Dissertations / Theses on the topic 'Othlo'
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Blay-Fornarino, Mireille, and Anne-Marie Pinna. "Un modèle objet logique et relationnel : le langage Othelo." Nice, 1990. http://www.theses.fr/1990NICE4359.
Full textVale, Miréia Aparecida Alves do. "Iago : a figuração do mal em Otelo de William Shakespeare." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000206098.
Full textThis essay takes as its starting point the many strands that have been followed for centuries of studies on the work of English playwright William Shakespeare and the many possibilities that still have to think about the development of a focused search for the themes present in his plays. From there we choose to turn our attention to how is building a villain in his play Othello. To this end, this approach is through the bias of evil's figuration present in the play, where we have Iago, the ensign that is committed to the annihilation of the Moorish general. In his endeavor, Iago is believed passed over for Cassio's benefit, who assumes the rank of lieutenant and then puts his plan in progress to make Othello believes that his wife Desdemona betrays him with Cassio. In the execution of his plot, Iago uses manipulative tactics against the other characters, disguised as an honest and untainted man in his character and, because of how he acts, our proposal is to establish an approximation of the ensign's actions with the greatest archetype of evil in the Christian culture: the Devil. We seek to consolidate our study with a theoretical basement that covering a general apparatus of criticism about the author, as well as a survey of the aspects of theatrical aesthetic Greek, medieval, Elizabethan and, finally, considerations about theme of evil and the devil's figuration in literary texts for later, we could effective the analysis in order to find elements in the play that contributed to the idea of approaching Iago with the Devil. This way, we used the represents of criticism Heliodora (1997) an (2014), Bloom (1998), Harrison (s/d), Hugo (2000), Honan (2001) e Boquet (1989) to show the relevant aspects according to them, and in the second moment we have Nietzsche (2008) and (2011), Bataille (1989), Nogueira (1986), Agostinho (1999), Cousté (1996) e Kelly (2008) to theorization about Evil and the Devil's figuration, so, we will be able to actualize our analyses establishing some approuche with the Devil through the relationship with theory presented and fragments of the chosen play. As result of our dissertation we can realize that, indeed, Othello has relevant elements in reference of the constitution of the villain about the prospect of the Evil, according our Christian western culture, which is sustained with parts of the play, in which Iago executes his plan, which culminates in the annihillation of those who represents the Good.
Dourado, Ana Karícia Machado. "Chanchada: performance do insólito e paradoxo do comediante." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-31032014-120055/.
Full textThe present dissertation seeks to understand the different plastic forms taken by the chanchada in its significant trajectory in the Cultural History of Brazil. In chanchada\'s constitution as performance of the unusual, several theatrical practices had an important role, but we believe that the actors\' and actresses\' works were the main factor for its constitution. Noticing the relevance of Grande Otelo\'s work and the presence of artistic productions interested on figure national life\'s insolidity, we tried to situate the existential trajectory of Grande Otelo\'s life, understanding how it was formed by performances of characters which he helped to compose. In other words, we tried to verify how the social and artistic performance of the dialectics of the malandragem, a social dynamics, and the performance of the unusual implicates on the constitution of a singular and concrete subjectivity.
Tavares, Enéias Farias. "OTELO O MOURO DE VENEZA, DE SHAKESPEARE: CRÍTICA E TRADUÇÃO LITERÁRIA." Universidade Federal de Santa Maria, 2007. http://repositorio.ufsm.br/handle/1/9773.
Full textThe play Othello - The moor of Venice by Shakespeare has had several translations in Brazil. Some of the translators are Onestaldo of Pennafort, Carlos Alberto Nunes, Barbara Heliodora and Beatriz Viegas-Faria. While Pennafort, Nunes and Heliodora translated the play using a ten-syllable verse, Viégas-Faria translated the tragedy in prose. The aim of this study is to analyze the reviews and the translations of the play in order to think about new possibilities of poetic translation of this Shakespearean play. This master's thesis, entitled "Othello The moor of Venice: Literary Criticism and Translation", is divided in five chapters. In the first chapter, "Sources and influences of the play", the main themes used by Shakespeare to compose his tragedy such as the medieval moralities; the Italian tale by Cinthio; the Italian characters of the Commedia Dell'Arte and the Elizabethan/Jacobean idea about the moors are analyzed. In the second, "Othello criticism: a study of the characters in the tragedy", a discussion based on the opinion of the main reviewers of the play is proposed. In the third chapter, "The psychological change in the discourse of the protagonist of Othello", the focus is on the changes that the protagonist's language goes through as his suspicion develops. In the fourth chapter, entitled "Between the Shakespearean prose and verse: Brazilian translations of Othello", the history of the play in Brazil is presented through the discussion of the four translations of it made into Portuguese. In the last chapter, "A new poetic translation of Othello - The moor of Venice: among the tragic, the comic and the lyric", the poetical and sonorous choices of metrics used in this new translation are described. Also the results of this translation, in which the thematic and stylistic variations of the tragedy become clear, are presented. Finally, there are four appendices to complement this work. In appendix A, there is important information on Shakespeare's play; in appendix B, my translation of the Cinthio's tale, used by Shakespeare to compose his drama, is presented; in Appendix C, there are images of the period in which Othello was written and pictures of some actors that played different roles in the tragedy. Finally, in appendix D, the first translation made by me of Othello The moor of Venice is presented.
No Brasil, Otelo o mouro de Veneza já foi traduzido diversas vezes. Entre os tradutores, encontram-se Onestaldo de Pennafort, Carlos Alberto Nunes, Barbara Heliodora e Beatriz Viégas-Faria. Enquanto os três primeiros traduziram a peça em verso decassílabo, correspondente métrico do pentâmetro iâmbico shakespeariano, a última traduziu a tragédia em prosa. O objetivo deste trabalho, que visa à obtenção do título de mestre, é estudar a crítica e as traduções da peça como auxílio a uma nova tradução versificada do texto de Shakespeare. Esta dissertação de mestrado, intitulada Otelo O mouro de Veneza, de Shakespeare: Crítica e Tradução Literária , está dividida em cinco capítulos. No primeiro, Fontes e influências da peça , tratei dos principais temas usados por Shakespeare ao compor sua tragédia: as moralidades medievais; o conto italiano de Cinthio; as personagens tipificadas da commedia dell arte italiana e a visão elisabetana/jacobina sobre os mouros. No segundo, A crítica de Otelo: um estudo das personagens da tragédia , busquei uma discussão fundamentada nas principais opiniões críticas sobre o drama. No terceiro capítulo, A variação psicológica no discurso da protagonista de Otelo , comentei a transformação que as falas da personagem sofrem no decorrer do aprofundamento de sua suspeita. No quarto capítulo, intitulado Entre a prosa e o verso de Shakespeare: traduções brasileiras de Otelo , aludi ao histórico da peça no Brasil fazendo referência a quatro das traduções feitas para o português brasileiro. No último capítulo, Uma nova tradução poética de Otelo O mouro de Veneza: entre o trágico, o cômico e o lírico , descrevo as escolhas métricas e sonoras buscadas nessa nova tradução e apresento alguns resultados deste trabalho de tradução, em que as variações temáticas e estilísticas da tragédia se fizeram presentes, recriadas, nesta nova tradução. Finaliza o trabalho, no Apêndice D, a primeira versão desta nova tradução de Otelo O mouro de Veneza, de Shakespeare.
Hirano, Luis Felipe Kojima. "Uma interpretação do cinema brasileiro através de Grande Otelo: raça, corpo e gênero em sua performance cinematográfica (1917-1993)." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-14112013-122614/.
Full textThis dissertation analyzes the more than 70-year trajectory of the actor Sebastião Bernardes de Souza Prata, better known as Grande Otelo (1917-1993). From one angle, it contributes to the consideration of different moments of Brazilian cinema, taking into account that the actor was an integral part of the Brazilian cinematographic imaginary from the 1930s to the 1990s, in the films of Cinédia and Sonofilmes, in Its All True (the unfinished project of Orson Welles in Brazil), in productions of Rio de Janeiro (Carioca) Realism, in the chanchada films of Atlântida, in New Cinema (Cinema Novo), and in Marginal Cinema. From another angle, observing this trajectory allows for reflection on the manner in which race relations and their intersections with the question of gender and body of the artists, black or white are reinterpreted in accordance with the logic of the field of cinematography. The unifying thread of the analysis is a complex equation between force lines that surpass this logic and cinemas own mechanisms, used to differentiate, rank, and hierarchize actors and schools. In undertaking this, concepts employed include structure of feelings of whiteness, racial stereotypes and persona, and the internal examination of the films which opens a path for revealing racist cinematographic discourses as well as anti-racist strategies. The itinerary of Grande Otelo thus makes it possible to examine the strong dialogue between the racial imaginary of Hollywood and its translation by Brazilian companies between the 1930s and the 1950s, as well as alternative representations of black people in Its All True, in Carioca Realism, and in the film Rio, Zona Norte, by Nelson Pereira dos Santos. In contrast, the disappearance of the actor in the first films of New Cinema illuminates the perspectives of Glauber Rocha and Carlos Diegues on black people. Both directors chose actors with body structures, physionomies, and performances of masculinity different from those of Grande Otelo, such as Antonio Pitanga. The return of Otelo in Macunaíma, by Joaquim Pedro de Andrade, allows for a discussion of a reflexive moment in Brazilian cinema, in which the impasses of Brazil become explicit in the reformulation of old figures such as the malandro and in the renewed interlocution with the black movement, among others. Finally, the study discusses the deepening of an internal dialogue in the films of Rogério Sganzerla and Júlio Bressane, which make Grande Otelo a historical witness to Brazilian cinema. The prolific actor would then make possible reflection on race relations, in its intersections with the topics of gender and body, as well as on cinema in Brazil.
Rhinow, Daniela Ferreira Elyseu. "Visões de Otelo na cena e na literatura dramática nacional do século XIX." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-03122007-101354/.
Full textThe thesis \"Visions of Otelo in the scene and the Brazilian dramatic literature of the nineteenth century\" deals with the arrival of the character Otelo on the stages of the city of Rio de Janeiro in the nineteenth century, and its appropriations in works by Brazilian authors of the period. Seeking to study the texts staged in Rio, the work tackles representations of the original Shakespearian text, in English or Italian translations; French versions of classicist spirit; Italian operas on the subject; and Portuguese translations brought by foreign companies. The reception of such stagings by the national press is contemplated, searching an ampler vision of their repercussion. Secondly, there is the analysis on how such texts have been appropriated into a national dramatic production, the main examples being plays by authors such as Martins Pena, Joaquim Manuel de Macedo, Gonçalves Dias and Aluísio Azevedo. From the study of the plays and documents from the period, it is the intention of this work to establish a clearer vision of the trajectory of the character in Brazil, as well as the extension of its influence in important writers in the formation of the Brazilian drama.
Tailche, Khalid B. M. "A peça \'Desdêmona\', do iraquiano Yousif El-Saigh, motivada por \'Otelo\', de William Shakespeare." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8154/tde-20052008-123619/.
Full textThe objective of this study is to present the translation of the play Desdemona by Iraqi writer Yousif El-Saigh from Arabic to Portuguese. The play is based on Othello by William Shakespeare. In 1989 Desdemona won the prize for best theatrical text in the fourth edition of The Theatrical Days of Carthage Festival, in Tunisia. Desdemona is considered a landmark in modern Iraqi theater. The study presents the talented writer Yousif El-Saigh who was an important figure in the cultural life of Iraq as a playwright, poet and journalist. The words of El-Saigh together with the words of those who have known him can give us a chance to look into his life and his works. In Desdemona, El-Saigh sends a contemporary detective and his two assistants to investigate the old crime committed by Othello, whom he calls Otail. The detective arrives when Otail is trying to suffocate his wife. That is how the new characters, created by El-Saigh meet the old ones and the process of investigation starts. An analysis of the piece concentrates on the factor of time and the importance it acquires in the play through the insertion of flashbacks which are used along the investigation. Such formal device allows the detective to reveal new facts about the characters and the crime. The study examines Yousif El-Saigh\'s cultural motives in writing Desdemona. The author responds to Shakespeare by transforming the main characters of the resource play Othello and liberates the feminine figure of its weakness, giving it a more active role. At the same time, he condemns all the characters for participating directly or indirectly in the events that led to the crime. The suicide of Desdemona at the end is a symbolic protest which she makes against her society. The study aims at showing the importance of literary translation as a means to approximate and foster dialogue between different cultures.
Rocha, Veronica Fabrini M. de Almeida. "O amor e um animal de duas costas : um estudo sobre a encenação de Otelo." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285091.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Intituto de Artes
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Resumo: Esta dissertação tem como objetivo tecer uma reflexão sobre a encenação teatral, a partir de uma perspectiva nascida e apoiada no trabalho prático. Neste sentido, procuramos, num primeiro momento, debater questões de grande interesse para o estudo da encenação, tais como: a polissemia do signo teatral, a especificidade da construção dramatúrgica e a aparente oposição entre texto e cena. A partir do diálogo entre três poéticas, a de Antonin Artaud, a de Bertolt Brecht e a de Peter Brook, buscamos detectar as possibilidades espetaculares no texto OTELO, de William Shakespeare. Visando fomentar o fluxo vital entre teoria e prática, realizamos a encenação de OTEW, documentada em nossa dissertação sob a forma de texto espetacular
Abstract: Not informed.
Mestrado
Mestre em Artes
Bertin, Marilise Rezende. "Traduções, adaptações, apropriações: reescrituras das peças Hamlet, Romeu e Julieta e Otelo, de William Shakespeare." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-31072009-153332/.
Full textThe present thesis consists of a study on some rewritings of three plays written by William Shakespeare: Hamlet, Romeo and Juliet and Othello. Firstly, terms like translation, literal translation, free translation, rewriting, adaptation, updating, appropriation, condensation and recreation will be tackled with the purpose of understanding the process of interlingual and intralingual translations. The analysis of the theories developed by Hans J. Vermeer and Georges L. Bastin will be extremely important in order to justify and exemplify translations (adaptations) which are not so faithful and are aimed at specific types of public. The historical study of a number of French translations show how erotic, bawdy and grotesque parts of the Shakespearean texts were altered or omitted. Lastly, I analyse the bilingual adaptations of the three plays mentioned above, which I carried out with John Milton.
Brito, Deise Santos de. "Um ator de fronteira: uma análise da trajetória do ator Grande Otelo no teatro de revista brasileiro entre as décadas de 20 e 40." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-14122011-231051/.
Full textThis research approaches Grande Otelo´s work as an actor in the brazilian revue theater between 20s and 40s, analyzing his performances in three moments: the participation in the Black Company Revue, the work in the Jércolis Jardel Company and his phase as artist of the Urca Casino.
Bollella, Andrea de Paula Soares. "DA TRANSGRESSÃO DAS PALAVRAS AO CAOS DO SER EM OTELO, DE WILLIAM SHAKESPEARE, E ANJO NEGRO, DE NELSON RODRIGUES." Pontifícia Universidade Católica de Goiás, 2016. http://tede2.pucgoias.edu.br:8080/handle/tede/3542.
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The research brings a approach about a transgression of the protagonists living in the chaos, as aesthetic effect caused by the darkest and monstrous feelings like jealousy, selfishness, envy, among others. The objects Othello, William Shakespeare, and Black angel, Nelson Rodrigues, were chosen accurately to bring up the comparative method, concealment of the actions of the protagonists who reveal their affections and disaffected. The desire leaves the characters Othello and Ishmael tangled in his own ego. The rhythms of events are tense, with death consequences on a stage possibilities for bias of words. In the scenes, the behavior of the characters show contrasts between love and hate. The origin of the dramatic situation of the interior of the being that is lost to you and plunges into a maze with no exit. The theoretical references that gave the basis for the study were Carvalhal, Bataille, Sartre, Freud, Marvin Carlson, Bradley, Bakhtin, among others. Thus, the pieces in comparative analysis show filled stories of intrigue, betrayal, desire transgressor of feelings in an internal war scenario that suggests that reflection of the human condition.
A pesquisa traz uma abordagem da transgressão do ser vivendo em meio ao caos, como efeito estético provocado pelos sentimentos mais sombrios e monstruosos como ciúme, egoísmo, inveja, entre outros. Os objetos Otelo, de William Shakespeare, e Anjo negro, de Nelson Rodrigues, foram escolhidos de maneira acurada para trazer à baila, pelo método comparativo, a dissimulação das ações dos protagonistas que revelam seus afetos e desafetos. O desejo deixa os personagens Otelo e Ismael embaraçados em seu próprio ego. Os ritmos dos acontecimentos são tensos, com reflexos de morte, num palco de possibilidades pelo viés das palavras. Nas cenas, os comportamentos dos personagens mostram contrastes entre amor e ódio. A origem da situação dramática parte do interior do ser que se perde em si e mergulha em um labirinto sem saída. Os referenciais teóricos que nos deram base para o estudo foram Carvalhal, Bataille, Sartre, Freud, Marvin Carlson, Bradley, Bakhtin, entre outros. Assim, as peças em análise comparativa exibem estórias cheias de intrigas, traições, desejo transgressor de sentimentos, num cenário de guerra interior que sugere ser reflexo da condição humana.
Cantara, Linda Miller. "St. Mary of Egypt in BL MS Cotton Otho B.X new textual evidence for an old English saint's life /." Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukyengl2001t00018/pdf/lcantara.pdf.
Full textCantara, Linda M. "ST. MARY OF EGYPT IN BL MS COTTON OTHO B. X: NEW TEXTUAL EVIDENCE FOR AN OLD ENGLISH SAINT'S LIFE." UKnowledge, 2001. http://uknowledge.uky.edu/gradschool_theses/276.
Full textPerry, Lucy Margaret. "Lazomon's Brut : the representation of the individual in the voicing of history (BL Cotton MSS Caligula A.IX and Otho XIII)." Thesis, King's College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412910.
Full textMonteiro, Ana Claudia de Lemos. "Não se pode amar e ser feliz ao mesmo tempo: casamento e tragédia em Otelo, de William Shakespeare, e A mulher sem pecado, de Nelson Rodrigues." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=962.
Full textThis dissertation will provide a comparative reading of William Shakespeares Othello and Nelson Rodriguess A mulher sem pecado. The hypothesis to be investigated is that marriage constitutes a profitable scenario for the emergency of tragedy, as we think of marriage as a possible site of tension between individual discourse and the confluence of other discourses that circulate in society, introducing patriarchal prejudice misogyny in particular which is incorporated by the individual as absolute truth. It would be thus reproduced in marriage the conflict that defines tragedy, that is, the tension between the individual and some power superior to it, which may be embodied in its own subjectivity if we consider modern tragedy
Passannante, Sarah Nicole. "The Worst First Citizen." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625627942401276.
Full textGonçalves, Gil Manuel Gandarela. "Eanismo, Otelismo e a questão da “normalização” democrática (1975-1976)." Master's thesis, 2019. http://hdl.handle.net/10362/86435.
Full textThe object of this dissertation is the presidential election of 1976 and the campaigns of António Ramalho Eanes and Otelo Saraiva de Carvalho. Considering this is an historical moment located in the crossroad between Revolution and “normalization”, its analysis is particularly suggestive. The environment surrounding the campaign and the behavior of the electorate came to show that the debates and tensions that had marked the months of PREC remained present, showing that what was at stake were conflicting ideas for the post-revolutionary future. The strategies adopted by the military leaderships and by the different political parties in the moment of the election are as such revealing. While the radical left was looking for a figure capable of assembling forces to fight the post-25 of November demobilization, the moderate forces were looking for someone who could embody a moderate consensus whose affirmation was not yet guaranteed. Nonetheless, the mobilization both Eanes and Otelo harnessed largely escaped the control of the parties who supported them. They presented themselves as independent figures, appealing to the unity of the people according to their different interpretations of the national interest. Using their personal trajectories and different personalities, they became symbols for different imaginaries of an ongoing Revolution. Through a methodological approach rooted in the debates surrounding the concepts of populism and charisma, and by looking at the otelista and eanista movements through the lenses of the history of political leadership in twentieth century Portugal, I hope to demonstrate that neither the adherence to an European democracy nor the partidarization of society were unequivocal outcomes in 1976. There was a persistence of discourses and projects that pointed to other kinds of solutions, exposing ideological ambiguities and the problems of representation in a transforming society.
Garrett, Phoebe. "Ancestry and Suetonius' De Vita Caesarum." Thesis, 2013. http://hdl.handle.net/1959.13/1036788.
Full textEach Life of Suetonius’ De Vita Caesarum is constructed carefully from the very beginning, leading the reader to a preconceived judgment of the Caesar by employing techniques from epideictic rhetoric, including the comparison of the subject with his ancestors. In nine of the twelve Lives, characterisation of the Caesar begins with a detailed family tree of the subject’s ancestors or a short biography of the father. This thesis explores the role of the ancestors in the Lives as status symbols and tools of characterisation. Suetonius surpasses other authors, such as Tacitus and Plutarch, in the extent and subtlety of his characterisation through lineage. In Suetonius, the character traits of the ancestors foreshadow similarity or emphatic contrast with the character traits of their descendants. This characterisation works because the audience expects the descendant to resemble the ancestor, and this thesis also investigates the role of nature and nurture in inherited character traits in the De Vita Caesarum. In Chapter One, I explain the role of ancestors as status markers in Roman society, to situate Suetonius’ use of ancestors as status markers in its social and literary context, and in Chapter Two I discuss the use of ancestors as status markers in Suetonius. In Chapter Three, I identify the parallels between the ancestral traits and the traits of the Caesars, and in Chapter Four the unusual features of the Tiberius. At the end of Chapter Four I trace the patterns of inheritance and degeneration that arise from Suetonius’ usage of ancestors as tools of characterisation. I argue that the parallels between ancestor and descendant are sufficiently close that Suetonius can be said to have deliberately selected and shaped these ancestral anecdotes to characterise the Caesars themselves. In Chapter Five, I discuss nature and nurture in Suetonius: whether virtues and vices are innate and inherited, the possible mechanisms by which Suetonius’ Caesars resemble their ancestors, and the possible reasons the patterns of inheritance in Suetonius are different from those of the republican and Flavian periods. I conclude that the ancestors are supposed to be read with their descendants in mind, and that Suetonius chose the stories he told about the ancestors with a view to shaping the characterisation of the Caesar. The character traits of the ancestors should be taken into account in future discussions of Suetonius’ characterisation.