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1
Grossman, Joanna Rebecah. "Shakespeare Grounded: Ecocritical Approaches to Shakespearean Drama". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064927.
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Using the "Great Chain of Being" -- which was integral to the Elizabethan understanding of the world -- as a starting point, this dissertation examines the sometimes startling ways in which Shakespeare's plays invert this all-encompassing hierarchy. At times, plants come to the forefront as the essential life form that others should emulate to achieve a kind of utopian ideal. Still other times, the soil and rocks themselves become the logical extension of a desire to remove man from the pinnacle of earthly creation. Over the course of this project, I explore plays that emphasize a) alternative, non-mammalian modes of propagation, b) the desire to sink the human body into the earth (or, at a minimum, man's closeness to the ground), and c) the imagined lives of flora and fauna, while underscoring man's kinship with myriad organisms. In many of the works explored, a modern vision of materiality comes to the forefront, presenting a stark contrast to the deeply held religious views of the day. In flipping the ladder upside down, Shakespeare entices his reader to confront inherent weaknesses in human and animal biology, and ultimately to question why man cannot seek a better model from the lowly ground upon which he treads.
2
Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.
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3
Mayo, Sarah. "The Shakespearean lens: A filmic pedagogy of Shakespeare". Thesis, University of Canterbury. English, 2001. http://hdl.handle.net/10092/4595.
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The use of Shakespeare on film as a resource in secondary school Shakespeare
courses has become so prevalent that, as Susan Leach puts it, "'seeing the video" has
become equated with "doing" the book'. Despite its great use-value as a conveniently
accessible form of Shakespeare in performance, it is my contention that the
Shakespearean film, whether it be a 'classical' adaptation like those of Laurence
Olivier and Kenneth Branagh or an appropriation of the Shakespearean text like Al
Pacino's Looking for Richard or the Oscar-winning Shakespeare in Love, offers much
more to students and teachers of Shakespeare than its ability to allow students to see and hear the play in its 'true' form as a performance.
This thesis begins with an examination of the pedagogical and curricular contexts in
which Shakespeare has been and continues to be deployed in New Zealand. The
following chapters explore the potential for using Shakespeare on film in the service
of various educational agendas: the New Zealand secondary-level English
curriculum, as outlined in English in the New Zealand Curriculum, particularly its
emphasis on response to text and reading visual language; the long tradition of the
study of the works of Shakespeare in this country and throughout the world; and the
diverse and ever-expanding fields of literary and critical theory and cultural studies.
4
Smith, Peter J. "Social Shakespeare : aspects of Shakespearean dramaturgy and contemporary society". Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/34890.
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'Social Shakespeare' is a contribution to the politicising process of Shakespearean studies which has occurred in the lost ten years as a result of the increasing force of literary and cultural theory. The study aims at a distinct refocussing of political criticism upon the Shakespearean text as realised in performance. The first part, 'Genre and Imagery', sets out the critical agenda and methodology and situates the study in relation to more traditional criticism in terms of the generic definitions of Comedy and Tragedy. It attempts a political reading of these 'literary' definitions by discussing their ideological context. The third chapter examines the epistemological uncertainties of the early modern period by examining the device of gendered landscape imagery. Part Two, 'Dramaturgy and Language', reads specific plays in terms of this procedural explication. Chapter V explores the notion of drama occurring at the boundaries of the conscious and the unconscious mind. But it extends this idea by considering the manner in which private fantasy is appropriated and anticipated by certain ideological forces. The sixth chapter considers how a particular kind of speaking is politically subversive and thus how a linguistic, or a 'merely' formal, analysis is inseparable from social analysis. The final part, 'Society and Culture', considers issues of anti-Semitism and homophobia in the light of historical circumstances and modern theatre practice. The final chapter discusses the cultural mythologising of the Bard principally by the state apparatuses of education and theatre. The title of 'Social Shakespeare' alludes to Political Shakespeare edited by Jonathan Dollimore and Alan Sinfield (Manchester, 1985). 'Social Shakespeare' is designed to refine and promote the practice of political criticism while embarking on the broader study of Shakespearean drama in its fully social context.
5
Leonard, Alice. "Error in Shakespeare : Shakespeare in error". Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.
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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
6
Newman, Harry Rex. "Impressive Shakespeare : sexual identity and impressing technologies in Shakespearean drama". Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3858/.
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This thesis examines the relationship between the sexual formation of identity and three ‘impressing technologies’ (sealing, coining and printing) in Shakespearean drama. In a number of plays, Shakespeare uses the ‘language of impression’ to create metaphors that analogise sexual activities such as kissing, defloration and impregnation with acts of imprinting. In doing so, I argue, he establishes a rhetorical nexus that contributes to the construction of his characters’ sexual identities. Following a chapter on relevant historical contexts, each chapter close reads a single Shakespeare play, focusing on its language of impression. Chapter 2 considers the representation of wounds as impressions in Coriolanus and tracks the development of the protagonist’s identity as a hyper-masculine war machine that stamps and is stamped. Chapter 3 investigates the role of sealing imagery in A Midsummer Night’s Dream, a play which subverts the patriarchal figuration of women as impressionable wax to be transformed by the imprints of men. Chapter 4 analyses the recurring metaphor of counterfeit coining in Measure for Measure, a trope that associates figures of state with their sexually transgressive subjects. And chapter 5 addresses the analogy of procreation with printing in The Winter’s Tale, arguing that this aspect of the play’s rhetoric influenced the composition of the preliminaries to Shakespeare’s First Folio. The thesis concludes by comparing the plays and exploring what it is that makes Shakespeare ‘impressive’.
7
Williams, Edwin. "Shaw's "Shakespear": The Influence of William Shakespeare on Bernard Shaw's Dramaturgy". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1163008091.
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8
Nyberg, Lennart. "The Shakespearean ideal : Shakespeare production and the modern theatre in Britain /". Stockholm : Almqvist och Wiksell, 1988. http://catalogue.bnf.fr/ark:/12148/cb36208879z.
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9
Altindag, Zumrut. "Rereading Shakespeare". Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605279/index.pdf.
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This thesis is a comparative study of how Shakespeare&rsquos ideas transcend the boundaries of his own time and still remain as the major sources of inspiration for modern dramatists. Arnold Wesker and Eugé
ne Ionesco explore the concept of the "
other"
leading to loss of identity and awareness of non-being embedded in Shakespeare&rsquo
s works. The main argument is that the contemporary playwrights reinterpret Shakespeare&rsquo
s works in the light of some modern issues and ideas to reveal the entrapment of the individual.
10
Coodin, Sara. "Philosophizing Shakespeare". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96702.
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Philosophizing Shakespeare explores the impact of Classical virtue ethics on Shakespeare's dramatic art, particularly his art of characterization. By focusing on the vernacular tradition of practical virtue ethics in Renaissance England – a tradition importantly distinct from institutional Latin philosophizing, but equally bound up with Aristotle's ethical thought -- I maintain that vernacular moral-philosophical writings share Shakespeare's interest in the dynamics of situated moral reasoning, particularly within the domains of social and domestic life. This practical, worldly emphasis, I argue, represents the foundation for ethical decision-making and for ethos (moral character) in Shakespeare. Philosophizing Shakespeare therefore argues for the importance of thinking about Shakespeare's characters as moral agents, while also demonstrating some of the historical and philosophical roots to the concept of moral agency in Shakespeare's England.By contextualizing practical English-language moral-philosophical writings within the tradition of Renaissance Aristotelian thought and, in particular, the critically neglected strain of vernacular Aristotelianism in the Renaissance, Philosophizing Shakespeare builds on recent historical scholarship by Charles Schmitt and David Lines, who have recast Aristotle as a formative though eclectic influence on Renaissance European culture until well into the seventeenth century. At the same time, I consider Shakespeare's use of Aristotelian philosophical ideas as a typically eclectic kind of adaptation. In my discussion on The Merchant of Venice, I propose that Shylock is animated by a concept of virtue quite distinct from Aristotle's, but nevertheless just as central to his motivation as a character and behavior within the play. By focusing on the philosophical problem of akrasia (weakness of the will or moral incontinence), I also emphasize ways in which plays such as The Winter's Tale problematize Classically modeled selves.Ma thèse Philosophizing Shakespeare explore l'impact de l'éthique de la vertu classique sur l'art dramatique de Shakespeare, à savoir sur l'art de sa caractérisation. L'éthique de la vertu pendant la renaissance anglaise comprend une vaste sélection d'écrits et d'écrivains, des interprètes de Thomas d'Aquin aux pamphlétaires. Dans cette thèse, je me focalise sur la tradition vernaculaire de l'éthique de la vertu pratique en Angleterre de la Renaissance – une tradition qui est particulièrement distincte de la philosophie latine institutionnelle, mais qui est également coincé par la pensée éthique aristotélicienne. Contrairement à la philosophie académique, les écrits vernaculaires de la philosophie morale s'inscrivent à l'intérêt de Shakespeare pour la dynamique du raisonnement moral dans des situations spécifiques, particulièrement dans les domaines de la vie sociale et domestique. Cette emphase pratique et mondaine représente le fondement pour le savoir décisif éthique et pour l'ethos, ou le caractère moral, celui-ci étant présent dans des manuels de comportement en anglais et des traités sur la santé humaine et l'émotion. Je propose ici qu'il existe un lien considérable entre la conception de soi offerte par la philosophie morale articulée par ces écrivains et la caractérisation shakespearienne des individus tels que Shylock. A travers l'exploration ce qui constitue l'analyse des personnages de Shakespeare comme ayant une conception éthique, je me focalise sur les manières dont les notions de vertu servent de source de ce qui s'avère être une orientation hautement idiosyncratique pour les personnages de Shakespeare. Ainsi, je fournis un contexte pour leurs choix pratiques qui dote ces choix et leur comportement d'une signification morale. En plaçant les écrits de la philosophie morale en langue anglaise dans le contexte de la tradition de la pensée de la Renaissance aristotélicienne, et en particulière, dans la trop négligée variété d'aristotélisme vernaculaire pendant la Renaissance, je me base sur l'érudition de Charles Schmitt et David Lines, qui ont reformulé Aristote comme ayant une influence formatrice, quoique éclectique, sur la culture européenne de la Renaissance jusque le dix-septième siècle était bien entamé. A la fois, nous considérons l'usage de Shakespeare des concepts philosophiques aristotéliciens comme une espèce d'adaptation typiquement éclectique. En se focalisant sur des problèmes philosophiques tels que l'acrasie (l'incontinence, ou la faiblesse de volonté), l'auto déception, et l'excès émotionnel, les chapitres individuels de ma thèse se concentrent sur les manières dont les pièces de Shakespeare représentent en même temps que problématisent des « soi » façonnés classiquement.
11
Pilkington, Ace G. "Screening Shakespeare". Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329017.
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12
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.
13
Rodrigues, Ângela Lamas. "Forgetting Shakespeare". Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102298.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2013-07-16T00:34:50Z (GMT). No. of bitstreams: 0
14
Malin, Peter Stewart. "'Entertaining strangers' : Shakespeare's contemporaries at the Royal Shakespeare Company, 1960-2003". Thesis, University of Birmingham, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487174.
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Productions of plays by Shakespeare's contemporaries between 1960 and 2003. It focuses on the plays themselves; the ways they were presented by the RSC; the place of the productions in the RSC's development; and their critical reception. These four strands are variously balanced at different stages ofthe argument, which traces the shifting status ofthese playwrights within the RSC's Shakespeare-centred ethos. After Chapter l's introductory material, Chapter 2 uses the RSC's Webster productions to provide a series of snapshots ofthe company at different stages in its history. Chapter 3 examines more closely the period 1960-74, considering the RSC's aspiration towards small-scale work while still tied to the demands ofits larger theatres. Chapter 4 looks at the work ofThe Other Place from 1975-91, and the three main-house productions ofthe same period. The remainder ofthe thesis considers the repertoire ofthe Swan Theatre: its first two seasons, 1986-87, in Chapter 5; its subsequent work on Jonson's comedies in Chapter 6; its productions ofMarlowe and revenge tragedy in Chapter 7; and its rediscovery ofneglected plays in Chapter 8.
15
Silverstone, Catherine Emma. "Spectres of Shakespeare : embodying Shakespeare in performance 1979-2002". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270327.
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16
Collins, Jennifer Rebecca. "Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306856322.
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17
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.
18
Williams, Edwin S. "Shaw's "Shakespear" the influence of William Shakespeare on the dramaturgy of Bernard Shaw /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1163008091.
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19
Irish, Tracy. "Possible Shakespeares : the educational value of working with Shakespeare through theatre-based practice". Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/96066/.
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This thesis explores how embodying Shakespeare’s language through theatre-based practice can connect young people to the plurality of human perspectives, and develop their skills of communication. I review the evolution of Shakespeare’s value in formal education as literary heritage, and the tension that persists between his roles as literary icon and living artist. Peter Brook warns that Shakespeare is particularly in danger of becoming ‘deadly theatre’: admired and respected, but not alive to the moment of its production and reception. A parallel can exist with ‘deadly’ classrooms, where Shakespeare is taught with reverence but students find no relevance in his plays to their own lives. I construct a theoretical framework using key concepts from education and theatre along with findings from linguistics and cognitive science to explore the pedagogical value of Shakespeare as a cultural heritage with which young people can critically and creatively interact. I explore the relationship between language, thought and learning, and how theatre-based practice creates meaning through a dialogic process of collaborative negotiation and close study of the text. This practice acknowledges the role narrative and analogy play in how we learn, and allows young people to be both emotionally engaged in and intellectually critical of how Shakespeare creates situations of human experience. I conclude that the musicality and metaphorical nature of language is critical in how we express, share and shape our sense of the world and suggest that as performance texts Shakespeare’s plays provide a site of continually evolving cultural metaphors. I propose that embodying Shakespeare’s text allows young people to explore the possibilities of sense behind the meaning of words, and to reflect metacognitively on their experiences to build understanding of how language works and what it achieves in a search for the quality of truth.
20
Suprenant, Susann E. "Shakespeare re-visions : representations of female characters in appropriations and radical performance adaptations of Shakespeare's plays /". view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 180-197). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9978601.
21
Young, Jennifer. "Reading Shakespeare through collaboration : agency, authority and textual space in Shakespearean drama". Thesis, King's College London (University of London), 2013. http://kclpure.kcl.ac.uk/portal/en/theses/reading-shakespeare-through-collaboration(ae995ee8-9941-4da3-9577-3c79c665d36f).html.
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While recent scholarship understands early modern play production as a collaborative process between multiple playhouse agents, the contributions of those stationers responsible for the rise of Shakespeare in print are often dismissed as acts of textual corruption. Particularly in the case of Shakespeare, who was not directly involved in the publication of his plays, the interaction of printers and publishers with his texts is central to the more inclusive understanding of the printing and publishing of Shakespeare in his time proposed in this dissertation. Each chapter explores largely neglected textual interactions between Shakespeare and his stationers in order to demonstrate how the group of play quartos discussed in it are products of thoroughly collaborative publishing ventures. Examining collections of commercial drama in print produced by playwright and stationer partnerships in London between 1594-1632, my research shows that collaboration was a recurrent phenomenon in early modern dramatic publication and instrumental to Shakespeare’s presentation in print. Key to this approach is my understanding of dramatic publications not simply as material artefacts but as complex textual spaces within which all agents, though not necessarily in the same place or at the same time, contributed in distinctive and significant ways to the production of Shakespeare’s plays in print. Considering playtexts as the product of textual collaboration, the printing and the publication process become sites of textual production, rather than contamination by non-authorial agents. This thesis also offers a new methodology for identifying non-authorial intervention in early printed playbooks, positioning the work of such agents as integral to their textual and bibliographic make-up.
22
Mackenzie, Anna F. "Troubling women, troubling genre : Shakespeare's unruly characters". Thesis, University of Chester, 2015. http://hdl.handle.net/10034/613740.
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This thesis brings the performativity of William Shakespeare’s plays into focus; in presenting an alternative approach to his works, I show how literary criticism can be reinvigorated. Dramatic works demonstrate that, in their theatrical world, everything is mutable, and capable of evolving and changing, negating stability or reliability. Why, then, should what I term monogeneric approaches (forms of analysis that allocate one genre to plays, adopting a priori ideas as opposed to recognising processes of dramatic construction) to criticism remain prevalent in Shakespearean scholarship? Performativity, as defined by Judith Butler, is a concept that focuses on the dynamic constitution of a subject, rather than on the end result alone (whether ‘female’ for gender, or, for example, ‘comedy’ for plays). In establishing an analogical relationship between the performativity of gender and the performance of dramatic works, I offer new, interpretive possibilities for dramatic works, moving away from monogeneric methods. Constructing a method of analysis based on performativity allows an approach that recognises and privileges dramatic dynamism and characterisation. The role of female characters is vital in Shakespeare’s works: we see defiant, submissive, calculating, principled and overwhelmingly multifaceted performances from these characters who, I argue, influence the courses that plays take. This thesis joins a conversation that began in 335BCE with Aristotle’s Poetics. In acknowledging and interrogating previous scholarship on genre in Shakespeare’s works, I trace monogeneric themes in analysis from Aristotle, through A.C. Bradley, through to later twentieth- and twenty-first-century critics. I challenge the practice of allocating genre based on plot features, including weddings and deaths; such actions are not conclusively representative of one genre alone. To enable this interrogation, I establish relationships between theories such as Nicolas Bourriaud’s work on artistic exchange; Jacques Derrida’s hypothesis on participation and belonging; and feminist research by scholars including Luce Irigaray and Julia Kristeva. Performance analysis is a vital component of this thesis, alongside textual analysis. In a number of cases, multiple performances of a dramatic work are considered to illustrate the fascinating variety with which the text is translated from page to stage and the impact of different directorial decisions. I use the term ‘textual analysis’ to include the varying editions of Shakespeare’s plays, and to consider that every Complete Works publication is not, in fact, complete. The existence of quarto texts makes clear an important process of dramatic evolution, particularly when dramatic works and their allocated genres shift between quarto and Folio versions. Such textual instability highlights the difficulties inherent in applying singular identities to dynamic works. In locating performativity at the core of dramatic works and emphasising the key role of female characters, this thesis brings performance to the fore and presents an alternative ‘lens of interpretation’ for readers, watchers, teachers and scholars of Shakespeare.
23
Hughes, Jacob Alden. "Shakespeare the Chaucerian". Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/j_hughes_041309.pdf.
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Thesis (M.A. in English literature)--Washington State University, May 2009.Title from PDF title page (viewed on Apr. 26, 2010). "Department of English." Includes bibliographical references (p. 69-75).
24
Sun, Yanna. "Shakespeare in China". Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.
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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.
25
Dogan, Buket. "Shakespeare'". Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609471/index.pdf.
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ABSTRACT
SHAKESPEARE&rsquoS HAMLET AS A PRECURSOR OF THE THEATRE OF THE ABSURD Dogan, Buket M.A., in English Literature Supervisor: Assoc. Prof. Dr. Ü
nal Norman May 2008, 121 Pages Being regarded as a dramatist of all times, Shakespeare and his work is studied with a modern view point by many critics. Every historical period finds in him what it is looking for and what it wants to see. Shakespeare is part of a modern tradition trying to mirror human psychology and condition in all its absurdity. The innovations that the theatre of the Absurd has brought to the stage not only provide an influence for the works of the later generations but also, they make it possible to look back at the past works of the theatre with a contemporary critical eye. Shakespeare&rsquo
s vision of the world is similar to that of the absurdists, mainly due to their shared confidence in humanity&rsquo
s capacity to endure, and the precarious nature of human existence. This thesis analyzes Shakespeare&rsquo
s masterpiece Hamlet, mainly the drama of its protagonist, as a precursor of Absurd drama. In Hamlet, Shakespeare represents man&rsquo
s existential anxiety and precarious condition in a nonsensical world, which is stripped of all logical explanations and accounts. To examine the play in the context of the theatre of the Absurd, it will be discussed in relation to Samuel Beckett&rsquo
s Waiting for Godot and Endgame with regard to their common concerns for the themes of the theatre of the Absurd such as uncertainty and inertia.
26
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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27
Tungtang, Paradee. "Shakespeare in Thailand". Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/36865/.
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Unlike most Asian nations to which Shakespeare was imported with the colonizers during the mid-1800s to impose Western literary culture on the colonized, in the case of Thailand, it is the other way round. Thailand (or Siam as it was called then) managed to escape colonization by Western powers, but during this politically unstable period, Siam felt the urgent need to westernize the country. A period of intensive westernization thus began. Shakespeare arrived as one of several significant elements of the nation’s self-westernization in literary education. In 1916, the name of Shakespeare became widely known in Siam as one of his plays, The Merchant of Venice, was translated by King Vajiravudh (1881-1925), who is highly regarded as a prolific dramatist and all-around man of letters in the country. The King himself initiated Western literary translation by translating three plays by Shakespeare, namely The Merchant of Venice (1916), As You Like It (1921), and Romeo and Juliet (1922), and also by adapting Shakespeare’s Othello (1925) into a Siamese conventional dance drama playtext. Although there were some other attempts before and after the King to translate Shakespeare, none of them has been successful in leaving a memorable impact in Thai literary circles as much as the King’s version. Translating and staging Shakespeare’s works in Thailand became rare, practised only within a small circle of literary scholars. During the first few decades of the twentieth century, there have been a handful of attempts to translate and stage Shakespearean plays by commercial Thai theatre practitioners. To stage Shakespeare’s plays in Thailand especially in a contemporary context, most production teams have encountered a similar difficulty, that of bridging the gap to bring Shakespeare to Thai popular audiences who embrace different backgrounds in dramatic practice and aesthetics. The main purposes of this study are, therefore, to examine how Shakespeare has been translated, staged, and received by Thai readers and audiences from the late nineteenth century when Shakespeare was introduced in Siam until today, and to locate his influences and impact on Thai literary and theatrical culture. This study is designed to shed light on the history of Thai translations of Shakespeare and also to provide an analysis of the translation strategies adopted by early Thai translators to domesticate Shakespeare into the Thai context. So the thesis examines the process of text appropriation and domestication adopted by Thai translators and theatre practitioners to make Shakespeare accessible to Thai readers and popular audiences. The use of Shakespeare’s plots and allusions to Shakespeare’s plays in contemporary Thai television soap operas is also another main focus of the study. This study also suggests that the domestication process applied to Shakespeare both in translation and in staging is influenced by the changes in the social, political and aesthetic contexts of each different period; furthermore, the process of domestication obviously becomes less problematic the further the country moves towards westernization.
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Garbin, Lidia. "Scott and Shakespeare". Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366840.
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Barber, Clair. "Shakespeare and cyberspace". Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288165.
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Cuyler, Grenville. "Shakespeare and Jung". Thesis, University of Birmingham, 1985. http://etheses.bham.ac.uk//id/eprint/3114/.
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I contend that Jung provides insights in keeping with Shakespeare's own intent as in many respects they were "of like mind." It is the attempt of this thesis to demonstrate how this might be so, comparing Jung's own writings with those of Shakespeare. The Introduction provides an overview: what the thesis sets out to do. The first chapter represents a highly technical treatment for determining an exact location for the Globe Playhouse. It is as if one were an archaeologist requiring as much evidence as possible for determining where the foundations might lie within a given site. But this determination of the Globe's center and the shape of the Globe's groundplan represent a mandala form ("mandala" is the Sanskrit word for "circle"). Jung's work after his departure from Freud (1913-1928) became progressively more concentrated on the significance of mandalas (his first mandala drawing was in 1916). The mandala form represented integration and evidence for it was found not only in the dreams of his patients but in the artifacts of all civilizations - in the groundplans for cities and buildings, and in the art and religious practices of diverse peoples reaching back to Rhodesian cliff-drawings. I relate Hamlet and its use of soliloquy to the central motif of the mandala the protection of the center. Using his Tavistock Lectures as a point of departure, Chapters 2-3 take up Jung's figure of the Psyche, divided up into ectopsychic, endopsychic, personal unconscious, and collective unconscious "spheres." "Chapter 2: The Four Functions" deals with Hamlet, Othello, The Winter's Tale, and Measure for Measure. "Chapter 3: The Shadow" refers to King Lear, The Tempest, and A Midsummer Night's Dream. After a consideration of King Lear, I relate Joseph Campbell's "journey of the hero" to Jung's figure of the Psyche with reference to the three plays mentioned above. Chapter 4 treats Jung's descriptions of "anima" and "animus" in relation to Macbeth. Some attention is then given to the characters of Ophelia, Gertrude, Desdemona, Cordelia, and Hermione, and their depreciation. "Chapter 5: Jungian Criticism" takes up the way in which literature may be viewed from the angle of Jung-oriented criticism with particular reference to Hamlet, Macbeth, Henry IV, Part I, Twelfth Night, Much Ado About Nothing, and King Lear. The Conclusion is followed by Appendices A-G which summarize and amplify Jungian thinking treated in this thesis and conclude with a statement about Shakespeare by Peter Brook. The Bibliography Section provides a list of works consulted in relating the Globe Playhouse to its site and works consulted in regarding the Globe and Shakespeare's work in the light of C. G. Jung.
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Kang, Taekyeong. "Negotiating with Shakespeare /". The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487946776020727.
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Reynolds, Simon. "Shakespeare and Heliodorus". Thesis, Goldsmiths College (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368029.
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Bouchara, Abdelaziz. "Politeness in Shakespeare". [S.l. : s.n.], 2002. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10047849.
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Finnerty, Páraic. "Emily Dickinson's Shakespeare /". Amherst : University of Massachusetts press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40144864w.
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Cassal, Steve Howard. ""Honesty" in Shakespeare /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
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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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Camilotti, Camila Paula. "Shakespeare na Itália". reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/128974.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014.Made available in DSpace on 2015-02-05T20:33:14Z (GMT). No. of bitstreams: 1 331233.pdf: 5710828 bytes, checksum: dcf8a06a94c58f902670987b954782ae (MD5) Previous issue date: 2014
O objetivo desta pesquisa reside em analisar o processo criativo e artístico do diretor italiano Giorgio Strehler na produção e direção de duas peças shakespearianas: Rei Lear e A Tempestade. As montagens teatrais, intituladas pelo diretor como Re Lear e La Tempesta, foram encenadas, respectivamente, em 1972 e 1978, no Piccolo Teatro de Milão, na Itália, e foram muito importantes para a sociedade italiana da época. Dessa forma, no estudo das produções italianas, busca-se explorar, com base nos conceitos de Tradução Intersemiótica, as passagens mais relevantes e/ou mais reveladoras para o contexto sóciopolítico italiano da época e que influenciaram, de alguma forma, a tradição shakespeariana na dramaturgia italiana. As análises mostraram que Strehler buscou, tanto em Re Lear, quanto em La Tempesta, evidenciar a metateatralidade existente nas respectivas peças shakespearianas e, com isso, gerar uma reflexão acerca do teatro e sua função social, política, histórica e civil em determinada sociedade, tempo e espaço.
Abstract : This research aims at analysing the creative and artistic process of the Italian diretor Giorgio Strehler in the production and direction of two Shakespearian playtexts: King Lear and The tempest. The Italian productions -- entitled Re Lear and La Tempesta -- were staged, respectively, in 1972 and in 1978, at Piccolo Teatro di Milano, Italy, and were important to the Italian society of the time. Thus, in the analysis of the productions, I attempted to explore, based on concepts of Intersemiotic Translation, the most revealing and/or relevant passages to the Italian socio-political context of the time that influenced, in a way or another, the Shakespearian tradition in Italian dramaturgy. The analyses have shown that Strehler attempted to highlight -- in both productions -- the metatheatricality that exists in these Shakespearian playtexts and, from this perspective, encourage a reflection upon theater and its social, political, historical, and civic functions in a certain society, time, and space.
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Faria, Fabio Coura de. "Shakespeare meets rock". reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/174689.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários, Florianópolis, 2016.Made available in DSpace on 2017-04-11T04:12:53Z (GMT). No. of bitstreams: 1 344852.pdf: 1618921 bytes, checksum: 8a92dc48d5bf529c6a1c7d164cdd1cd0 (MD5) Previous issue date: 2016
Esta dissertação investiga a adaptação da peça A Tempestade, de William Shakespeare, para o álbum Aqua, lançado em 2010 pela banda brasileira de heavy metal Angra. A trajetória histórica da peça nos últimos séculos sofreu impactos políticos e teóricos com a ascensão do pós-colonialismo. Em 1950, Octave Mannoni desencadeou, em Psychologie de la colonization, crescente atenção à peça Shakespeareana em cenários onde ideologias anticoloniais estavam por emergir, como a África e o Caribe. De forma análoga, George Lamming apropriou Shakespeare a perspectivas pós-coloniais com sua coleção de ensaios intitulada The Pleasures of Exile (1960), com sua (re)interpretação dos personagens Próspero e Caliban. O álbum Aqua, através do uso de mecanismos de adaptação específicos, tais como elementos melódicos, letras e material paratextual, aborda diferentes temas, personagens e situações da peça, ao mesmo tempo em que adentra questões pós-coloniais. A adaptação musical desenvolve, na canção "A Monster in Her Eyes", uma releitura da relação entre Próspero e Caliban, que ressoa com a teoria crítica pós-colonial, subvertendo a representação de Caliban como um monstro e resguardando sua soberania nativa. Relações dialógicas entre a peça e o álbum são traçadas com o suporte de A Theory of Adaptation, de Linda Hutcheon, no intuito de analisar os meios de expressão por trás do fenômeno de adaptação musical, que apropria obras adaptadas para diferentes públicos e contextos espaciotemporais.
Abstract : The present thesis investigates the adaptation of William Shakespeare?s The Tempest into the music album entitled Aqua, released by the Brazilian heavy metal band Angra in 2010. The historical trajectory of the The Tempest throughout the last centuries underwent political and theoretical impacts with the rise of postcolonialism. In 1950, Octave Mannoni unleashed, with Psychologie de la colonization, the sparkle for an increasing attention to the play in places where anticolonial ideologies would soon emerge, noticeably Africa and the Caribbean. Similarly, George Lamming approached Shakespeare in the light of postcolonial perspectives with his collection of essays entitled The Pleasures of Exile (1960), a (re)interpretation of The Tempest that focuses on its characters Prospero and Caliban. Angra?s music album Aqua, through the usage of its specific adaptation apparatuses such as melodic elements, lyrics, and paratextual material, addresses different themes, characters, and situations from The Tempest while bringing a postcolonial perspective to the fore. Moreover, the musical adaptation provides, with the song ?A Monster in Her Eyes?, a reinterpretation of the relationship between Prospero and Caliban which resonates with postcolonial critical theory, subverting the depiction of Caliban as a monster and giving voice to his claim as a native sovereign. This theoretical interplay is analyzed under the light of Linda Hutcheon?s A Theory of Adaptation as a means to observe the means of expression behind the musical adaptation phenomenon, channeling the adapted works to alternative publics, settings, and temporal contexts.
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Davall, Nicole Elizabeth. "Shakespeare and concepts of history : the English history play and Shakespeare's first tetralogy". Thesis, Cardiff University, 2014. http://orca.cf.ac.uk/65797/.
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Divided into three large chapters, this thesis explores sixteenth-century concepts of history, considers how those concepts appear in Elizabethan history plays on English history, and finally looks at Shakespeare’s first tetralogy of history plays. The aim of the thesis is to consider in some detail the wider context of historical and dramatic traditions in Tudor England to gain a better appreciation of how they influenced possible readings of Shakespeare’s early history plays. Chapter One looks at how medieval approaches were modified in the fifteenth century. St. Augustine’s allegorical method of biblical exegesis made it possible to interpret history from inside the historical moment by allowing historically specific incidents to stand for trans-historical truths. However, the sixteenth-century chronicle tradition shows an increasing awareness of the difficulties of interpreting history. Chapter Two looks at early English history plays outside of the Shakespearean canon. History plays borrowed the conventions of comedy, tragedy and the morality play to provide frameworks for interpretation. Nevertheless, early histories such as Kynge Johan, Edmund Ironside, Famous Victories, Edward III, The True Tragedy, and The Troublesome Reign did not fit comfortably within established dramatic modes, leading to history’s gradual recognition as a separate genre. Chapter Three looks at the contribution Shakespeare’s plays made to the developing genre. The un-unified dramatic structure of the Henry VI plays denies the audience a stable framework within which to interpret events. In Richard III, a clear tragic framework appears, but is undermined by a strong thread of irony that runs through the play. History appears in the tetralogy as a repetitive cycle of violence perpetuated by characters’ attempts to memorialise the past while failing to learn from it. The crisis presented by history is the necessity of acting on partial information, while the promise of fuller understanding is projected into an unknowable future.
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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.
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Tsui, Kam Jean, i 徐錦. "Rewriting Shakespeare: a study of Lin Shu's translation of tales from Shakespeare". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B41634202.
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Kozuka, Takashi. "Shakespeare in purgatory : a study of the Catholicising movement in Shakespeare biography". Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/40561/.
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The twentieth and the twenty-first centuries have Catholicised Shakespeare. At the heart of this movement lie the so-called Lancastrian theories: that Shakespeare spent some time during his `lost years' in Lancashire and that he is to be identified with `Will[i]am Shakeshafte' in the will of the Catholic magnate, Alexander Hoghton of Lea. Although the proponents of the theories - aptly called `Lancastrians' - agree in terms of the identification of `Shakeshafte' with Shakespeare, their arguments vary and sometimes even contradict each other. We have, therefore, Lancastrian theories (plural). They are attempts to investigate the whereabouts of Shakespeare during the `lost years' and to find out the means by which he entered the London theatre. The Lancastrian theories can be seen in part as a counter-movement against recent Shakespeare scholarship that has been preoccupied with theory. Paradoxically, another stimulus for the revival of biographical studies is literary critics' interest in early modem history, which materialist criticism, especially new historicism, has brought in since the 1980s. Religion has become a major issue in Shakespeare studies. The modem historiography of the English Reformation, especially `revisionism', which emphasises the continuation of medieval Catholicism after the Reformation, has provided significant energy for the development of the Lancastrian theories. Furthermore, the Lancastrians have their own agenda - personal ambitions and motivations, some of which are not altogether scholarly. However, these theories are for the most part based on a chain of speculations, and tend to state them as fact. The biographers, whether Lancastrians or not, who believe Shakespeare and his family to have been Catholics are unfamiliar with the religious condition in Elizabethan England, including anti-Catholic acts and the penalties imposed on recusants. Their arguments also neglect other Elizabethan customs. These biographers' lack of profound knowledge of socio-political and religious history of Elizabethan England has produced inaccurate dramatisation of Shakespeare's life. One other disabling tendency among these biographers is to neglect negative evidence and disregard alternative interpretations. Their approaches to Shakespeare biography simplify the complexity of documentary evidence and produce narrowness of view. In Elizabethan England a series of continuous religious negotiations and renegotiations took place. Through this struggle, the clear-cut division between Catholicism and Protestantism was deconstructed, and there emerged `religious pluralism' -a compromise between Catholicism and Protestantism. It was in this complex matrix that Shakespeare was born, grew up and wrote plays and poems. It is against this cultural background that we should study Shakespeare's life (or lives).
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Tsui, Kam Jean. "Rewriting Shakespeare a study of Lin Shu's translation of tales from Shakespeare /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41634202.
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Pleinen, Constanze. "Das Übernatürliche bei Shakespeare /". Hamburg : Kovač, 2009. http://www.verlagdrkovac.de/978-3-8300-4050-7.htm.
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Folest, Estelle. "Shakespeare et la voix". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00485954.
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Dans l'oeuvre dramatique de Shakespeare, la voix a le pouvoir de séduire et de faire naître le désir, d'atteindre l'âme comme les émotions et d'y insuffler un mouvement, d'ordonner et d'harmoniser les rapports entre les hommes, ou encore d'agresser, de blesser, de maudire, voire de tuer. La belle acoustique du Théâtre, du Globe ou des Blackfriars, permettait à la voix de résonner en se mêlant à des effets musicaux et à des bruits pour former des paysages sonores qu'il s'agit d'entendre et de déchiffrer.
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Foster, Jennifer L. "Shakespeare and republican Rome". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq28567.pdf.
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Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.
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Ryle, Simon John. "Shakespeare, cinema and desire". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610267.
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Joughin, John J. "Shakespeare and the aesthetic". Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413733.
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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