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1
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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Dufour, Gérard. "L'homme et l'animal dans l'oeuvre de Shakespeare. Essai d'anthropologie littéraire". Paris 4, 1991. http://www.theses.fr/1990PA040144.
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Les relations entre l'homme et l'animal jouent un rôle essentiel dans la structuration de l'univers poétique et théatral de Shakespeare. L'apparente banalité du bestiaire tient a ce qu'il est le reflet des idées communement admises. Le monde animal de Shakespeare, qui n'est pas sans un certain rapport documentaire avec la réalité courante telle qu'elle est perçue au temps de la renaissance, renvoie surtout à une tradition littéraire et à des présupposés culturels véhiculés et entretenus notamment par le langage commun. Discours plusieurs voix, le texte des pieces de Shakespeare met en oeuvre la richesse et la cohérence, mais aussi les ambivalences et les imrecisions, d'un ensemble de figures animales qui rendent compte des tensions et des contradictions d'un monde en crise menacé par la violence et le désordre. En faisant rejouer le clivage entre l'homme et la bête, le pur et l'impur, le domestique et le sauvage, les images animales permettent, a partir du principe d'analogie généralisé, de représenter les rapports fondamentaux de l'homme avec lui-même, la femme, la société et l'au-dela, et de définir ainsi des rôles et des situations dramatiques très variésThe relationship between man and animal plays an essential role in the structuring of Shakespeare's poetic and theatrical universe. The apparent banality of the bestiary is due to the fact it reflects received ideas. Shakespears's animal world which records, to a not insignificant extent, perceptions of reality current at the time of the renaissance, stems largely from a literary tradition and from cultural assumptions embodied in and perpetuated by the everyday language of the time. A discourse made up of several voices, shakespeare's texts bring into play the richness and coherence but also the ambivalence and imprecisions of a set of animal figures which reveal the tensions and contradictions of a world in crisis, a world threatened by violence and disorder. By re-enacting the split between man and animal, the pure and the impure, the domesticated and the wild, animal images make it possible, according to the principale of generalized analogy, to depict the fundamental relationships man has with himself, with woman, with society and with the beyond, and, in this way, to delineate a large variety of roles and dramatic situations
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Srigley, Michael. "Images of regeneration : a study of Shakespeare's "The Tempest" and its cultural background /". Stockholm : Almqvist och Wiksell, 1985. http://catalogue.bnf.fr/ark:/12148/cb348248795.
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Smith, Cristiane Busato. "Representações da Ofélia de Shakespeare na Inglaterra Vitoriana". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/23026.
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Resumo: Esta tese mapeia as representações da personagem Ofélia de Shakespeare na Inglaterra vitoriana em três áreas nas quais ela ganhou maior expressividade: em edições, no palco e na iconografia. Trata-se, portanto, de um estudo interdisciplinar, que se insere na área dos estudos culturais. A premissa básica é a de que a ubíqua presença de Ofélia na cultura vitoriana serve como exemplo paradigmático do que Raymond Williams chama de "estrutura de sentimento", ou seja, a personagem constitui um veículo adequado para compreendermos os paradoxos da época, principalmente no que diz respeito aos papéis femininos. A divisão da tese é arquitetada em três capítulos que lidam com as especificidades de cada representação, mostrando, também, como eles se interconectam dinamicamente. O material analisado contempla duas edições familiares de Hamlet; duas "narrativas instrutivas"; um roteiro cênico; uma pintura e um poema. Para auxiliar e elucidar as maneiras pelas quais Ofélia foi apropriada, lancei mão de textos os mais diversos: comentários de críticos de teatro e pintura; observações de atores e escritores; atitudes da época com relação ao suicídio feminino; a vida de Elizabeth Siddall, bem como a crítica contemporânea. As representações de Ofélia sublinham a permeabilidade das fronteiras das artes e também nos mostram, em maneiras que escapam a nossa compreensão, como a vida muitas vezes imita a arte.
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Villaça-Bergeron, Maud. "Shakespeare et la transmission des classiques grecs : influences de la mythographie et de la tragédie attique dans Hamlet, Macbeth et King Lear de William Shakespeare". Caen, 2010. http://www.theses.fr/2010CAEN1587.
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La présente étude tente de montrer que Shakespeare a été influencé par la culture grecque dans Hamlet, Macbeth et King Lear. Au travers de correspondances textuelles et thématiques troublantes, l'auteur cherche à établir qu'il paraît manifeste que Shakespeare ait eu recours à la tragédie grecque dans la composition de ces trois pièces majeures. Néanmoins, comme l'atteste la présente recherche, il ne peut être établi avec certitude que ce dramaturge ait lu Eschyle, Sophocle ou Euripide en grec ou en traduction vernaculaire que ce soit en anglais, en français ou en italien, traductions qui étaient pourtant nombreuses du vivant de Shakespeare. Cette thèse se divise en trois parties principales lesquelles explorent les principaux champs pour lesquels une ressemblance est flagrante avec Shakespeare ce qui amène à penser qu'il aurait pu avoir recours à la tragédie grecque. La première partie explore les moyens par lesquels le dramaturge aurait pu avoir eu connaissance de ces textes (scolarisation, traductions). Dans cette optique, cette partie expose les apports de la Renaissance, notamment dans l'instruction et la transmission des lettres grecques. La deuxième partie rapporte, pour chaque pièce, les correspondances textuelles et thématiques remarquables avec des œuvres littéraires majeures de la Grèce antique, surtout les dramaturges et Homère. La troisième partie se consacre à l'étude de ces héroïnes exceptionnelles que l'on trouve dans ces trois tragédies. Sans établir de portrait psychologique, cette étude cherche à dégager trois fils directeurs qui relient l'héroïne shakespearienne à l'héroïne tragique grecque : la stature de ces femmes, la représentation de la noblesse et l'absence de discours amoureux, thématiques centrales de la tragédie grecqueThe main objective of this dissertation is to consider the possibility of a Greek influence, namely mythology and tragedy, on Shakespeare's masterpieces Hamlet, Macbethand KingLear. This study first draws an impartial account of the current knowledge concerning Shakespeare's supposed education and of the major role played by Byzantine scholarship in the rediscovery of Greek texts which led to a huge wave of translations into Latin first and then into the vernaculars. The second part tries to establish textual and thematic correlations between Shakespeare's works and some Attic plays together with the epics of Homer and several other ancient Greek authors by picking passages drawn from both sides and explaining the common point between them. Finally, the third part deals with the place Shakespeare gave his main heroines in these plays, a place which corresponds in some significant aspects to the Greek tragic heroine
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Crohem, Laurence. ""My single self" : paradoxes du singulier dans All's well that ends well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida de William Shakespeare". Lille 3, 2009. http://www.theses.fr/2009LIL30057.
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Chacun est-il unique ? Cinq pièces de Shakespeare parfois appelées problem plays - All's well that Ends Well, Hamlet, Julius Caesar, Measure for Measure et Troilus and Cressida - problématisent le singulier ou l'unicité de soi, un aspect de la question du sujet à l'ère pré-moderne. L'unicité est en crise dans ces pièces : l'analyse des substitutions dans l'action, l'amour et la mort montre l'absence et le surgissement des doubles au lieu des preuves d'unicité attendues. Celle des scènes de perception du singulier et d'énonciation de soi dans les dialogues ou monologues montre la confusion identitaire : le soi unique vacille et s'efface devant les doubles. La crise de l'unicité est aussi une crise du rapport à l'espace social et intérieur et à la temporalité. Les sujets se diluent dans la communauté et peinent à tracer des frontières entre eux-mêmes et les autres. Les plis censés révéler un espace intime découvrent un lieu paradoxal. Les effets de perspective déplacent le personnage qui regarde et qui n'a pas de lieu propre alors que le retour du politique restaure la fixité des places. Les sujets désirent s'inscrire dans une linéarité temporelle qui est déconstruite par les répétitions. Ils n'élaborent pas une histoire linéaire propre mais s'énoncent comme traces de ce qui n'a pas eu lieu et inventent un présent impossible. Il n'y a pas de temps pour soi : Hamlet, jouet d'une action sans agent et d'une durée qui le dépasse, vit et meurt la vie et la mort des autres dans le temps des autres. La dramaturgie de l'espace et du temps dans les problem plays s'avère liée aux paradoxes du singulier qui interrogent la relation entre soi-même et l'autre et à l'autre en soi-mêmeIs every human being unique ? Five Shakespeare plays sometimes labelled problem plays - All's well that Ends Well, Hamlet, Julius Caesar Measure for Measure and Troilus and Cressida - raise the issue of the singularity or uniqueness of the self, one aspect of the question of the subject in the early modern age. Uniqueness is in crisis in these plays : the study of the substitutions in action, love and death shows the absence of the self and the emergence of doubles instead of the expected proofs of uniqueness. This study of the scenes of perception of singularity and of self-speaking in the dialogues or soliloquies shows confused identities : the unique self flickers and is superseded by doubles. The crisis of uniqueness also questions the link to social and inner space and to temporality. The subjects dissolve into the community and fail to draw borders between themselves and others. The veils supposed to unveil an intimate space uncover a place of paradox. Perspective effects displace the watching character, who is then deprived of a proper place, and the return of the political reestablishes set places. The subjects wish to engage in a linear time which is deconstructed by repetitions. They do no build a proper linear history but present themselves as traces of events that did not happen and make up an impossible present. There is no time for oneself : Hamlet, the victim of agentless action and of unmastered duration, lives and dies the lives and deaths of others in the time of others. The dramatic art of space and time in the problem plays is linked to the paradoxes of singularity that question the relationship between oneself and the other and to the other in oneself
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Segurado, Nunes Livia. "Popular Shakespeare : Brazilian reappropriations". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0364.
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Cette thèse se situe au carrefour des études littéraires, comparatistes, théâtrales, et anthropologiques. La représentation « populaire » des pièces de Shakespeare au Brésil est un objet d’étude inédit, éphémère, en perpétuelle mutation, où se mêlent les arts du cirque, la ferveur religieuse, et les traditions carnavalesques. Shakespeare s’est tout d’abord imposé au Brésil à travers ses élites, qui assistaient à des spectacles adaptés à partir des traductions/réécritures du français Jean-François Ducis. En 1928, le « manifeste anthropophage » d’Oswald de Andrade transforme durablement les mentalités brésiliennes : le Brésil s’émancipe alors véritablement de son statut d’ancienne colonie pour cannibaliser les traditions européennes et prôner le métissage des cultures. Shakespeare se trouve de ce fait complètement réinventé par un pays en mouvement. Aujourd’hui, des productions brésiliennes se servent de Shakespeare comme d’une icône de la culture érudite afin de légitimer la culture populaire et de résister à l’imposition d’une hiérarchie culturelle par les élites, cela avec un tel succès que le Brésil exporte désormais à son tour ses propres productions théâtrales à l’étrangerThis thesis is the result of an interdisciplinary research at the crossroads of anthropology and literary, comparative, and performance studies. Brazilian "popular" theatre productions of Shakespeare are an unusual object of study that is also ephemeral, constantly changing, combining circus arts, religious fervour, and carnival traditions. Shakespeare was introduced in Brazil through its elites, who attended performances adapted from translations/rewritings by the French Jean-François Ducis. In 1928, the "Anthropophagous Manifesto" written by Oswald de Andrade permanently changed Brazilian mentality: Brazil then truly emancipated from its former status as a colony to cannibalise European traditions and promote its mixed nature. Shakespeare has thus been completely reinvented by a changing country. Today, Brazilian productions are reappropriating Shakespeare as an icon of erudite culture in order to legitimise popular culture and to resist the imposition of a cultural hierarchy by the elites. They have been so successful that, in an ironic turn, they now export their own theatrical productions abroad
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Claret, Jean-Louis. "Le traitement de la révélation dans trois tragédies de Shakespeare : "Hamlet", "Le roi Lear", "Macbeth" : la clairvoyance sublime de l'égarement". Nancy 2, 1995. http://www.theses.fr/1995NAN21009.
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Les héros des grandes tragédies de Shakespeare s'égarent et grâce à cette dérive orchestrée par le dramaturge parviennent à transcender leur nature pour accéder à un savoir précieux. Ils quittent la pénombre ambiante et s'élèvent vers une connaissance lumineuse qui leur permet de reconsidérer la signification de l'expérience humaine. Hamlet s'enlise dans les sables mouvants de la conscience, Lear est terrassé par la folie et Macbeth se lance corps et âme dans le mal. Ces trois personnes fascinent du fait de la grandeur dont ils sont investis au terme de leur parcours et du mystère qui dramatique : Shakespeare ne présente pas des hommes mais des "êtres de mots" et tout ce qui leur arrive n'est que l'image d'une destinée. Le théâtre obéit à des lois qui lui sont propres et l'analyse du langage, de même que le rapport au spectateur sont au cœur de la démarche que le critique doit adopter. Le public assiste à la désintégration de personnages soudain grandis par la reconnaissance (anagnoris en grec) de la petitesse des hommes mais qui s'avèrent incapables de tirer parti de ce savoir chèrement acquis. Les spectateurs, inclus dans la représentation par un jeu de miroirs vertigineux, sont les seuls bénéficiaires de l'expérience représentée. Shakespeare s'est efforcé de débarrasser ses contemporains du carcan de l'espérance afin de privilégier une approche plus vraie et plus enrichissante de leur parcoursThe heroes of the great tragedies of Shakespeare lose their way and manage, thanks to this drift organized by the playwright, to transcend their nature and attain to a precious knowledge. They leave the darkness of their world and rise to a bright light which enables them to take a new look at the meaning of human experience. Hamlet sinks into the quicksands of his consciousness, Lear is overcome by madness and Macbeth commits himself body and soul to evil. These three characters fascinate owing to the greatness they are endowed with at the end of their course and to the mystery they are shrouded in. Their fates are approached in terms of dramatic writing technique: Shakespeare does not introduce us to men but to 'word creatures' and all that happens to them is nothing but the image of a destiny. The theatre obeys its own rules and the analysis of the words; along with the relation to the spectators are the be-all and end-all of the method the critic must use. The audience attends the disintegration of characters that suddenly grow in stature as they realize how meaningless man's life is. This recognition (anagnorisis in Greek) proves pointless in that the dramatis personae are unable to take advantage of that painful revelation. The public, included in the performance thanks to breathtaking mirroring effects, are the only people who can actually draw
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Arbuck, Ava. "By self and violent hands : the "ideal" Lady Macbeth". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56808.
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One of the most perplexing figures in Shakespeare's tragedies is Lady Macbeth. In light of recent feminist studies, Lady Macbeth must be studied in the social and historical context of Shakespeare's own era. By comparing the situation of women at that time with the vast number of social constraints placed on them through state channels, we see these women emerging from the social ideal of the cloistered submissive wife despite the attempts of patriarchal politics to restrain their advances.Lady Macbeth's actions are often interpreted as those of a bloodthirsty woman overstepping her social position. But Lady Macbeth is a product of a perverse society which worships the warrior-hero and dictates the importance of being a man, "broody, bold, and resolute". Interestingly, contrary to many interpretations, Lady Macbeth never attempts to be anything but a submissive, devoted wife. She and her husband embody the paradoxes inherent in their culture.
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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.
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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
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Lawson-Morié, Samantha. ""A Place I'th'story" : l'intermédiaire dans les pièces à titre binaire de Shakespeare". Paris 7, 2000. http://www.theses.fr/2000PA070094.
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Ce travail étudie les personnages ayant le rôle d'intermédiaire dans les pièces à titre binaire de Shakespeare : "Romeo and Juliet", "Troilius and Cressida", "Antony and Cleopatra". La nature même du titre indique d'emblée le centre d'intérêt dans ces pièces : la mise en relation de deux protagonistes. Le coordonnant "and" qui lie et sépare les noms des protagonistes dans les titres peut servir de métaphore pour rendre compte de la fonction des personnages qui sont des intermédiaires, et de l'importance de leur rôle au niveau structurel et thématique. Les textes existants à l'époque élisabéthaine qui traitent du thème de la médiation sont étudiés. L'intermédiaire se manifeste dans les rôles divers : il peut être messager, négociateur, médiateur, ambassadeur, entremetteur, interprète. Le conflit social qui caractérise les pièces à titre binaire et qui sépare les amants rend la présence d'intermédiaires indispensable. L'analyse du rôle de l'intermédiaire soulève les problèmes du langage, des mobiles du statut, et du mandat de ceux qui assurent la médiation. Elle nous mène à considérer les parallèles qui existent entre sa fonction et les rôles qui sont associés au théâtre : ceux d'acteur, de metteur en scène, de spectateur. Enfin, l'échec de l'intermédiaire laisse aux mains des protagonistes une médiation qui vise à concilier la relation amoureuse et les contraintes sociales. Leurs efforts nous fournissent de précieuses informations concernant la nature de la communauté et de la relation. Les pièces à titre binaire dotent l'intermédiaire, qui "à priori" apparaît comme un simple figurant dans l'histoire d'autrui, d'un rôle primordialThis study concerns the role of the go-between in the dual title plays of Shakespeare : "Romeo and Juliet", "Troilus and Cressida", and "Antony and Cleopatra". The very nature of these titles indicates the main concern of the plays - the development of the relationship between the two protagonists. The "and" in the title provides a metaphor which powerfully suggests the complexities of relationship. The equivalent of this conjunction in the action of the plays is the go-between, whose role serves to structure and add cohesion to the play. This essay examines the importance of the question of mediation as it was perceived in Elizabethan times. The intermediary appears in various guises in these plays - as messenger, negotiator, mediator, ambassador, go-between, interpreter and performer. The social conflict which characterises the three plays and which separates the lovers renders the presence of intermediaries indispensable. The go-between raises the problems of language, motivation, status and representation. His role also reflects those of the various participants in the theatrical experience - actors, directors and spectators. The fact that the intermediary fails means that the protagonists attempt to reconcile the love relationship with social constraints, taking on the role of mediator themselves. Their efforts illuminate both the nature of the society in which they live and that of the love relationship. The dual title plays transform the role of the intermediary, which may at first sight be considered a mere bit part, into a vital component of the dramatic action - one that almost steals the show
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Loundou, Pierre-Willy Dupas Jean-Claude. "La figure héroïque et la dialectique de l'altérité dans l'oeuvre de William Shakespeare le cas Henry V texte et film /". Lille : A.N.R.T, 2007. http://documents.univ-lille3.fr/files/pub/www/recherche/theses/LOUNDOU_Pierre-Willy.pdf.
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Trocha-Van, Nort Andréa. "De la spontanéité à la règle : le passage à l'esthétique néo-classique dans les adaptations des comédies et des tragi-comédies de Shakespeare à la Restauration anglaise". Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20027.
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A l'époque de la restauration anglaise, les pièces de Shakespeare étaient reprises et adaptées pour le spectateur de ce nouvel âge. Les raisons pour lesquelles on prenait plume pour réécrire l'auteur étaient nombreuses, mais les plus importantes concernaient le manque d'auteurs dramatiques compétents au début de la période et aussi la réputation de Shakespeare qui allait croissant. Les adaptations néo-classiques de ses comédies et tragi-comédies reflétaient peu l'esthétique théâtrale de la renaissance anglaise. Ces productions plus coûteuses à monter mettaient en scène des danses, chants et des masques avec des décors somptueux alors que du vivant de l'auteur les pièces originales étaient représentées sur des scènes rectangulaires quasiment vides qui avançaient vers le milieu de l'audience, ou dans des halles austères des bâtiments d'Etat. La composition du public avait grandement changé après la disparition de Shakespeare, et à partir de 1660, les courtisans de Charles II influaient sur le contenu des pièces. C'est pour cette raison que les adaptateurs de l'auteur visaient à leur plaire. Les adaptateurs étaient : J. Dryden, Sir W. Davenant, J. Lacy, T. Shadwell, T. Durfey, E. Settle, H. Purcell, C. Gildon, G. Granville, J. Dennis, W. Burnaby
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Maquerlot, Jean-Pierre. "Shakespeare maniériste". Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10050.
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Cette these s'efforce de montrer qu'une partie de la production theatrale shakespearienne gagne a etre envisagee a la lumiere du manierisme. Il s'agit de cinq pieces ecrites entre 1599 et 1604: jules cesar, hamlet, troilus et cressida, tout est bien qui finit bien et mesure pour mesure. Cette reevaluation s'appuie sur une definition du manierisme elaboree a partir d'un corpus representatif de plusieurs tendances du manierisme italien (raphael, michel-ange, le rosso, le pontormo, le parmesan, le bronzino et le tintoret. ) la definition s' articule autour des deux figures structurales de la disparite et du decentrement. Elle manifeste que l'artiste a le souci de valoriser sa propre maniere et d'exhiber les pouvoirs de l'art. Dans les arts visuels, le moment manieriste s'affirme contre les ideaux de la haute renaissance. Au theatre, avec shakespeare, il s'affirme contre une dramaturgie aux formes et aux contenus heterogenes mais marquee par le formalisme rhetorique. Othello signe la fin du moment manieriste de shakespeare car cette esthetique narcissique et joueuse se revele incapable de susciter les emotions fortes qu'on attend de la tragedie.
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Barros, Márcia Paula Teixeira. "A adaptação cinematográfica de Richard III de William Shakespeare". Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/17610.
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Mestrado em Estudos InglesesEsta dissertação pretende discutir a adaptação cinematográfica da peça histórica Richard III de William Shakespeare. Dois filmes constituem o objecto de análise exaustiva neste trabalho de modo a afiançar sobre a influência da popular culture na adaptação cinematográfica de Shakespeare. Laurence Olivier realizou e protagonizou Richard III em 1955 com o principal intuito de celebrizar a sua interpretação de 1944 no Old Vic. A produção teatral de Richard Eyre do National Theatre (1990) foi traduzida para filme por Richard Loncraine em 1995. O realizador trabalhou a contextualização histórica na década de 30 e adoptando as convenções cinemáticas de Hollywood transpôs Richard III para o cinema. Como post-scriptum, o “docu-drama type thing” Looking for Richard (1996) de Al Pacino ilustra o deslocamento e fragmentação que Shakespeare sofre na popular culture.
This thesis is an attempt to discuss film adaptation of William Shakespeare’s Richard III. Two films will support my thesis that the popular cinema audience has influenced the translation of the play into the cinematic medium. Sir Laurence Olivier egoistically starred in and directed Richard III in 1955 as a result of his intention to celebrate his theatrical achievements at the Old Vic in 1944. Richard Eyre’s stage adaptation of the play for the Royal National Theatre (1990) was transferred to film by Richard Loncraine in 1995. Maintaining Eyre’s production set in the fascist 30s the director has managed to translate Richard III by embracing visually Hollywood cinematic conventions. As a post-script, Al Pacino’s “docu-drama type thing” Looking for Richard (1996) illustrates how Shakespeare has been displaced within the popular culture fragmentation of Shakespeare.
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Kass, Kersti L. "Regarding Henry : performing kingship in Henry V". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79954.
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This thesis seeks to examine not any single theory of kingship in Shakespeare's 'Henriad', but the evolving methods of its representation from Richard II's assumed embodiment of monarchic authority to Henry V's unapologetic performance of the kingly role. As well, it explores how a shared awareness of authority's performed nature forces the spectator into knowing her own creative authority and in doing so, heightens not only the tension between gazer and gazed-upon, but also lays bare the spectator's need to watch a desired object and the performing object's overarching wish to be watched. The paper's critical foundation ranges from phenomenological approaches to the theatre and gender performance to studies on the spectacle of kingship.
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Myers, Lynette Mary. "The poetry of prevarication : a study of the functional integration of style and imagery with character andaction in Shakespeare's Macbeth / Lynette Mary Myers". Thesis, Potchefstroom University for Christian Higher Education, 1985. http://hdl.handle.net/10394/10076.
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I have proved that prevarication is a current that initiates the evil actions
that are committed.
I have traced some of the oblique, dishonest euphemisms used by Macbeth
and Lady Macbeth in their language in their attempt to deceive
themselves and others of their intentions. This linguistic device sharpens
our awareness of their prevarication and avoidance of facing the truth,
and their attempt at self-deception and equivocation. They enter into
physical and spiritual duplicity.
The Witches are structurally important and function in contributing to the
ambiguous action of the play, and initiate the symbolism of darkness and
evil that prevails. Macbeth's echoic diction links him to the forces of
equivocation. Banquo dismisses their information, whereas Macbeth's
empathy with the Witches and his ripeness for corruption result in the
same information becoming disinformation to him.
Macbeth's prevarication continues in order to secure his position obtained
through heinous crimes and his lack of integrity in a world where it is
difficult to distinguish appearance and reality.
Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a
prevaricator by means of obliquity and mutual intrigue, and shows her
shrewdness and hypocrisy towards Duncan. She undermines logic,
imagination and metaphysics and overpowers Macbeth's indecision to
commit the murder, as she acts as a "thorn" to his conscience challenging
his manhood and courage. Macbeth is coerced into acceding to the
murder as a result of Lady Macbeth's bombastic exposure of the frailties
violated by evil.
The images of blood and sight merge when Macbeth sees his horrific hands
after the murder a murder that symbolically "murders" sleep.
Shakespeare uses the Porter to indicate the "equivocator" is synonymous
with Macbeth, the prevaricator.
Storms accompany the central action of the murder of Duncan, and the
tremendous upheaval of nature reflects the tempest roaring within
Macbeth. Macbeth's swollen, puffed up, deceptive language in his false
declaration of his mourning for the loss of Duncan, illustrates his ability
to prevaricate at his best. After Duncan's murder, Macbeth continues to
secure his power and security by his desperate series of futile murders,
which he commits without a moral self-catechismal examination of his
conscience: he prevaricates with impunity.
From their earlier close intimate association there is a deterioration in
the relationship between Macbeth and Lady Macbeth: their ways have
separated through guilt and lack of trust. Lady Macbeth declines to a
languid, exhausted woman in the sleep-walking scene, as she recalls her
past crimes and atrocities. Her personal confusion, anguish and
disorientation result in a cataclysmic shudder that leads to her physical
and spiritual implosion. Macbeth remains physically aggressive. His
tactics for his physical confrontation with death are irrevocable: he
suffers an isolated spiritual implosion in his virtual negation of life.
I have shown that Macbeth is an orchestrated composition in which
prevarication is the tool used for furthering ambition that motivates the
action of the drama.Thesis (MA)--PU vir CHO, 1986
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Silva, Ana Terra Leme da. "Lugares de fala e escuta no teatro de William Shakespeare : ressonâncias de um percurso feminino". reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/7346.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2009.Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2011-04-08T23:07:29Z No. of bitstreams: 1 2009_AnaTerraLemedaSilva.pdf: 1008257 bytes, checksum: 269986fff6645f91757a2c70711a10e0 (MD5)
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A presente dissertação investiga três personagens femininas de Shakespeare, aplicando princípios da abordagem lugar de fala, proposta pela Prof. Dra. Silvia Davini. Essa investigação pretende levantar subsídios para futuras performances que considerem a esfera acústica e simbólica da palavra, como um ponto de partida para a atuação. As três personagens estão organizadas, considerando o drama do qual fazem parte, num percurso que parte de uma máxima impossibilidade feminina e vai em direção a uma máxima possibilidade feminina. Tal percurso acompanha a cronologia das obras e as personagens são: Lavínia, de Tito Andrônico; Rosalinda, de Como Gostais e Marina, de Péricles, Príncipe de Tiro. Para essa investigação foram realizadas três frentes de trabalho em simultâneo: o estudo da arquitetura das personagens em relação à obra a qual pertencem; exercícios de fala com trechos dos textos das personagens (CD de áudio em anexo) e uma imersão como espectadora em montagens teatrais na cidade de Buenos Aires. A produção de Peter Hall e Cicely Berry contribuiu especialmente no desenrolar desse trabalho. Por serem diretores e preparadores vocais shakespeareanos, suas experiências trouxeram dados formais do texto que se revelaram úteis à atuação. A interação das três frentes de trabalho permitiu gerar reflexões sobre a relação entre a forma dos textos das personagens e os respectivos perfis femininos apresentados por elas. Dessa forma, através de princípios do lugar de fala, se levantam pontos de partida para atuação alternativos à freqüente subalternização da palavra dita no meio teatral contemporâneo. ____________________________________________________________________________ ABSTRACT
The thesis investigates three female characters of Shakespeare by applying principles of the speech’s place approach, proposed by PhD. Silvia Adriana Davini. This research aims to raise sources for future performances that consider acoustic and symbolic dimension of the word as a starting point for acting. The three characters are organized in a feminine journey considering the drama that each one of them belongs. It has to be said that the journey begins in a feminine maximum impossibility and goes to a feminine maximum possibility, following the chronology of the works. The characters are: Lavinia, from Titus Andronicus; Rosalind, from As You Like It and Marina, from Pericles, Prince of Tire. The research demanded the acomplishment of three work fronts simultaneously: the study of the characters’ architecture in relation to the work it emerges; speech exercises with excerpts of the studied texts (audio CD attached) and a immersion as a spectator in theater performances in the city of Buenos Aires. It was especially valuable to this research, the production of Peter Hall and Cicely Berry. Being directors and Shakespearean speech coaches, their experiences have brought text formal data valuable to performance. The interaction of these three work fronts has allowed thinking about the relationship between the texts’ form and the respective female profiles presented by them. Thus, through the principles of speeche's place approach, one can rise starting points for action alternative to the frequent subordinate treatment aplied to speech in contemporary theatre.
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Ravassat, Mireille. "Shakespeare et l'oxymore ou Comment trouver l'accord de ce désaccord ?" Paris 10, 1993. http://www.theses.fr/1993PA100140.
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La présente étude se propose d'explorer les multiples facettes de l'oxymore, toutes les variations syntaxiques, thématiques et rhétoriques auxquelles cette figure mystérieuse se prête dans la totalité du corpus shakespearien. A cet effet, on se livre, en premier lieu, a une analyse technique de la figure. Ce développement constitue le contenu de prolégomènes 1. Prolégomènes 2 fournit un commentaire détaillé des typologies 1, 2 et 4, respectivement, typologie grammaticale, rhétorique et l'oxymore, figure de pensée. L'objet de prolégomènes 3 est de situer l'apport de l'œuvre de Shakespeare et de l'oxymore dans la polyphonie baroque. A la suite de cette tripe entrée en matière, la présente étude est divisée en trois grands chapitres dont l'objet est d'analyser l'œuvre de Shakespeare par le prisme privilégie de l'oxymore, figure de style et figure de pensée. Le premier grand chapitre traite de l'oxymore dans les comédies. Le deuxième grand chapitre concerne l'oxymore dans les tragédies et les pièces historiques. Enfin le troisième grand chapitre a pour objet l'étude de l'oxymore dans les pièces finales ou pièces du merveilleux, les "romances"The purpose of the present study is to analyse the multiple varieties of oxymora, all the syntactic, thematic and rhetorical variations to which this mysterious figure of speech lends itself in the whole of the Shakespeare corpus. This particular figure of speech is first analysed from a technical viewpoint in prolegomenon 1. Then follows, in prolegomenon 2, a detailed commentary of the main classifications of oxymora in the works of Shakespeare, among them a grammatical classification and a rhetorical one. The aim of prolegomenon 3 is then to define the place of Shakespeare’s works in the polyphony of the baroque age - especially the role of the oxymoron. Following these three prolegomena, the present study is divided into three main chapters whose aim is to analyse the dramatic and poetic works of Shakespeare through the stylistic prism of the oxymoron. Chapter 1 deals with the oxymoron in comedies. The second chapter is concerned with the oxymoron in the tragedies and historical plays. Finally the third chapter is a study of the oxymoron in the final plays also called romances
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Kacou-Koné, Denise. "Shakespeare et Soyinka : un parallèle thématique et conceptuel". Montpellier 3, 1985. http://www.theses.fr/1985MON30060.
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Wong, Dorothy Wai Yi. "Shakespeare in Hong Kong : transplantation and transposition". HKBU Institutional Repository, 1995. http://repository.hkbu.edu.hk/etd_ra/33.
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Lambert, Pamela Faye. "Acting in Shakespeare: Singular sensations in Shakespeare and song". CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1443.
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The purpose of this project was to determine if it was possible to take Shakespeare's text and, preserving the language, present it in a way which would make it more accessible to a modern audience. It was also important to maintain the appropriate acting style and technique that distinguishes classical acting.
24
Olchowy, Rozeboom Gloria. "Bearing men : a cultural history of motherhood from the cycle plays to Shakespeare". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56598.pdf.
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Krupski, Jadwiga. "Shakespeare's children". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39774.
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The present study explores the role and social status of children in the plays and in the sonnets by Shakespeare. I have attempted to trace the tension between accepted societal attitudes of the time and the underlying sympathy and compassion for children made manifest in the text through dramatic situation and language.In the Histories and in the Tragedies, children are seen as pawns in adult power plays, while a disregard for a child's natural developmental progress is made apparent in both the Histories and the Comedies. Nevertheless at times, and particularly in the Tragedies and in the Romances, the actual children in the plays become agents of reconciliation and regeneration; in Macbeth, the victimized children acquire the status of a powerful symbol. The Sonnets, which deal with childhood as an abstract idea, foreshadow this synthesis of actuality and metaphoric tenor.
26
Innes, Paul. "Subjectivity in Shakespeare's sonnets". Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3508.
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This thesis undertakes a study of Shakespeare's sonnets that seeks to locate them in the determinate historical circumstances of the moment of their production. Subjectivity in the sonnets is read as the location of a series of conflicts which are ultimately socio-historical in nature. Contemporaries identified the sonnet form as a discourse of the aristocracy, especially in its manifestation of courtly love. Shakespeare's sonnets attempt to manage the pressures that the history of the late sixteenth century impose upon this discursive formation from within the genre itself. The first and second chapters of the thesis set out the historical framework within which the generic requirements of the sonnet were played out, and discuss the tensions which result. Chapter three reads the first seventeen sonnets in the light of this work, arguing against a view of these particular poems as a homogeneous group of marriage sonnets. These sonnets set out the homosocial considerations that underpin the relationship between the addressor and the young nobleman in a way that foreshadows the conflicts that are played out in later poems. Chapter four traces these conflicts in terms of the subjectivity of the young man, noting that the historical crisis in the ideology of the aristocracy renders his subject-position unstable. Chapter five relates this result to the related subjectivity of the adressor, the poetic persona of the poems, and reads his position as noting the disjunctions in the dominant ideology, while nevertheless being unable to move away from its interpellation of his position. Chapter six notes the consequent disruption of gendered identity, both for the "dark lady" and the poetic persona himself. The conclusion argues for a materialist perspective on the sonnets' problematising of subjectivity in the Renaissance.
27
Loundou, Pierre-Willy. "La figure héroïque et la dialectique de l'altérité dans l'oeuvre de William Shakespeare : le cas Henry V texte et film". Lille 3, 2007. http://www.theses.fr/2007LIL3A002.
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Major, Rafael M. "Wisdom and Law: Political Thought in Shakespeare's Comedies". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3277/.
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In this study of A Midsummer Night's Dream, The Merchant of Venice, and Measure for Measure I argue that the surface plots of these comedies point us to a philosophic understanding seldom discussed in either contemporary public discourse or in Shakespearean scholarship. The comedies usually involve questions arising from the conflict between the enforcement of law (whether just or not) and the private longings (whether noble or base) of citizens whose yearnings for happiness tend to be sub- or even supra-political. No regime, it appears, is able to respond to the whole variety of circumstances that it may be called upon to judge. Even the best written laws meet with occasional exceptions and these ulterior instances must be judged by something other than a legal code. When these extra-legal instances do arise, political communities become aware of their reliance on a kind of political judgment that is usually unnoticed in the day-to-day affairs of public life. Further, it is evident that the characters who are able to exercise this political judgment, are the very characters whose presence averts a potentially tragic situation and makes a comedy possible. By presenting examples of how moral and political problems are dealt with by the prudent use of wisdom, Shakespeare is pointing the reader to a standard of judgment that transcends any particular (or actual) political arrangement. Once we see the importance of the prudent use of such a standard, we are in a position to judge what this philosophic wisdom consists of and where it is to be acquired. It is just such an education with which Shakespeare intends to aid his readers.
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Witte, Anne E. "Le Songe d'une nuit d'été de William Shakespeare : essai de lecture anthropologique". Paris 3, 1997. http://www.theses.fr/1998PA03A063.
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Cette lecture anthropologique du songe d'une nuit d'ete propose une etude du calendrier symbolique et historique de la piece. Les frequentes allusions a la lune, aux saisons, et a midsummer ainsi qu'aux fetes telles la saint-valentin, la saint-georges et le premier mai sont commentees. La possibilite d'identifier l'occasion a laquelle la piece a ete jouee, et l'analyse de l'hypothese selon laquelle il s'agit d'une oeuvre ecrite pour un mariage princier ou aristocratique situe entre les annees 1594 et 1596 est aussi realisee. Dans une interpretation des symboles-cles de la piece tels le changelin, l'ane et les fees (titania, puck et oberon), le deuxieme axe explique les rites de passage effectues par les personnages qui, a travers l'action, modifient leur statut social. Ainsi, hermia, helena, lysander et demetrius quittent leur role de jeunes celibataires pour devenir des participants dans la communaute adulte. Le changelin integre le cercle des hommes, et thesee abandonne les valeurs du vieil egee pour creer une nouvelle societe. La reussite de ces transformations est assuree par des pratiques magiques operees le long de la piece. La transformation de bottom en ane s'inspire de manifestations agraires datant du moyen age. Ses propos et ses gestes scatologiques assurent une fonction regeneratrice, ce qui instaure des rapports entre ce personnage et le cycle saisonnier qui rythme le calendrier. Son role recoupe celui d'oberon qui consiste a benir la fertilite des couples. La troisieme partie inscrit le songe dans la politique et la culture de son epoque. Influence par l'humanisme, le protestantisme, le capitalisme et la reforme, l'univers du songe reflete les rapports de pouvoir entre la classe elite et la classe populaire. Les motifs lies au tissage tels les vers a soie, le mythe du murier et bottom le tisserand, font echo au travail de l'ecrivain et du magicienThis anthropological reading of a midsummer night's dream focuses on the symbolic and historical aspects of the play's calendar. The frequent mentions of the moon, of the seasons and of midsummer as well as of holidays such as saint valentine's day, saint george's feast and may 1st are considered. The possibility of identifying the particular occasion during which the play had been given and of testing the hypothesis of a courtly marriage situated between 1594 and 1596 are also studied. In an interpretation of the main symbols of the play such as the changeling, the donkey and the fairies (titania, puck and oberon), the second part explains different rites of passage that the characters undergo which modify their social status. Thus, hermia, helena, lysander and demetrius leave their adolescence to integrate the adult community. The changeling enters the masculine world and theseus abandons the ways of old egeus in order to create a new society. The success of these different transformations is assured by magical practices carried out throughout the play. Bottom's transformation is inspired by agrarian rituals dating from the middle ages. His words and his scatalogical gestures have a regenerative function. This links him to the seasonal cycle that gives rhythm to the calendar. His role resembles that of oberon in that he surrounds the couples with symbols of fertility. The third part situates dream in the political and cultural context of the era. Influenced by humanism, protestantism, capitalism and the reformation, the universe of dream reflects the power plays between the elite and popular classes. The weaving motifs in the play including the silkworms, the story of the mulberry tree and bottom the weaver echo both the writer's and the magician's work
30
Sanchez, Nicolas. "L'étoffe dont sont faits les sous-titres : [traduire William Shakespeare à l'écran]". Nice, 2009. http://www.theses.fr/2009NICE2022.
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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.
32
Hanousková, Renata. "William Shakespeare - OKO ZA OKO kostýmní výprava a teoretická reflexe". Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-155947.
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Anotation
HANOUSKOVÁ, Renata, ?Measure for Measure?, Prague: Theatre faculty, 2012,
Diploma dissertation / Master´s Degree Thesis .
The text contains basic data and content of the work characteric for the play in the
Czech language.
33
Fernie, Ewan. "Shame in Shakespeare". Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/14961.
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This thesis is a critical study of the theme of shame in Shakespeare. The first chapter defines the senses in which shame is used. Chapter Two analyses the workings of shame in pre-renaissance literature. The argument sets aside the increasingly discredited shame-culture versus guilt-culture antithesis still often applied to classical and Christian Europe; then classical and Christian shame are compared. Chapter Three focuses on shame in the English Renaissance, with illustrations from Spenser, Marlowe, Jonson, and Milton. Attention is also paid to the cultural context, for instance, to the shaming sanctions employed by the church courts. It is argued that, paradoxically, the humanist aspirations of this period made men and women more vulnerable to shame: more aware of falling short of ideals and open to disappointment and the reproach of self and others. The fourth chapter is an introductory account of Shakespearean shame; examples are drawn from the plays and poems preceding the period of the major tragedies, circa. 1602-9. This lays the groundwork, both conceptually and in terms of Shakespeare's development, for the main part of the thesis, Part Two, which offers detailed readings of Hamlet, Othello, King Lear, Antony and Cleopatra, and Coriolanus. In Each case, a consideration of the theme of shame illuminates the text in question in new ways. For example, and exploration of shame in Hamlet uncovers a neglected spiritual dimension; and it is argued that, despite critical tradition, shame, rather than jealousy, is the key to Othello, and that Antony and Cleopatra establishes the attraction and limitation of shamelessness. The last Chapter describes Shakespeare's distinctive and ultimately Christian vision of shame. In a tail-piece it is suggested that this account of Shakespearean shame casts an intriguing light on a little-known interpretation of Shakespeare's last days by the historian E.R.C. Brinkworth.
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Du, Toit Seugnet. "Of discourse and dialogue : the representation of power relationships in selected plays by Shakespeare". Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53758.
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Thesis (MA)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: In this thesis I will look at the way in which power relationships are presented in Shakespeare's dramas, with specific reference to the so-called ''Henriad'', Measure for Measure and The Tempest. Each play consists of a network of power relationships in which different forms of power interact on different levels. Different characters in the above-mentioned plays have access to different forms of power according to their position within these networks. The way in which the characters interact could also cause or be influenced by shifts and changes in the networks of power relationships that occur in the course of the action. I will use Michel Foucault's theories on the relationship between power, knowledge and discourse as a guide to my analysis of Measure for Measure. I will also use selected aspects of Mikhail Bakhtin's theories on language and literature, with specific references to the concepts of "dialogism" and "heteroglossia" or "manyvoicedness", as well as his concept of carnival, which implies a temporary inversion in power relationships in an unofficial festive context, as a guide to my analysis of the Henriad. I will use a combination of the theories of Foucault and Bakhtin in my analysis of The Tempest. I have chosen the terms "discourse" and "dialogue" as key terms in the title of this thesis not only because they play an important role in the theories of Foucault and Bakhtin respectively, but also because they play an important role in the analysis and representation of power relationships. According to Robert Young, Foucault relates ''the organisation of discourse ...to the exercise of power" (10). One could also say that the power relationships in a society are reflected in the portrayal of a dialogue between different voices representing different sections of or classes in that society as in Bakhtin's principles of dialogism. I will explain the overall importance of these terms in more detail in the Introduction and the other relevant chapters. In the introductory chapter I will first provide a theoretical background for the thesis as a whole. Then I will look at the specific theoretical principles that are relevant to each chapter. In the chapter on the Henriad I will look at the way in which an alternative perspective on power relations and the role of the king are created by looking at them from the perspective of Bakhtin's concept of carnival. In the next chapter, I will show how Measure for Measure presents us with an evaluation of different strategies of power, which I will look at from the perspective of Foucault's theories on power, knowledge and discourse. In my chapter on The Tempest I will combine aspects of both theories in my analysis of a play that presents us with a complex analysis of power relationships as a social phenomenon. In the concluding chapter I will look at the different perspectives on power relationships that emerged from my previous chapters and attempt to see what its implications are for the representation of power relationships in Shakespeare's work and perhaps as a social phenomenon.
AFRIKAANSE OPSOMMING: In hierdie tesis gaan ek kyk na die wyse waarop magsverhoudinge uit gebeeld word in Shakespeare se dramas, met spesifieke verwysing na die sogenaamde "Henriad", Measure for Measure en The Tempest. Elke drama bestaan uit 'n netwerk van magsverhoudinge waarin verskillende vorme van mag op verskillende vlakke wisselwerking uitoefen. Verskillende karakters in bogenoemde dramas het toegang tot verskillende vorme van mag volgens hul posisie in die netwerke. Die manier waarop die wisselwerking tussen die verskillende karakters plaasvind kan ook verskuiwings en veranderinge in die netwerk van magsverhoudinge in die loop van die aksie veroorsaak, of daar deur beïnvloedword. Ek gaan Michel Foucault se teorieë oor die verhouding tussen mag, kennis en diskoers as 'n gids tot my analise van Measure for Measure gebruik. Ek gaan ook uitgesoekte aspekte van Mikhail Bakhtin se teorieë oor taal en literatuur, met spesifieke verwysing na die konsepte van "dialogisme" en "heteroglossia" of "meerstemmigheid", sowel as sy konsep van karnaval, wat 'n tydelike ommekeer in magsverhoudinge in 'n onoffisiële feestelike konteks impliseer, as 'n gids tot my analise van die Henriad gebruik. Ek sal 'n kombinasie van die teorieë van Foucault en Bakhtin gebruik in my analise van The Tempest. Ek het die terme "discourse" en "dialogue" as sleutel terme in die titel van hierdie tesis gebruik, nie net omdat hulle 'n belangrike rol in die teorieë van Foucault en Bakhtin onderskeidelik speel nie, maar ook omdat hulle 'n belangrike rol in die analise en uitbeelding van magsverhoudinge speel. Volgens Robert Young verbind Foucault die manier waarop diskoers georganiseer word met die uitoefening van mag (10). Mens kan ook sê dat die magsverhoudinge in 'n gemeenskap gereflekteer word in die uitbeelding van 'n dialoog tussen verskillende stemme wat verskillende dele van of klasse in die gemeenskap verteenwoordig soos in Bakhtin se beginsel van dialogisme. Ek sal die algehele belang van hierdie terme in meer besonderhede bespreek in die inleidingen die ander relevante hoofstukke verduidelik. In die inleidende hoofstuk gaan ek eers 'n teoretiese agtergrond vir die tesis as geheel verskaf Dan sal ek kyk na die spesifieke teoretiese beginsels wat relevant is tot elke hoofstuk. In die hoofstuk oor die Henriad gaan ek kyk hoe 'n alternatiewe perspektief op magsverhoudinge en die rol van die koning geskep word deur hulle te beskou van uit die perspektief van Bakhtin se konsep van karnaval. In die volgende hoofstuk sal ek kyk hoe Measure for Measure 'n evaluasie van verskillende magsstrategieë aan ons voorlê, waarna ek gaan kyk van uit die perspektief van Foucault se teorieë oor mag, kennis en diskoers. In my hoofstuk oor The Tempest gaan ek aspekte van albei die teorieë kombineer in 'n drama wat 'n komplekse analise van magsverhoudinge as 'n sosiale verskynsel aan ons voorln sosiale verskynsel aan ons voorlê. In die laaste hoofstuk gaan ek kyk na die verskillende perspektiewe op magsverhoudinge wat voortspruit uit die voorafgaande hoofstukke en kyk wat die implikasie daarvan vir die uitbeelding van magsverhoudinge in Shakespeare se werk en as 'n sosiale verskynsel is.
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Vienne-Guerrin, Nathalie. "L'art de l'injure dans le théâtre de Shakespeare". Paris 4, 1998. http://www.theses.fr/1997PA040300.
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Le propos de cette étude est de montrer comment Shakespeare fait de l'injure un art non seulement poétique mais aussi dramatique. Pour ce faire, nous aborderons l'injure sous divers angles, en nous efforçant toujours d'étudier l'injure dans son contexte spécifique. Après avoir décrit la politique de l'injure élisabéthaine à travers une approche tour à tour religieuse, historique, sociale et juridique, le théâtre shakespearien apparaitra comme un espace de liberté, un chef-lieu de l'injure au sein d'une société qui fait tout pour dompter la langue des hommes. Dans le monde élisabéthain, l'injure est péché, délit, crime ou atteinte à l'honneur. Shakespeare sait réécrire les injures de son temps pour en faire un art qui frappe par sa diversité thématique, par sa richesse métaphorique et par son ambivalence rhétorique. Economique, l'injure est aussi inflationniste et excessive. Elle peut aussi se cacher derrière le mot d'esprit ou encore se faire cannibalisme verbal. Mais Shakespeare exploite également le potentiel spectaculaire et dramatique de l'injure, lorsqu'il la représente en actes et en gestes ; lorsqu'il explore les décalages entre son émission et sa réception ; et enfin lorsqu'il fait de l'injure ou du "flyting" tantôt un déclencheur d'action, tantôt un prélude au combat physique, tantôt un jeu, tantôt un spectacle à part entière. Tout l'art de Shakespeare est de savoir exploiter le potentiel injurieux de n'importe quel mot, geste ou acte. A chaque étape de notre réflexion l'injure apparaitra dans toute son ambivalence. Elle s'inscrira dans une dialectique de liberté et de contrôle, de convention et de création, de violence et de jeu. Appréhender la beauté et la richesse de l'art shakespearien par le biais de l'injure, tel est le défi paradoxal que nous nous sommes efforcés de releverWe intend to show how Shakespeare turns insults into an art which is both poetic and theatrical. To do so, we will examine insults from various angles and try throughout to consider each insult in its context. After having described the political, religious, historical, social and legal status of swearing in Elizabethan England, we will see how the Shakespearean stage stands out as a monument to insults in a world which tried to "tame the tongue" by all means. In the Elizabethan society, swearing is a sin, a tort, a crime, or a blow to one's honor. Shakespeare knows how ro rewrite the insults of his time, to make an art which is striking for its thematic diversity, its metaphorical richness and its rhetorical ambivalence. The insulter's rhetoric combines thrift and extravagance, measure and excess. But insults can also be expressed through wit and be based on verbal cannibalism, when the insulter uses his opponent's words as ammunition. Shakespeare also makes the most of the spectacular and dramatic potential of the insults, when he represents them in gestures and actions, when he explores the gaps between its emission and its reception, and when he uses flyting as a trigger for the action, as a ritual prelude to the action, as a game, or as a spectacle in itself. Shakespeare's art consists in knowing how to exploit the insulting potential of every word, action or gesture. At each stage of our study, swearing will appear in all its ambivalence. It will mean both freedom and control, convention and creation, violence and games. Grasping the beauty and richness of Shakespeare’s art through insults: such is the challenge we have attempted to take up
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Guéron, Claire. "Retour et retournement : la poétique du déracinement dans "Richard II", "Le Roi Lear", "Coriolan", "Timon d'Athènes" et "La Tempête"". Paris 3, 2008. http://www.theses.fr/2008PA030120.
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Richard II, Le Roi Lear, Coriolan, Timon d'Athènes, et La Tempête sont des pièces qui mettent en scène des bannissements, parfois suivis de retours. La polyvalence de la scène élisabéthaine et la polysémie du mot "lieu" ("place" en anglais) à la Renaissance doublent ces parcours d'un discours. L'enjeu de ces discours est non seulement la place du banni au sein de la société, mais également son statut ontologique. En recoupant la thématique de l'errance avec le trope de l'arbre déraciné, on constate que le "déracinement" shakespearien, contrairement à celui des discours nationalistes du début du vingtième siècle, ne consiste pas tant en une rupture du lien aux origines qu'en un état de profonde altérité – par rapport aux autres où à soi-même. Cependant, on constate aussi que le terme de "déracinement" pose problème, car la métaphore de l'homme-arbre, très répandue, est sapée par un discours sous-jacent qui affirme l'irréductible spécificité de l'humainRichard II, King Lear, Coriolanus, Timon of Athens and The Tempest feature scenes of banishment, sometimes followed by the exile's return. The versatility of the Elizabethan stage and the polysemic nature of the word "place" in Renaissance English endow these changes of location with discursive meaning. The stakes of such discourse include not just the exile's place in society, but his or her ontological status as well. A close study of the overlapping tropes of homelessness and the uprooted tree suggests that Shakesperean "uprootedness", contrary to what early twentieth-century French ideologues, following Barrès and Maurras, spoke of as "déracinement", does not involve a denial of origins so much as a condition of fundamental "otherness", with respect to others and to one's former self. However, the very notion of human "uprootedness" is problematic, for the ubiquitous metaphor of the human tree is undermined by an underlying affirmation of the uniqueness of the human
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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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Ruberry-Blanc, Pauline. "La vision tragi-comique de William Shakespeare et ses précédents dans le théâtre Tudor". Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/ruberry_p.
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La première partie de la thèse fait incursion dans le théâtre médiéval et post-médiéval anglais afin d'explorer la matrice esthétique et culturelle dans laquelle Shakespeare puise sa vision tragi-comique. La focalisation sur le personnage phare de l'aire de jeu Tudor, dénommé le Vice, incarnation de l'esprit tragi-comique anglais, permet de faire ressortir les conventions théâtrales réutilisées et transposées dans la création shakespearienne. La deuxième partie de l'étude se concentre sur les deux personnages Richard III et Falstaff, nécessitant des aller-retour dans le théâtre des prédécesseurs de Shakespeare afin de faire ressortir les continuités diachroniques ainsi que les nouveaux éléments en gestation chez lui. Enfin le troisième volet développe les critères éthico-littéraires et les grandes théories philosophiques et poétiques qui jalonnent l'époque élisabéthaine, les grands mythes de l'antiquité classique et leur ré-utilisation dans le théâtre de cour et dans les théâtres publics de la période 1594-1616. L'exploration s'articule autour des éléments constitutifs d'un nouveau genre, la tragi-comédie de Guarini, qui émerge sur la scène jacobéenne. Cette exploration s'efforce de démontrer l'éclectisme de la vision tragi-comique de Shakespeare tout en faisant ressortir la manière dont les traditions et conventions sont dépassées et transcendéesThis doctoral thesis takes the medieval and late-medieval theatre as a starting-point for its exploration of the aesthetic and cultural matrix which shaped Shakespeare's tragic-comic vision. The character known as the Vice", who appears in many Tudor plays, and who is often considered to be an incarnation of the English tragi-comic spirit, provides a useful pointer to the theatrical conventions which Shakespeare transmutes in the process of creating his own plays. The second part of this study centres on Richard III and Falstaff necessitating frequent comparisons between Shakespeare's dramaturgy and that of his predecessors in order to underline the diachronic continuities as well as the embryonic developments. In the third section, the ethical-literary-philosophical background of the Elizabethan age is explored, along with an examination of the manner in which some of the most prominent myths of classical antiquity are adapted to the aristocratic and public stages from 1594 to 1616. These elements are seen to contribute to the formation of a separate theatrical genre, bearing much resemblance to Guarini's "tragi-comedy," which occupied the Jacobean stage. Throughout this analysis of the eclectic nature of Shakespeare's tragi-comic vision emphasis is laid upon his transcendence of inherited traditions and conventions
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Basile, Marius. "The quest for harmony in the final plays of William Shakespeare through divine love in relation to the pastoral tradition". Paris 10, 1994. http://www.theses.fr/1994PA100032.
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Shakespeare, dans ses dernières œuvres, traite sur le plan dramatique le thème des retrouvailles, de la réconciliation et du pardon. Shakespeare, par une nouvelle approche dramatique, montre aussi comment un homme retrouve sa précédente situation dans la vie en parfaite harmonie. Ce phénomène qui était présent au début de toutes ses dernières pièces, s'est perdu à cause d'un mal quelconque ou d'un méfait. Shakespeare démontre comment cette harmonie perdue a été retrouvée dans chaque pièce d'une façon cyclique. Dans toutes ses dernières œuvres, le dramaturge présente deux groupes différents de personnages évoluant dans deux mondes différents : les méchants, dans un monde naturel et les innocents dans un monde pastoral. Dans le monde naturel, au commencement, il y a les parents et les enfants, mais à cause des mauvaises actions des parents, les enfants ont été séparés. Le premier groupe reste dans le monde sophistique ou naturel pour souffrir et se repentir et le deuxième, les innocents, qui sont les victimes des premiers, ont été élevés en même temps dans un monde pastoral. A la fin, les parents, dans leur état de rédemption, retrouvent leurs enfants pour vivre en harmonie avec eux. Shakespeare présente le même processus dans toutes ses dernières pièces : "le conte d'hiver", "la Tempête" et "Cymbeline ", à travers l'exemple d'une famille bien organisée. Dans chaque pièce, l'histoire commence dans une famille royale harmonieuse avec tous les membres de la famille. Querelles, conflits à cause de la passion, de l'orgueil et des convoitises etc. . . Brisent l'atmosphère d'harmonie et cause la séparation éventuelle des enfants de la famille. Les membres sépares de cette famille royale se trouvent dans différents milieux sociaux. Les parents sont dans leur résidence royale, à l'exception de "la Tempête", et les enfants sont dans un milieu primitif ou pastoralShakespeare, in his final plays, dramatically deals with the theme of reunion, reconciliation and forgiveness. Shakespeare, through a new dramatic approach, also shows how a man regains his former state of affairs in life in perfect harmony. This phenomenon, which was present at the initial stage in all his final plays, has been lost, because of some evil or misdeeds. Here Shakespeare demonstrates how this lost harmony has been regained in each play through a circular pattern of movement. In all his final works, the playwright presents two different groups of people in two different worlds: evil-doers, in a sophisticated or naturel world and innocent people in a pastoral world. In the natural world, at the beginning, there are parents and children. Because of the parents’ evil deeds, the children have been separated. The former remains in the natural world to suffer and repent and the latter, the innocent, who are the victims of the former, have been brought up, at the same time, in the pastoral world. At the end, the parents, in their redeemed state, meet their children to be in harmony with them. Shakespeare presents the same process in all his final plays: "the winter's tale, "the tempest" and "Cymbeline", through h a well-organized family. In each play, the story begins in a harmonious royal family with all its family members. Disputes and conflicts, because of the passion, pride, lusts etc. . . Break this harmonious atmosphere, causing the eventual separation of the children from the family. The separated members of this royal family find themselves in different social surroundings. The parents are in their courtly residence, with the exception of "the tempest", and the children are in a primitive milieu or in a pastoral environment
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Bouisson, Jean-Luc. "Les rapports de la musique et du duel dans le théâtre de Shakespeare". Avignon, 1998. http://www.theses.fr/1998AVIG1018.
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Au centre de la culture et de l'éducation des élisabéthains, au coeur de mutations d'une société anglaise en pleine renaissance, la musique et le duel fusionnent sur la scène shakespearienne. Le dramaturge, qui a pour but "d'offrir à la vie un miroir", les intègre naturellement à son univers scénique. Au fil des pièces et des genres dramatiques (pièces historiques, comédies, tragédies et drames romanesques), les représentations variées et les diverses valeurs symboliques de la musique et du duel lui permettent de multiplier les effets dramatiques. Ces deux arts animent les rapports de force et de courtoisie que Shakespeare met en scène et ils oeuvrent à une représentation de l'harmonie, une fois les tensions apaisées. Ils servent également la mise en scène du texte dramatique shakespearien. Ce texte - devenu "spectaculaire" - endosse alors certaines de leurs formes. Illustrations de la mimesis - essence même du théâtre -, musique et duel créent un langage qui réalise la symbiose texte-représentation au sein de l'univers dramatique shakespearienAt the core of elizabethan culture and education, in the midst of the changes coming over renaissance England, music and swordfighting met on the shakespearian stage. The playwright, whose aim was "to hold as'twere the mirror up to nature", naturally integrated them into the setting of his plays. Play after play, in the histories, as well as in the comedies, the tragedies and the romances, the various representations and symbolic meanings of music and swordfighting allowed Shakespeare to extend considerably his dramatic effects. These two arts enhanced the liveliness of the relationships, friendly or hostile, between his characters and worked towards the representation of harmony, the tensions once soothed. They also contributed to the staging of the shakespearian dramatic text. This text - the performance text - thus assumes some of their idiosyncrasies. As illustrations of mimesis, the very essence of drama, music and swordfighting build up a language that achieves the union between text and representation on the shakespearian stage
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Barrus, David W. "Hamlet : the design as process". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.
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This thesis represents the written portion of the Degree Requirements of
the Master of Fine Arts in Theatre Design.
The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian
C. Parkinson), was the University of Lethbridge Department of Theatre and
Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season,
running February 14 – 18, 2012, performed at the University Theatre in the
University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET
was directed by Brian C. Parkinson, with the assistant direction of L. Jay
Whitehead and Yvonne Mandel.
Contained within this written portion of the thesis is a discussion of the
design concepts for this production, along with photographic records of
models, technical drawings, and other pertinent information.viii, 176 leaves : col. ill. ; 29 cm
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Rafimomen, Afsaneh. "Nature et pouvoir dans les tragédies de Shakespeare, quel conflit ? : l'exemple de Hamlet, Othello, King Lear et Macbeth". Nice, 2011. http://www.theses.fr/2011NICE2012.
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Cette étude présente, dans une première partie, une réflexion sur l'idée de nature dans quatre tragédies de William Shakespeare dans la perspective d'un lien que nous établissons, dans une deuxième partie, avec l'idée fondamentale de pouvoir. L'analyse des personnages en tant qu'éléments centraux à cette tension entre les deux notions, le rappel de la façon dont Shakespeare les situe par rapport à l'une et à l'autre, nous amènent à envisager le passage de la dyade "nature/ pouvoir" à la triade "nature- homme - pouvoir" comme le ressort essentiel de la tragédie shakespearienne. Cette prise de conscience de la centralité du thème du pouvoir, qui s'articule sur la tension et non sur le parallélisme entre macrocosme et microcosme, nous a conduite à tenter de découvrir non pas comment mais pourquoi Shakespeare a semé tant d'allusions et de références à la nature dans les œuvres analysées. Nous sommes ainsi arrivée à la conclusion que le thème de la nature remplit la fonction de masque, de "décor", de "bruitage" à plusieurs autres messages et, par voie de conséquence historique, à postuler l'hypothèse de l'appartenance de Shakespeare à deux courants de pensée qui prévalaient déjà à l'époque élisabéthaine, le stéganographie et l'herméneutiqueThis study, which is centered on four tragedies by William Shakespeare, puts forward a reflection not only on the notion of nature in these plays - the object of the first part - but also on the deep-rooted problematic link which it entertains, we purport to prove, with the notion of power - the object of our second part. The analysis of the characters as central elements to this tension between the two notions, supported, as will be shown, by a reminder of the way Shakespeare situates their decisions and actions precisely in relation to nature and power, leads us to consider the passage from the nature/power dualism to the nature/man/power triad as the mainspring of Shakespearian tragedies. This realization of the central position of the theme of power which actually hinges on the tension, and not on the parallelism, between the macrocosm and the microcosm, induces us to try to find not how but why Shakespeare introduces so many allusions and references to nature. We thus come to the conclusion that nature as a theme has taken on the function of a mask, a setting, a kind of "background noise", almost acting as a cover of many other messages, so that we may eventually venture the hypothesis that Shakespeare may well belong to two trends of thought already prevailing in Elizabethan times: steganography and hermeneutics
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Odom, Gale J. (Gale Johnson). "Four Musical Settings of Ophelia". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332625/.
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This paper presents a detailed comparative analysis of four important settings of Ophelia's song texts from Shakespeare's Hamlet composed by Brahms, Strauss, Chausson, and Pasatieri. Each of the first three represents a different facet of song composition during the period 1873-1919. The "Five Songs of Ophelia" by Brahms recall the simplicity of Volkslied. Strauss's "Drei Lieder der Ophelia" assume a more complex and formal demeanor, while Chausson's setting, "Chanson d'Ophelie," demonstrates French preoccupation with setting the natural speech rhythms of language. Pasatieri's "Ophelia's Lament," from 1975, uses operatic gestures within the context of piano-accompanied song. An interview with Pasatieri which defines this song as monodrama is transcribed in the appendix.
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Mohammad, Sadeghi Zahranaz. "Les rôles des femmes dans les tragédies de Shakespeare". Paris 3, 2002. http://www.theses.fr/2002PA030002.
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Martin, Brenda W. "Rhetorical Figures and Their Uses in I Henry IV". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500986/.
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This study is concerned with the artistic use of classical rhetorical figures in Shakespeare's I Henry IV.After the Introduction, Chapter II examines the history of rhetoric, focusing on the use of the rhetorical figures in Ancient Greece, Ancient Rome, and Medieval Europe. Chapter III investigates rhetorical principles and uses of the rhetorical figures during the English Renaissance and examines the probable influence of rhetoric and the figures on William Shakespeare. Chapter IV discusses themes, characterization, structure, and language in I Henry IV and presents the contribution of the rhetorical figures to the drama's action and characterization. Chapter V considers the contribution of the figures to the major themes of I Henry IV and concludes that the figures, when used with other artistic elements, enhance meaning.
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Lemercier-Goddard, Sophie. "Les plaisirs de la peur : esthétique gothique et fantastique dans le théâtre de Shakespeare". Paris 3, 2003. http://www.theses.fr/2003PA030008.
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Les liens qui se tissent entre Shakespeare et le roman gothique sont à double sens. En invitant Shakespeare dans le paratexte et l'intertexte de leurs récits, les romanciers gothiques revendiquent une caution littéraire et culturelle. La présence tutélaire du dramaturge participe d'un processus de légitimation tandis que le surnaturel shakespearien leur sert de modèle, les uns, comme Radcliffe, s'orientant vers une écriture de la terreur, les autres, comme Lewis, optant pour l'horreur. En échange, les auteurs gothiques mettent en lumière un Shakespeare inhabituel. La récurrence de motifs tels que la belle endormie, l'espace infini, le labyrinthe, le voile, la spectralisation de la femme, montre que l'angoisse dans le théâtre de Shakespeare s'inscrit dans une esthétique que l'on peut à juste titre qualifier de fantastique. Les jeux intertextuels des romans gothiques mettent en scène une écriture palimpsestueuse, où l'espace étranger du texte de Shakespeare devient l'espace de l'étrangeThe links between Shakespeare and the Gothic Novel are twofold. The Shakespearean intertext in the novels of Walpole, Radcliffe and Lewis is used as cultural and literary capital : the protective presence of Shakespeare is part of a process of recognition which helped to legitimate Gothic writing as genre. At the same time, Gothic supernatural is modelled on Shakespeare's ghosts. Hamlet defines Radcliffe's use of terror while Macbeth exemplifies male Gothic based on horror. In turn, the gothic novelists' reading of Shakespeare reveals an aesthetic of the fantastic in his plays. Gothic motifs such as the infinite space, the labyrinth, the veil are all to be found in his plays while the key image of the sleeping maiden embraced by Death finds its source in Juliet, Desdemona and Imogen. Intertextuality in the Gothic novel lifts the veil and shows the uncanny in Shakespeare's theatre
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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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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.
Texto completoResumen
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.
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Clateman, Andrew. "Inheriting the motley mantle an actor approaches playing the role of Feste, Shakespeare's update of the lord of misrule". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4871.
Texto completoResumen
Playing role of Feste in William Shakespeare's Twelfth Night presents a complex challenge to the actor. Feste is at once a character in the world of the play and a clown figure with specific dramatic functions having roots in the Lord of Misrule of the English holiday and the Vice of the morality play. How can the actor playing Feste create a believable psychological portrayal that is aligned with the functions Shakespeare assigns the role? And be entertaining as well? I suggest that actor will benefit greatly from an exploration the traditional function of the clown its development in society and literature before Shakespeare, and how Shakespeare's use of the clown developed, culminating in the writing of Twelfth Night. The actor will thereby have a better understanding of what Shakespeare might by trying to achieve with Feste,, and he (or she) may better find the motivations for Feste's sometimes-enigmatic words and actions, which will, in turn, give shape and purpose to the clowning. I put this thesis to the test in preparing for and playing the role of Feste in Theater Ten Ten's production of Twelfth Night in the spring of 2010 in New York City. My research and preparation will include: a substantial immersion in much of Shakespeare's cannon, and viewing of performances of it (mainly on video); research on the role of the clown, how it developed through history until Shakespeare's time, and how Shakespeare appropriated and developed that tradition, culminating in Feste; a performance history of the role; a structural analysis of Feste's role in Twelfth Night; a character study of Feste; a rehearsal and performance journal documenting my ongoing exploration, challenges and choices. The main challenge, as I foresee it, is to arrive at my own unique performance of Feste while fulfilling both my director's vision and Shakespeare's intention.ID: 029809094; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 168-169).
M.F.A.
Masters
Theatre
Arts and Humanities
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Coffin, Charlotte. "Echanges mythologiques dans le théâtre de shakespeare". Paris 4, 2003. http://www.theses.fr/2003PA040052.
Texto completoResumen
Plus de huit cent cinquante références mythologiques jalonnent les trente-huit pièces répertoriées dans le canon shakespearien. Si ces allusions se prêtent à une exégèse savante, elles sont également compréhensibles comme un discours-cliché, fondé sur des conventions partagées par le grand public. Il s'agit alors de reconstruire les conventions qui animent une culture mythologique populaire, et d'approfondir les implications poétiques de la convention, souvent écartée au profit de la création, selon une antithèse qui perdure depuis le Romantisme. Le dynamisme de la convention est mis en valeur par la notion d'échange, aux implications aussi bien concrètes que symboliques, avec sa double acception de mobilité (déplacement et adaptation), et de négociation (donner pour obtenir). La réflexion se déploie sur trois volets, contextuel, textuel et scénique. La première partie évalue la familiarité des Elisabéthains avecs les mythes , et montre le rôle des images de grande circulation dans la diffusion d'une mythologie conventionnelle. Le centre de la thèse est consacré aux références textuelles, dont l'inscription en situation sert aussi bien la persuasion rhétorique que la reformulation poétique. Le lieu commun mythologique , "métaphore morte" en apparence, banalisée par les "commonplace-books" et réinsérée d'un texte à l'autre, fonctionne comme un instrument d'exploration du monde. En fin, la mise en scène des dieux et des héros permet d'analyser les rapports entre convention et spectacleShakespearean drama is permeated with mythological references, with more than 850 allusions disseminated throughout the 38 plays in the canon. While critics have deployed a sophisticated approach to these references, they can also be understood as a commonplace discourse, made up of conventions shared by the general public. Thus it is necessary to reconstruct the conventions that shaped popular mythological culture, as well as to explore the poetic implications of the convention. Romantic theory introduced an antithesis between creation and convention which has resulted in the dismissal of the latter in favour of the former. Yet convention is not rigid but dynamic, as is shown by the exchanges that constitute the main axis of this work. With both concrete and symbolic implications, the concept encompasses the notions of mobility (displacing and adapting ) and negotiation (giving and gaining). The analysis unfolds on the three districts planes of context, text and stage. The fisrt part assesses the range of Elizabethan mythological culture, and shows how cheap prints and familiar images contributed to spreading conventional myths throuhout society. The central part is dedicated to textual references : inscribed within a specific dramatic situation, they participate in rhetorical persuasion, as well as in poetic reformulation. Though they may sond like "dead metaphors", trivialized by commonplace-books and transplanted from one text to another, mythological commonplaces function as exploratory tools in the world of the play. Finally, the analysis of gods and heroes on stage details the relationships between the conventional and the spectacular