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1
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.
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In this dissertation I develop and theorize an approach to Shakespearean character. I focus on the ways in which characters talk about knowing others and being known; in other words, this is an approach to characters who are themselves approaching characters. The plays I treat in detail are Coriolanus and Hamlet. The words characters in these plays use when they explain their decisions, avoid explaining their decisions, talk about others' decisions, or try to expose others' secrets, are often position-and-movement words. I argue that characters use for these purposes words related by wordplay to the postures and gestures involved in crucial rituals (the "custom of request" in Coriolanus, the fencing match in Hamlet). At the same time, this is a metacritical project: I deal with approaches and attitudes of Shakespeare interpreters. How do we stand in relation to each other? How do editors and critics echo and transform the characters' postural/gestural language, and what are the implications of these echoes and transformations? Why is it worthwhile to work toward awareness of these echoes and transformations? In an extensive introductory section I theorize the kind of reading practiced here as an ethical practice-a practice intended to modify what Michel Foucault calls the rapport a soi.The 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.
2
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.
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The sacramental rhetoric and iconography of the Lancastrian Tetralogy significantly contribute to our recognition that the theological center of Shakespeare's historical drama is distinctively Anglican. Shakespeare (whether he personally was an Anglican churchman) invokes in the Lancaster plays the symbols and speech definitive of the Protestant Reformation in order to illustrate dramatically the Crown's convictions of the transcendent purpose of the English nation in human history, especially as that purpose had been defined by Tudor historiography. Shakespeare's histories demonstrate a conviction, broadly conceived and illustrated, of faith in the providential destiny of a nation whose very birth and sustenance in adversity form a sign of its election to grace and divine favor.Furthermore, Shakespeare's Lancaster plays, by continuing the didactic tradition of the medieval stage, embrace the precepts of Tudor monarchy and apply those principles of government and Reformation theology to the Elizabethan stage. Shakespeare's histories therefore interpret history; they do not recollect it--except in the spirit of sixteenth-century imagination, harmonized with legend and myth. Consequently, the Lancaster cycle of histories constitutes a unified dramatic quartet in which history as fact is eschewed in favor of history as progressive revelatory sign, a vision enabled by mythography derived from the emblems and rhetoric of the sixteenth-century Anglican Christian tradition.Department of English
3
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.
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Bayer, 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.
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Shakespeare's history plays are not merely benign representations of various historical figures and events but the site of political, cultural, and ideological contestation at the time of their performance. Richard II documents two divergent theoretical approaches to sovereignty which are more applicable to the political climate in Shakespeare's time than Richard's. In this essay, I read this play through the lens of various political tracts and historical tendencies dominant in late Elizabethan England. Though such an analysis might best be understood as historical materialist in orientation, I offer a contextual analysis of various modes of early modern political thought drawing variously upon theoretical precepts associated with new historicism as well as the 'ideas in context' school associated with Quentin Skinner, among others.Such 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.
5
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.
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The promotion of Shakespeare to the centre of the English literary canon was largely facilitated by ten major eighteenth-century editions of his plays: by Nicholas Rowe (1709), Alexander Pope (1723-25), Lewis Theobald (1733), Thomas Hanmer (1744), William Warburton (1747), Samuel Johnson (1765), George Steevens (1766), Edward Capell (1767-68), Johnson and Steevens (1773) and Edmond Malone (1790). The popularity of Newtonian science in eighteenth-century England helps to explain the mentality that impelled this energetic enterprise. In their Prefaces, the editors describe Shakespeare as a Newton-like genius who understood the underlying principles of human nature and expressed them through his characters. Shakespeare, however, unlike Newton, was not a systematic thinker, and the editors are critical of his language and of his tendency to cater to the low tastes of the Elizabethan theatre. They view him as a genius who understood fundamental truths about human nature and, at the same time, metaphorically, as nature itself---a site of heterogeneity and confusion where the editor must find hidden knowledge. They figure themselves as, scientists charged with the task of altering, restoring and annotating Shakespeare's writings. In the editions leading to and including that of Johnson, the editors' focus is on the universality of Shakespeare's discoveries. The early editors promote a transcendental image of Shakespeare as a timeless genius who rose above the relatively barbaric age in which he lived. The two editors following Johnson, however, place an increasing emphasis on Shakespeare's Englishness. While the idea of Shakespeare as a universal genius persists, Steevens and Capell also view him as a specifically English figure whose writings are to a large extent a product of his society. This nationalist emphasis goes hand in hand with an increasingly historical approach to the annotation and textual restoration of Shakespeare. The development of editing as a professional scientific vocation culminates with Malone, who augmented the editorial apparatus with thoroughly researched accounts of Shakespeare's life and theatre. The persistent emphasis on knowledge in the editors' work helps to account for the rise of Shakespeare's canonicity in relation to the Newtonian truth-seeking project of the eighteenth century.
6
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.
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Slights, 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.
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Critics have long neglected Shakespearean comedy's examination of the household's role in the formulation of community values by reading its references to domestic life allegorically as commentary on the ostensibly more important public realms of marketplace and state. This dissertation argues that representations of the household in the comedies are best understood as theatrical explorations of ethical inquiry as it pertains to everyday lived experience. Using contemporary sermons, political tracts, and conduct books to situate Shakespeare's plays within a larger cultural movement that was coming to understand the household as a foundation of the moral economy of early modern England, this study provides readings of The Comedy of Errors, The Merry Wives of Windsor, and The Tempest that emphasize each play's investigation of the household as a potential locus of the good life. The characters in these plays develop an awareness of themselves as members of broader communities by negotiating the particular details of household existence---by sharing meals, exchanging gifts, and falling in love. This awareness is in turn presented as a necessary component of personal happiness and a fundamental constituent of a just and merciful state. By developing an account of household life in the plays, this dissertation argues that recognizing the importance of affective domestic relations to constructions of the self as socially embedded moral agent is crucial to understanding the comedies' nuanced analysis of gender, class, and race relations.
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Earnshaw, 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.
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LiBrizzi, 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.
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This dissertation provides a critical, systematic survey of economics in literary theory and practice. Since Aristotle, economic categories have been used as interpretive grounds on which to conceptualize the literary text and distinguish it as a moral or normative sphere. Because economic categories presuppose different norms of individual and social action, the use of a specific category as an interpretive ground generates a particular outlook or moral perspective.In 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.
10
Rowan, Stephen Charles. "A dancing of attitudes : Burke’s rhetoric on Shakespeare". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25965.
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Since F.S. Boas coined the term in 1896, All's Well That Ends Well, Troilus and Cressida, and Measure For Measure have been generally accepted as "problem plays," and many critics have offered biographical, thematic, and formal explanations of why these plays are so "dark."
In this thesis, I accept that these plays are "problems" and I propose a rhetorical explanation for dissatisfaction with them, especially with their endings. Drawing on Kenneth Burke's philosophy of literary form and his anthropology of man as the symbol-using animal, I show that in these plays Shakespeare frustrates the expectations of an audience for a definite ending through death or marriage which would define the "terms" characterized in each play; secondly, he provides no scapegoat whose victimage would allow the audience to recognize an order clearly proposed for its acceptance; finally, he supplies no symbol of order which credibly demonstrates its power to establish a renewed society.
As rhetoric, these plays show an intense "dancing of attitudes" toward symbols of order and toward conventional forms which would provide a clear sense of an ending. As such, they show what Burke calls "self-interference" on the part of the playwright — a deliberate balancing of arguments for the sake of "quizzicality" toward language as symbolic action.
According to this analysis, the problem plays remain problems for an audience which seeks identification with symbols of order; they are, however, a tribute to the agile mind of a master rhetorician.Arts, Faculty of
English, Department of
Graduate
11
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.
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The changes and upheaval in English society and in English ideas which took place during the seventeenth century had a profound effect upon public and private perceptions of women and of women's various roles in society. A study of the drama of this period provides the means to examine the development of these new views through the popular medium of the stage. In particular, the study of adaptations of early drama offer the opportunity to compare the stage perceptions of women which were prevalent during the late sixteenth and early seventeenth century with attitudes towards women which emerged during the Restoration and early eighteenth century; such an examination of these differing perceptions of women has not yet been undertaken. The adaptation of Shakespearean plays provide the most profitable study in this area; Shakespeare was not only a highly influential playwright, but was also one of the most adapted of all the early dramatists during the years of the Restoration. In order to facilitate this survey, I have selected plays which span the entire Restoration era, beginning with William Davenant's The Law Against Lovers and Macbeth as well as John Lacy's Sauny the Scot from the 1660's, through the late 1670's and early 1680's with Edward Ravenscroft's Titus Andronicus and Nahum Tate's The Ingratitude of a Common-Wealth, and finally into the reign of Anne Stuart with William Burnaby's Love Betray'd. The study of these plays offers the best opportunity for the examination, through the medium of the theatre, of the changes which occurred in the perception of women and their changing identity with the rapidly evolving society of Renaissance and Restoration English society.
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Kehler, 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.
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This dissertation---"The Necessity of Affections: Shakespeare and the Politics of the Passions"---is a contribution to an important and interesting aspect of early modern thought. It examines the role of the passions or emotions in Shakespearean tragedy and in early modern politics. Shakespeare can be seen to share a perspective on tragedy and political thought with a number of other writers, some of whom were his contemporaries, and some of whom---like Thucydides and Tacitus---were classical writers. What these figures, here called 'politic historians,' have in common is an interest in using the passions as an explanatory category to reveal the states of mind of tyrants, princes and also other agents, including manipulative Machiavellians. Shakespeare's use of this politics of the passions is shown to be more acute and insightful than the rival treatments given by Stoicism, Hobbes and Machiavelli, in terms of explaining motives, agency and action. It is also argued that an understanding of the passions tells us something about tragedy, necessity and chance: namely, the need for realism about the dangers posed by those who seek to fashion or shape our minds. However, this dissertation proposes that this political realism does not go so far as to become the cynicism of realpolitik. A discussion of a number of important passages and themes in the tragedies---in particular, Hamlet, Macbeth and Coriolanus---shows how the notion of a rich and vividly articulated self plays a significant role in Shakespearean tragedy.
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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.
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This dissertation examines the arguments against tragedy offered by feminist playwrights in their "re-visions" of the plays of Euripides and Shakespeare.In 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.
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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.
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The second edition of Shakespeare's sonnets, titled Poems: Written by Wil. Shake-Speare, Gent, and published by stationer John Benson in 1640, was a text typical of its time. In an effort to update the old-fashioned sonnet sequence in which its contents had first reached print, the compiler or editor of the Bensonian version rearranged the poems from the earlier quarto text, adding titles and other texts thought to have been written by or about the sonnets' author. The immediate reception of the 1640 Poems was a quiet one, but the volume's contents and structure served as the foundation for more than half of the editions of Shakespeare's sonnets produced in the eighteenth century. In part due to the textual instability created by the presence of two disparate arrangements of the collection, Shakespeare's sonnets served only as supplements to the preferred Shakespearean canon from 1709 to 1790. When, at the end of the century, the sonnets finally entered the canon in Edmond Malone's groundbreaking edition of the plays and poems together, Benson's version was quickly overshadowed by the earlier text, which was preferred as both more authorial and, due to Malone's careful critical readings, autobiographical. In contrast to the many scholars since Malone who have overlooked or denigrated the Poems of 1640, this thesis studies the second edition of Shakespeare's sonnets within the framework of the early modern culture that produced it, arguing that Benson's edition provides valuable evidence about the editorial habits and literary preferences of the individuals and culture for which it was originally intended.
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Heard, Rachel E. "Shakespeare, gender and the rhetoric of excuse". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14747.
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This thesis attempts to provide an historicised account of excuse-making strategies in sixteenth- and seventeenth-century literature. This issue is considered, broadly, in the light of the pervasive influence of rhetoric in early modem culture at large, and specifically, as an aspect of the rhetorical construction of moral ambiguity in Shakespearean drama. Its chief concern is with the intractable ambiguity of 'favourable interpretations' or 'charitable constructions' of actions or events, the apparent desirability of which seems beyond doubt. Chapter I uses the 'generosity' often regarded as Shakespeare's own trademark as a way into exploring the aims of the thesis. Its central section focuses more closely on the ambiguity inherent in a 'female rhetoric' of mitigation, apology and extenuation. Where these chapters concentrate on 'covert' excuse-making strategies. Chapter V, by contrast, begins with an exploration of the early modern transformation (or domestication) of classical, female orators into decent, modest, seventeenth-century women. The thesis concludes with an account of Shakespeare's suppliant women, a group of petitioners who are repeatedly represented 'between men'. The persistence of this pattern, I argue, stresses the extent to which excuse-making is gendered, and might be read, as well, as the playwright's own attempt to 'contain' the radical moral ambiguity (radical because as difficult to condone as to condemn) generated by such 'female' excuse-making.
16
McGrade, Bernard J. "Grabbe und Shakespeare". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66190.
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Adair, Vance. "The Shakespearean object : psychoanalysis, subjectivity and the gaze". Thesis, University of Stirling, 2000. http://hdl.handle.net/1893/1857.
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Through a close analysis of four plays by Shakespeare, this thesis argues that the question of subjectivity ultimately comes to be negotiated around a structural impasse or certain points of opacity in each of the text's signifying practices. Challenging assumptions about the utatively "theatrical" contexts of Richard III, Richard II, Hamlet and Antony and Cleopatra, I argue that, to varying degrees, the specular economy of each play is in fact traversed by a radical alterity that constitutively gives rise to a notion of subjectivity commonly referred to as "Shakespearean". Elaborating upon the work of both Jacques Lacan and Jacques Derrida, I argue that "subjectivity" in the plays is, rather, the articulated confrontation with a non-dialectizable remainder that haunts each text from within. Crucially in this respect I relate each of the texts to Lacan's account of the "gaze" as a species of what he calls the object a: an alien kernel of jouissance exceeding all subjective mediation yet, paradoxically, also that which confers internal consistency both to subjectivity and to the very process of symbolization as such. I am, moreover, also concerned to read the work of Jacques Derrida as providing an illuminating context for how this incursion of alterity that he terms differance (what Lacan calls the Real) may be read as the unacknowledged support of subjectivity. The thesis concludes with a consideration of how this analysis of the Shakespearean object, rather than succumbing to the heady pleasures of an unfettered textuality, opens, ineluctably, onto a rethinking of the very category of the "political" itself.
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Green, 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/.
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McElfresh, 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.
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Closel, 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.
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Orientador: Suzi Frankl SperberDissertação (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
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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.
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This thesis attempts to examine the birth and development of the pox metaphor in sixteenth-century English literature. In researching this literary history of a disease---of syphilis' life as an early modem metaphor---I have attempted to contextualize the pox metaphor's development within the social and economic constructs that led to the early modern conflation of excessive consumption with poxy corruption. This conflation freed the metaphor from the confines of discussion on disease and allowed early modern authors the freedom to apply pockifed tropes to describe various social ills and abuses. Initially these pox metaphors were restricted to sexualized subject matter such as inconstant women, but through the rise of satire, the metaphor became a means of describing London as rampant, diseased and corrupt. Finally, Shakespeare was able to take the pox and apply it to the economic sickness that was affecting England by inscribing appetites with consuming pox-inspired qualities that were, in effect, a commentary on the uncontrolled rise of the capitalist state and the dangers of desire.
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Morrill, 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.
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Birge, 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/.
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Caliban, the ultimate figure of linguistic and racial indeterminacy in The Tempest, became for African-American writers a symbol of colonial fears of rebellion against oppression and southern fears of black male sexual aggression. My dissertation thus explores what I call the "Calibanic Quadrangle" in essays and novels by Anna Julia Cooper, Frances Ellen Watkins Harper, and Pauline Elizabeth Hopkins. The figure of Caliban allows these authors to inflect the sentimental structure of the novel, to elevate Calibanic utterance to what Cooper calls "crude grandeur and exalted poesy," and to reveal the undercurrent of anxiety in nineteenth-century American attempts to draw rigid racial boundaries. The Calibanic Quadrangle enables this thorough critique because it allows the black woman writer to depict the oppression of the "Other," southern fears of black sexuality, the division between early black and white women's issues, and the enduring innocence of the progressive, educated, black female hero ~ all within the legitimized boundaries of the Shakespearean text, which provides literary authority to the minority writer. I call the resulting Shakespearean intertextuality a Quadrangle because in each of these African-American works a Caliban figure, a black man or "tragic mulatto" who was once "petted" and educated, struggles within a hostile environment of slavery and racism ruled by the Prospero figure, the wielder of "white magic," who controls reproduction, fears miscegenation, and enforces racial hierarchy. The Miranda figure, associated with the womb and threatened by the specter of miscegenation, advocates slavery and perpetuates the hostile structure. The Ariel figure, graceful and ephemeral, usually the "tragic mulatta" and a slave, desires her freedom and complements the Caliban figure. Each novel signals the presence of the paradigm by naming at least one character from The Tempest (Caliban in Cooper's A Voice from the South; "Mirandy" in Harper's Iola Leroy; Prospero in Hopkins's Contending Forces; and Ariel in Hopkins's Hagar's Daughter).
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Loberg, Harmonie Anne Haag. "Hamlet haven : an online, annotated bibliography". University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.
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Drouin, 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.
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At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.
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Bulman, 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.
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Chapter 1 considers Barclay's 'Ship of Fools' in relation to other folly literature in English, particularly Lydgate's 'Order of Fools', Skelton's 'Bowge of Courte', and 'Cocke Lorrel's Bote'. Motifs, allegories and the woodcuts of the text are discussed and some are included in an Illustrations section. Chapter 2 discusses Erasmian folly looking back to the Neoplatonic writings of Nicholas of Cusa, and to the debt Erasmian exegeses owe to Origen. Erasmus' own philosophical and theological views are examined, particularly as they are found in his 'Enchiridion', and in the influence of Thomas à Kempis' 'Imitation of Christ'. A close textual analysis of the 'Moriae Encomium' is undertaken in this light. Chapter 3 defines the lateral boundaries of folly, where it blends into madness. In the context of Renaissance psychology sixteenth century medical works are analysed, including Boorde's 'Breviary of Healthe', Barrough's 'Method of Physicke' and Elyot's 'Castel of Helth'. Blurring between madness and sin, the negative judgments on the mad as demon-possessed, and the biblical models from which such judgments largely arose give alternative perspectives on madness and its relation to folly. Chapters 4-6 look at three Shakespearean comedies showing the development of a primarily Erasmian view of folly. This moves from overt references in 'Love's Labour's Lost' to natural folly, the folly of love and theological folly, through carnivalesque aspects of folly and madness in 'Twelfth Night', to an embedded notion of folly which influences and affects the darker comedy of 'Measure for Measure'. Chapter 7 considers satires of Hall, Marston and Guilpin, and looks at Jonson's Humour plays in this context. 'Volpone' and 'Epicoene', and 'The Alchemist' and 'Bartholomew Fair' are discussed in pairs, showing the softening of Jonson's attitude to folly, and his increasing representation of Erasmian folly reaching its full expression in 'Bartholomew Fair'.
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Doyle, Anne-Marie. "Shakespeare and the genre of comedy". Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/177.
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Traditionally in the field of aesthetics the genres of tragedy and comedy have been depicted in antithetical opposition to one another. Setting out from the hypothesis that antitheses are aspects of a deeper unity where one informs the construction of the other’s image this thesis questions the hierarchy of genre through a form of ludic postmodernism that interrogates aesthetics in the same way as comedy interrogates ethics and the law of genre. Tracing the chain of signification as laid out by Derrida between theatre as pharmakon and the thaumaturgical influence of the pharmakeus or dramatist, early modern comedy can be identified as re-enacting Renaissance versions of the rite of the pharmakos, where a scapegoat for the ills attendant upon society is chosen and exorcised. Recognisable pharmakoi are scapegoat figures such as Shakespeare’s Shylock, Malvolio, Falstaff and Parolles but the city comedies of this period also depict prostitutes and the unmarried as necessary comic sacrifices for the reordering of society. Throughout this thesis an attempt has been made to position Shakespeare’s comic drama in the specific historical location of early modern London by not only placing his plays in the company of his contemporaries but by forging a strong theoretical engagement with questions of law in relation to issues of genre. The connection Shakespearean comedy makes with the laws of early modern England is highly visible in The Merchant of Venice, Measure for Measure and The Taming of the Shrew and the laws which they scrutinise are peculiar to the regulation of gendered interaction, namely marital union and the power and authority imposed upon both men and women in patriarchal society. Thus, a pivotal section on marriage is required to pinion the argument that the libidinized economy of the early modern stage perpetuates the principle of an excluded middle, comic u-topia, or Derridean ‘non-place’, where implicit contradictions are made explicit. The conclusion that comic denouements are disappointing in their resolution of seemingly insurmountable dilemmas can therefore be reappraised as the outcome of a dialectical movement, where the possibility of alternatives is presented and assessed. Advancing Hegel’s theory that the whole of history is dialectic comedy can therefore be identified as the way in which a society sees itself, dramatically representing the hopes and fears of an entire community.
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Rumbold, 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.
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Jenson, 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.
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In order to contribute to the body of work on Bolingbroke and on Shakespeare's development of character, this thesis examines various rhetorical and stylistic methods used by Shakespeare in his creation of the character of Henry Bolingbroke.
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Cephus, Heidi Nicole. "Corporeal Judgment in Shakespeare's Plays". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062843/.
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In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres of thought to challenge Puritan accusations that the public theater audience is incapable of rational judgment. The first chapter outlines the parameters of the project. In Chapter 2, I argue that Richard II draws parallels between the theatrical community and the community created through the sacramental experiences of baptism and communion to show that bodies play a crucial role in establishing common experience and providing an avenue for judgment. In Chapter 3, I argue that Shakespeare establishes correspondences between bodily and social collaboration to show how both are needed for the memory-making project of the theater. In the next chapter, I show how Shakespeare appropriates what early moderns perceived of as the natural vulnerability in English bodies to suggest the passionate responses associated with impressionability can actually be sources of productive judgment and self-edification. I argue the storm models this passionate judgment, providing a guide for audience behavior. In Chapter 5, I argue that the memories created by and within the women in The Winter's Tale evoke the tradition of housewifery and emphasize the female role in preservation. Female characters stand in for hidden female contributors to the theater and expose societal blindness to women's work. Through each of these chapters, I argue that Shakespeare's plays emphasize the value of bodily experience and suggest that the audience take up what I have termed "corporeal judgment."
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Green, Benjamin Stephen. "A skopos-based analysis of Breytenbach’s Titus Andronicus". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20107.
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Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH 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.
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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.
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This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
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Ponelis, Karlien. "Die invloed van die Plautiniese klug op die moderne klug". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52206.
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Thesis (MPhil)--Stellenbosch University, 2001.ENGLISH 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.
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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/.
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In this study, I analyze the significance of Shakespearean intertextuality in the major works of Thomas Wolfe featuring protagonist Eugene Gant: Look Homeward, Angel and Of Time and the River. Specifically, I explore Gant's habits and preferences as a reader by examining the narrative arising from the protagonist's perspectives of Shakespeare's The Merchant of Venice, Hamlet, and King Lear. I examine the significance of parallel reading habits of Wolfe the author and Gant the character. I also scrutinize the plurality of Gant's methods of cognition as a reader who interprets texts, communicates his connections with texts, and wars with texts. Further, I assess the cumulative effect of Wolfe's having blurred the boundaries between fiction and reality, between the novel and drama. I assert, then, that Wolfe, by incorporating a Shakespearean intertext, reveals aspects indicative of postmodernism.
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Criswell, 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/.
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This thesis argues that social debt profoundly transformed the environment in which literature was produced and experienced in the early modern period. In each chapter, I examine the various ways in which social debt affected Renaissance writers and the literature they produced. While considering the cultural changes regarding patronage, love, friendship, and debt, I will analyze the poetry and drama of Ben Jonson, Lady Mary Wroth, William Shakespeare, and Thomas Middleton. Each of these writers experiences social debt in a unique and revealing way. Ben Jonson's participation in networks of social debt via poetry allowed him to secure both a livelihood and a place in the Jacobean court through exchanges of poetry and patronage. The issue of social debt pervades both Wroth's life and her writing. Love and debt are intertwined in the actions of her father, the death of her husband, and the themes of her sonnets and pastoral tragicomedy. In Shakespeare’s The Merchant of Venice (c. 1596), Antonio and Bassanio’s friendship is tested by a burdensome interpersonal debt, which can only be alleviated by an outsider. This indicated the transition from honor-based credit system to an impersonal system of commercial exchange. Middleton’s A Trick to Catch the Old One (1608) examines how those heavily in debt dealt with both the social and legal consequences of defaulting on loans.
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Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633". Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.
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Maker, Keith Errol. "Images of the garden and the fall in the middle plays of Shakespeare". Thesis, 2014. http://hdl.handle.net/10210/11762.
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Driver, Duncan. "Character and selfhood in Hamlet and the history of Hamlet criticism". Phd thesis, 2007. http://hdl.handle.net/1885/150026.
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Dobranski, Shannon Prosser. "Absent fathers in Shakespeare's middle comedies". 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3077529.
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Jory, Colin H. "The Hamlet first quarto debate, 1725-1950 : an evaluative survey". Phd thesis, 2002. http://hdl.handle.net/1885/151810.
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Appel, Ian S. ""Present fears" and "Horrible Imaginings" : Gothic elements in Shakespearean Tragedy". Thesis, 2003. http://hdl.handle.net/1957/30850.
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Gothic literary works are characterized as such by their ability to represent
and evoke terror. The form this representation takes is varied; often terror
originates in the atmospheric effects of settings, in the appearance of mysterious,
supposedly supernatural phenomena, and, perhaps most significantly, in the
behavior of villainous characters. Shakespearean tragedy participates in just such
an exploration of the origins and effects of terror. This thesis will examine three
aspects of the Shakespearean Gothic in three of his most frightening and
disturbing tragedies: Macbeth, King Lear and Titus Andronicus. All three of
these texts represent terror in ways that are significant not only for genre studies
but for historicist cultural studies as well. Shakespeare's particular vision of the
terrible tends to represent unruly women and ethnic minorities as demonized
others who threaten normalized social and moral order, and also evokes a
religious dread--a fear of the cruelty or, more radically, the nonexistence of
God--that would have proved particularly disturbing for Early Modem Christian
culture. This reading of Shakespeare demonstrates both the influence of his
vision on later writers and the trans-historic applicability of the Gothic aesthetic.Graduation date: 2004
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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.
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"Mourning in Shakespeare: different aspects of surviving death". 2006. http://library.cuhk.edu.hk/record=b5892978.
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Chan Lai Man.Thesis (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
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Faherty, Dionna E. "A feminist love story : the cinematic possibilities of Shakespeare's Juliet". Thesis, 2000. http://hdl.handle.net/1957/33075.
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Literary and feminist theory have recently begun to recognize William Shakespeare's character of Juliet as a possible feminist heroine, but communicating this interpretation on film will be complicated. Not only will the film need to deal with the issues of adaptation that come with moving any play onto film, but the finished product will also need to avoid the objectification of the female form. An investigation of literary theory, adaptation theory, and feminist film theory reveals that, although this is a formidable task, the original text offers enough power to overcome any obstacle of communication.
Once the earlier literary criticism of A. C. Bradley gives way to feminist literary theory which offers a more empowering interpretation of the character of Juliet, it seems clear that this character could be a powerful cinematic heroine. At this point, it becomes relevant to acknowledge the problems involved in the transfer of text to cinema and the adaptation theories of Andre Bazin, Susan Sontag, and others become applicable. Adding further dimension to the film discussion is Laura Mulvey's theory of "the masculine gaze" as well as Tania Modleski's theories on feminism as it applies to mass culture and audience interpretation.
The theoretical discussion suggests a unique combination of theories with which to investigate the three best-known Romeo and Juliet adaptations (George Cukor, 1936; Franco Zeffirelli, 1968; Baz Luhrmann, 1996) Each of these films uses the medium of cinema to communicate a specific interpretation of the original text. Although none emphasize a strong, decisive heroine, they each present different options for portraying the character of Juliet and offer valuable insight in their moments of oppression as well as empowerment.
Applying this blend of theories to the specific films leads to the idea that future filmmakers could take all the theories into consideration and learn from these previous works to produce a main-stream adaptation of Romeo and Juliet which emphasizes the strength and agency of the main female character. The power of Shakespeare's Juliet is a prolific area of the text which, when explored on screen, has the ability to utilize film as an ally to unite feminist theory with popular culture.Graduation date: 2001
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Eskew, Douglas Wayne 1976. "Shakespeare on the verge : rhetoric, tragedy, and the paradox of place". 2008. http://hdl.handle.net/2152/18304.
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"Shakespeare on the Verge: Rhetoric, Tragedy, and the Paradox of Place" describes the ideological geographies of Renaissance England and reads the ways "place" was rhetorically constructed in two of Shakespeare's late tragedies. By ideological geographies I mean the way in which Renaissance men and women understood spatially the constitution of their world--their spatialized "habits of thought." These habits were then undergoing a change from seeing the world as a vertical hierarchy of interrelated and dependent places to seeing it as a horizontal array of discrete places related to one another in a linear manner. Working from the theories of Agamben, Burke, Foucault, and Ong, I argue that Shakespeare constructs a paradox of place in which hierarchically elevated places subsume inferior ones and thereby double them. The paradigmatic example of this phenomenon is the king's mobile court, known at the time as the "Verge," which subsumed the places, the actual palaces and castles, of the king's subjects as it progressed across the kingdom. This phenomenon is paradoxical because, although the king's superior place subsumed those below it, it was always dependent on those inferior places, both logically (there can be no king without his subjects) and materially (as the king traveled, his household relied on the provisions supplied by subjects along the way). This paradox leads Shakespeare to double certain dramatic characters and their environments. It also leads him to set up oppositions between places constructed through violent means and places constructed through the "violence" of rhetoric. In my chapter on King Lear (1605), I argue that Edmund should be read as Lear's double, a doubling made manifest especially in the characters' stage movements as they effectively change places with one another. In Coriolanus (1608), I argue that its hero rejects his double, the Plebeian class of Rome, but that he eventually attempts to reconcile with them in large measure by changing his use of rhetoric. In my reading of these plays, as in my description of Renaissance ideological geographies, I aim to revise the way people look at place on the Shakespearean stage and at the complex interplay in them between physical violence and rhetorical action.text
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"Aspects of music in Shakespearean drama". 2004. http://library.cuhk.edu.hk/record=b5896377.
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Wong Ka-ki, Katrine Wong.Thesis (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
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"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.
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Grace Chor Yi Wong.Publication 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
48
O'Connor, Robert Francis. "That Bellona's bridegroom : Macbeth's warrior ethic". Phd thesis, 1999. http://hdl.handle.net/1885/144745.
Texto completo
49
"Negotiating development from childhood to young adulthood in Shakespeare". 2005. http://library.cuhk.edu.hk/record=b5892507.
Texto completoResumen
Lam Wai-yee.Thesis (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
50
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.
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