Thèses sur le sujet « Shakespeare's romances »
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Maillet, Gregory. « "Beyond a common joy" : Criticism and the value of Shakespeare's romances ». Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/9573.
Texte intégralPalfrey, Simon D. « Forward and backward voices : political analogy and indecorum in Shakespeare's late romances ». Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241349.
Texte intégralEquestri, Alice. « "Armine... thou art a foole and knaue" : The Fools of Shakespeare's Romances ». Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3424038.
Texte intégralLa mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico. Una parte importante di questi due capitoli è dedicata ad un analisi storico-testuale dei personaggi in rapporto alla situazione storica dell’Inghilterra di fine Cinquecento/inizio Seicento per quanto riguarda lo sfruttamento della prostituzione, la criminalità derivante dal vagabondaggio (secondo capitolo, Boult e Autolycus), e la nozione di disabilità mentale in medicina e società (terzo capitolo, Cloten e Caliban). Nel corso dell’analisi dei personaggi cerco in particolare di evidenziarne le ambiguità e i tratti tragicomici, che sono importanti in relazione allo specifico genere drammatico a cui questi testi afferiscono. Inoltre, discuto la drammatizzazione dei personaggi in rapporto alla nozione di follia sia come depravazione nel tardo medioevo e nel rinascimento, sia come giocosa e risibile innocenza nei precedenti lavori di Robert Armin, cercando di dare ulteriore forza alle recenti linee di ricerca che vedono l’opera di Shakespeare come il risultato di una collaborazione con i suoi attori e in particolare con il suo comico principale. Il capitolo conclusivo raccoglie le analogie tra i quattro personaggi e mette a fuoco le differenze tra questi e i personaggi comici precedenti interpretati da Armin.
Oesterlen, Eve-Marie [Verfasser]. « Action bodies / acting bodies : performing corpo-realities in Shakespeare's late romances / Eve-Marie Oesterlen ». Hannover : Technische Informationsbibliothek (TIB), 2017. http://d-nb.info/1149829788/34.
Texte intégralGorin, Giulia <1991>. « Pericles, Cymbeline, The Winter's Tale and The Tempest : Same Story, Different Versions ? A Comparative Analysis of Shakespeare's Romances ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17172.
Texte intégralRist, Thomas Charles Kenelm. « Counter-Reformation politics in Shakespeare's 'romance ' plays ». Thesis, University of Birmingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397133.
Texte intégralFenstermaker, Rosemary A. « From tragedy to romance forgiveness in Shakespeare's last plays / ». Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.
Texte intégralSource: Masters Abstracts International, Volume: 45-06, page: 2843. Abstract precedes thesis as 2 preliminary leaves. Typescript. Includes bibliographical references (leaves 113-115).
Hays, Michael Louis. « Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear / ». Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.
Texte intégralGonzalez, Shelly S. « Anti-Romance : How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia” ». FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.
Texte intégralCrumbo, Daniel Jedediah, et Daniel Jedediah Crumbo. « The Comedy of Trauma : Confidence, Complicity, and Coercion in Modern Romance ». Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626362.
Texte intégralMuller, Barbara. « Les métaphores dans les romances de William Shakespeare : 'Pericles', 'Cymbeline', 'The Winter’s Tale' et 'The Tempest' : des prescriptions rhétoriques à l’écriture dramatique ». Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC034.
Texte intégralShakespeare’s use of metaphors in the romances (Pericles, Cymbeline, The Winter’s Tale and The Tempest) breaks the rules of decorum such as they were prescribed by sixteenth-century rhetoricians concerning the elaboration of this “figure of transport”. Metaphors in the romances tend to promote hybridity in a very powerful way. The figure, which relies on the art of grafting meanings, creates generic hybridity. Metaphors which may well have been deemed inappropriate and far-fetched by Renaissance rhetoricians are a means of strengthening the protean genre of these plays and producing an elaborate affective response in the audience. Moreover, they produce catoptric effects, build complex and fluctuating social and sexual identities and construct a dialectic relation that invites the spectator to approach the plays both with their physical and their inner eyes. Therefore, the development of metaphors beyond strict rhetorical rules enables the playwright to change perspectives and embrace a larger view of the world
Ohlmann, Pascal. « "How shall we find the concord of this discord?" Musik und Harmonie in Shakespeares Romanzen und in zeitgenössischen Texten ». Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2771503&prov=M&dok_var=1&dok_ext=htm.
Texte intégralFujita, Natalia Giosa. « \'Algumas observações sobre William Shakespeare por ocasião do Wilhelm Meister\", de August-Wilhelm Schlegel ; \'Resenha de \'Algumas observações sobre William Shakespeare por ocasião do Wilhelm Meister\", de August-Wilhelm Schlegel\' ; de Friedrich Schlegel ; \'Sobre o Meister de Goethe\', de Friedrich Schlegel : tradução, notas e ensaio introdutório ». Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-11012008-112759/.
Texte intégralThe present work was presented as a Master\'s degree dissertation, and comprises the annotated translation of the following texts into Portuguese: \"Etwas über William Shakespeare bei Gelegenheit Wilhelm Meisters\", by August-Wilhelm Schlegel; \"Review of \'Etwas über William Shakespeare bei Gelegenheit Wilhelm Meisters\', by August-Wilhelm Schlegel\", by Friedrich Schlegel, and \"Über Goethes Meister\", by Friedrich Schlegel, beyond an introductory dissertation, in which the main features of the authors\' theories of drama and novel are sketched such as they might be deprehended from the translated texts, and contrasted to the neoclassicist doctrine so far dominant.
Horn, Jennifer Susan. « The rehabilitation of The Shrew : romance, spankings, feminism, and the search for a happy ending in stage and film adaptations of Shakespeare's play ». Thesis, King's College London (University of London), 2007. https://kclpure.kcl.ac.uk/portal/en/theses/the-rehabilitation-of-the-shrew--romance-spankings-feminism-and-the-search-for-a-happy-ending-in-stage-and-film-adaptations-of-shakespeares-play(a151387a-0a7f-4ce6-bb61-d59d30ab5122).html.
Texte intégralPatel, Rena. « "The Double Sorwe of Troilus" : Experimentation of the Chivalric and Tragic Genres in Chaucer and Shakespeare ». Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1281.
Texte intégralMunoz, Victoria Marie. « A Tempestuous Romance : Chivalry, Literature, and Anglo-Spanish Politics, 1578-1624 ». The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479905568694913.
Texte intégralClosel, Régis Augustus Bars 1985. « Diálogos Miméticos entre Sêneca e Shakespeare = As Troianas e Ricardo III ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270174.
Texte intégralDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011
Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras
Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
Smith, Michael Bennet 1979. « Disparate measures : Poetry, form, and value in early modern England ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11182.
Texte intégralIn early modern England the word "measure" had a number of different but related meanings, with clear connections between physical measurements and the measurement of the self (ethics), of poetry (prosody), of literary form (genre), and of capital (economics). In this dissertation I analyze forms of measure in early modern literary texts and argue that measure-making and measure-breaking are always fraught with anxiety because they entail ideological consequences for emerging national, ethical, and economic realities. Chapter I is an analysis of the fourth circle of Dante's Inferno . In this hell Dante portrays a nightmare of mis-measurement in which failure to value wealth properly not only threatens to infect one's ethical well-being but also contaminates language, poetry, and eventually the universe itself. These anxieties, I argue, are associated with a massive shift in conceptions of measurement in Europe in the late medieval period. Chapter II is an analysis of the lyric poems of Thomas Wyatt, who regularly describes his psychological position as "out of measure," by which he means intemperate or subject to excessive feeling. I investigate this self-indictment in terms of the long-standing critical contention that Wyatt's prosody is "out of measure," and I argue that formal and psychological expressions of measure are ultimately inseparable. In Chapter III I argue that in Book II of the Faerie Queene Edmund Spenser figures ethical progress as a course between vicious extremes, and anxieties about measure are thus expressed formally as a struggle between generic forms, in which measured control of the self and measured poetic composition are finally the same challenge Finally, in my reading of Troilus and Cressida I argue that Shakespeare portrays persons as commodities who are constantly aware of their own values and anxious about their "price." Measurement in this play thus constitutes a system of valuation in which persons attempt to manipulate their own value through mechanisms of comparison and through praise or dispraise, and the failure to measure properly evinces the same anxieties endemic to Dante's fourth circle, where it threatens to infect the whole world.
Committee in charge: George Rowe, Chairperson, English; Benjamin Saunders, Member, English; Lisa Freinkel, Member, English; Leah Middlebrook, Outside Member, Comparative Literature
Montgomery, Kaylor Layne. « A Woman Trapped : Representations of Female Sexual Agency in Early Modern Literature ». University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1523228037122741.
Texte intégralSmith-Laing, Tim. « Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
Texte intégralIACUCCI, CAROLINA. « La fragilità dei Padri. Shakespeare romanzesco tra Antica Grecia e Mondo Nuovo ». Doctoral thesis, 2019. http://hdl.handle.net/2158/1178199.
Texte intégralGallant, Mikala. « Ideal Rule in Shakespeare's Romances : Politics in "The Winter's Tale" and "The Tempest" ». 2013. http://hdl.handle.net/10222/35443.
Texte intégralHerholdt, Albert. « Trends in the criticism of Shakespeare's romances in England and Germany during the Romantic Era (1750-1850) ». Thesis, 2015. http://hdl.handle.net/10539/16773.
Texte intégralCiraulo, Darlene. « Tales of erotic suffering romance in Sidney and Shakespeare / ». 2003. http://purl.galileo.usg.edu/uga%5Fetd/ciraulo%5Fdarlene%5Fr%5F200308%5Fphd.
Texte intégralBruce, Yvonne. « "...to do Rome service is but vain" : Romanness in Shakespeare ». Thesis, 1999. http://hdl.handle.net/1911/19357.
Texte intégral(6581312), Arielle C. McKee. « Moral Challenge and Narrative Structure : Fairy Chaos in Middle English Romance ». Thesis, 2019.
Trouver le texte intégralMedieval fairies are chaotic and perplexing narrative agents—neither humans nor monsters—and their actions are defined only by a characteristic unpredictability. My dissertation investigates this fairy chaos, focusing on those moments in a premodern romance when a fairy or group of fairies intrudes on a human community and, to be blunt, makes a mess. I argue that fairy disruption of human ways of thinking and being—everything from human corporeality to the definition of chivalry—is often productive or generative. Each chapter examines how narrative fairies upset medieval English culture’s operations and rules (including, frequently, the rules of the narrative itself) in order to question those conventions in the extra-narrative world of the tale’s audience. Fairy romances, I contend, puzzle and engage their audiences, encouraging readers and hearers to think about and even challenge the processes of their own society. In this way, my research explores the interaction between a text and its audience—between fiction and reality—illuminating the ways in which premodern narratives of chaos and disruption encourage readers and headers to engage in a sustained, ethical consideration of the world.
Hall, Mark Webster. « "Repetition to the life" : liminality, subjectivity, and speech acts in Shakespearean late romance : a thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in English at Massey University, Palmerston North, New Zealand ». 2008. http://hdl.handle.net/10179/754.
Texte intégral