the pastoral world. At the end, the parents, in their redeemed state, meet their children to be in harmony with them. Shakespeare presents the same process in all his final plays: "the winter's tale, "the tempest" and "Cymbeline", through h a well-organized family. In each play, the story begins in a harmonious royal family with all its family members. Disputes and conflicts, because of the passion, pride, lusts etc. . . Break this harmonious atmosphere, causing the eventual separation of the children from the family. The separated members of this royal family find themselves in different social surroundings. The parents are in their courtly residence, with the exception of "the tempest", and the children are in a primitive milieu or in a pastoral environment
Burnett, Linda Avril. "The argument against tragedy in feminist dramatic re-vision of the plays of Euripides and Shakespeare /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35857.
Full textIn 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.
Fagan, Dianne. ""The dark house and the detested wife" : sex, marriage and the dissolution of comedy in Shakespeare's problem plays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37204.pdf.
Full textCephus, Heidi Nicole. "Corporeal Judgment in Shakespeare's Plays." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.
Full textJin, Kwang Hyun. "A Reading of Shakespeare's Problem Plays into History: A New Historicist Interpretation of Social Crisis and Sexual Politics in Troilus and Cressida and Measure for Measure." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc279130/.
Full textMullineux, Peter Newton. "An examination of the use of the contextual question in examining Shakespeare's plays at the standard ten level in Cape Education Department schools." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1001412.
Full textHjul, Lauren Martha. "The family in Shakespeare's plays: a study of South African revisions." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001832.
Full textGreen, Benjamin Stephen. "A skopos-based analysis of Breytenbach’s Titus Andronicus." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20107.
Full textENGLISH 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.
Askar, Amina. "The play of languages : heteroglossia and polyphony in Shakespeare's two tetralogies." Paris 4, 2007. http://www.theses.fr/2007PA040029.
Full textThis study sets out to analyse the plurilinguism which characterises the two historical tetralogies of Shakespeare within a unified interpretative framework. It undertakes to show that the historical plays of Shakespeare can be regarded as a polyphonic unit, marked by a plurality of idioms, progressively conveying a sense of coherence. The variety of the linguistic registers is at the centre of the analysis. This linguistic diversity propels the dramatic action of the plays. The Renaissance as a whole is marked by the plurilinguism of its culture. The focus of this study is on heteroglossia, the terminological choice revealing the Bakhtinian framework in which the research is situated. The goal of this study is twofold: on the one hand, the aim is to apply Bakhtin’s theories of stylistic multiplicity to the Shakespearean corpus; on the other hand, a certain number of Bakhtinian terms are specified within the context of the interpretative challenges which the dramas of Shakespeare pose. Shakespeare subordinates the dramaturgy of heteroglossia to a historical myth which contributes to the elaboration of the identity of the English nation
Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.
Full textLoftus, Ann Elizabeth. "The public face of personal qualities : a study of four political plays of Shakespeare." Phd thesis, 1989. http://hdl.handle.net/1885/139152.
Full textMaker, Keith Errol. "Images of the garden and the fall in the middle plays of Shakespeare." Thesis, 2014. http://hdl.handle.net/10210/11762.
Full textEdelman, Charles. "The theatrical and dramatic form of the swordfight in the chronicle plays of Shakespeare / Charles Edelman." Thesis, 1988. http://hdl.handle.net/2440/18714.
Full textBaloyi, Mafemani Joseph. "A comparative analysis of stylistic devices in Shakespeare’s plays, Julius Caesar and Macbeth and." Thesis, 2015. http://hdl.handle.net/10500/20036.
Full textAfrican Languages
D. Litt. et Phil. (African Languages)
"A study of Cantonese translation of play titles, character names, songs, settings and puns in six Shakespeare's comedies." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888989.
Full textPublication 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