Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Shakespeare reveals his interest in the popular theme of courtly love, which came to him as an established tradition, in a number of his plays. This tradition can be traced back to the troubadours of Provence who, during the Crusades, appeared as a class of knights whose chief values were valor, courtesy, and knightly worth. From the troubadours came the idea of love service: every knight must have a lady whose relationship to him was parallel to that between him as a vassal and his lord. This love service came.to be looked upon as leading to moral dignity and true chivalry and it was performed by the knight for another 's wife. An elaborate set of rules grew up describing the nature of courtly love and the attitudes and responses of both the knight and the lady. From Provence courtly love spread to Italy where it was endowed with spiritual and philosophical aspects by Cardinal Bembo, Dante, and Petrarch, for example. By the time that the tradition reached England it had been modified, added to, and conventionalized in its passage through Italian and Northern French literature. A number of Shakespeare's predecessors made important contributions to the courtly theme: Chaucer suggested its evil consequences, Castiglione established the rules to guide the perfect courtier and the lady, and emphasized marriage as the only acceptable end of courtly love, Sidney combined the medieval chivalric and the classical pastoral traditions in an imaginary setting where chivalric ideals always triumphed over evil, and Spenser added a strong moral note, recognizing the physical as well as the spiritual aspects of love in his emphasis on virtue and constancy. By the time that Shakespeare began to deal with courtly love, courtesy meant more than the medieval idea of a willingness to undertake love-service. It meant gentlemanly conduct, refined manners, intellect, and a high moral purpose. When Shakespeare took up the courtly theme, it had been refined considerably. In an early treatment of the theme, Shakespeare satirizes the folly connected with courtly love and the courtly ideal. This is seen in Love's Labour's Lost where the ladies only toy with the men and where love is not triumphant. In The Two Gentlemen of Verona the satirical vein is continued and the weaknesses inherent in courtly love are exposed in the struggle between love and friendship. As You Like It is another play in this group where courtly love is satirized. Rosalind becomes the spokesman for sincerity and faithfulness in love and condemns artificiality and sham. In a group of plays which treats the courtly theme as comedy (A Midsummer Night's Dream, Twelfth Night, Henry IV (Part I), and Henry V) Shakespeare is more fun-loving and gentler in his presentation than he was in the plays where courtly love was treated satirically. No serious issue mars the comic atmosphere as we see the humorous side of love in each of these plays. In another group, Romeo and Juliet, The Winter's Tale, and Cymbeline, we see the strength derived from romantic love which is presented as a genuine passion leading to permanence. Such love gives strength in adversity and though love ends tragically in Romeo and Juliet and nearly ends tragically in the other two plays, we see that it enables the lovers to meet their fate, even when it is death. Shakespeare reverses the theme in the following plays: All's Well that Ends Well, Much Ado about Nothing, Measure for Measure, and Richard II. In the first three the lady uses a trick to win her man, and in Richard II she pleads for love but is rebuffed. The scheming and trickery of the first three plays in this group brings the theme close to unpleasantness and degrades the courtly lover. Shakespeare here probes the realistic aspects of the theme and shows men and women as they really are. This treatment is followed through in the tragedies Troilus and Cressida, Hamlet, and Othello, where the unpleasant, realistic aspects of courtly love lead naturally to tragedy. In these tragedies the gaiety and idealism of the conventions of courtly love have disappeared completely and the true possibilities have been exposed. After these plays, courtly love no longer could supply a valid pattern for loving and living. In The Tempest the theme is subverted and love is seen as the force of renewal in the world. The lovers are no longer of interest as courtly lovers but appear as mature people whose marriage becomes the hope of a better world. The conventional suffering for love is gone and in its place is a mature, reasoned attitude to the most basic of man's emotions. With this play Shakespeare has come all the way from artificiality and sham to a lasting, satisfying type of love. / Arts, Faculty of / English, Department of / Graduate

The thesis studies the relationship of playwright, actor and audience in Beaumont and Fletcher plays from the period 1607 -c. 1625. The major concern of the thesis is with the involvement of the audience in the dramatic action or emotional pattern of the plays. In order to discuss this audience participation which is suggested as the primary focus of the dramaturgy of Beaumont and Fletcher, the thesis first attempts to establish the most usual audience of the plays. The private audience of the Second Blackfriars Playhouse is described as typical of the wealthy, often aristocratic audience for whom Beaumont and Fletcher wrote and whose taste both.determined many of the characteristics of Fletcherian plays and was itself influenced by those plays. As a result of this relationship between Beaumont and Fletcher and their spectators, it is suggested that the playwrights had a significant role to play in the evolution of the English drama from the Elizabethan theatre to the Restoration theatre. In fact, the sort of theatre which the Caroline theatregoers of 1625 were demanding of Fletcher was precisely the style of "heroic", romantic theatre which he had taught them to appreciate with Philaster in 1610. Philaster is seen as the play in which the earlier, unsuccessful attempts by each playwright merged, in collaboration, into a formula for popular success and an approach to the theatre which was totally histrionic. [footnote omitted] Assuming this audience and its tastes, fashions and behaviour patterns, the thesis investigates Beaumont and Fletcher's satire of the audience, suggesting that Fletcherian satire was directed not at individuals, but at groups in Jacobean society, most of which they could assume to be present in the playhouse. Beaumont and Fletcher were able, again through a thorough understanding of their audience, to work the various groups, prejudices and affections of their spectators against each other so that the satire was not directed from the stage to the auditorium, but in a total pattern throughout the playhouse. The emotional patterning of the plays is discussed as the centre of the Fletcherian design. The elaborate series of effects and often inappropriate stimuli by which Beaumont and Fletcher created a striking, involving emotional system is described. A King and No King and Valentinian are analyzed to demonstrate the emotional patterning. The participation of the audience within the dramatic action is then discussed. The thesis suggests that the audience performs as a corporate character in the plays and traces the complex, histrionic effects by which they are encouraged to do so. The use of disguise and the aside are specifically studied in this light. Finally, the larger implications of audience involvement are considered. Within the social milieu in which the plays are situated, Beaumont and Fletcher create a fictional world of the playhouse in which the involvement of the audience and actors become the whole action of a closed, microcosmic universe. These various, histrionic aspects work together to make the Beaumont and Fletcher plays exciting, if highly artificial creations that were popular in Jacobean England, are important in theatre history, and are of continuing theatrical interest today. / Arts, Faculty of / English, Department of / Graduate

Orientador : Rosemary Arrojo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-16T01:15:43Z (GMT). No. of bitstreams: 1 Esteves_LenitaMariaRimolli_M.pdf: 3442223 bytes, checksum: 29c4bd6d4125e61ee8f4cea39a549531 (MD5) Previous issue date: 1992 / Resumo: Esta tese tem como objeto quatro traduções da tragédia Macbeth, de William Shakespeare. Enfocando principalmente as três bruxas e sua relaçãoo com o destino de Macbeth, a tese se propoe a verificar as diferenças de tratamento que cada uma das traduções deu a esta questão. Partindo de uma concepção pós-estruturalista de tradução, segundo a qual a mesma é vista como uma transformação e nao como um mero transporte de significados, a tese serâ desenvolvida no sentido de se comparar as diferenças de configuraçbes dadas às bruxas e verificar quais seriam as consequencias dessas diferenças na consideração do texto da tragédia como um todo. Embasada em teorias que não consideram o texto como um receptáculo de significados a serem extraldos pelo leitor, esta tese pretende demonstrar que as bruxas configuradas em cada tradução são diferentes das demais, o que acaba fazendo com que as traduções se transformem em diferentes tragédias de Macbeth.Textos distintos que são fruto de diferentes leituras do "original". . A história do texto "original" de Macbeth serà analisada, com o objetivo de se demonstrar como este texto é fragmentado, tendo passado por várias transformaçbes até chegar à sua forma atual. Essa visão fragmentada do texto em questao ratificará a noção de "original" que será adotada neste trabalho, ou seja, que o "original" representa uma possibilidade de múltiplas leituras, e nãoo se apresenta como texto terminado, pronto, à espera de um leitor que o decifre corretamente / Abstract: Not informed. / Mestrado / Mestre em Linguística Aplicada

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.

by Irma DeSilva / Typescript / M.A. Florida State College for Women 1914 / Includes bibliographical references (leaves 57-62)

This PhD dissertation studies the interpretation of the drama Peony Pavilion by Tang Xianzu(1555-1616) in the cultural and thoughts history of Qing dynasty. This study uses the theories of historical writing mirroring up literary writing by Hayden White, the methodology of literary history writing by Gustave Lanson, as well as the cultural memory theory by Jan Assmann, and under the guide of the approaches listed it tries to open a new way for the Peony Pavilion studies in the future. The dissertation is titled "Beyond Qing and Yu", which implies that the study will explore the alternative visions apart from the discussion on qing and yu. It will start from the transitional period of Qing and Ming and end up at the imperial reign of the King Daoguang. Many literatus in thoughts and cultural history will be discussed, such as Qian Qianyi, Liu Rushi, Chen Weisong, Lu Qi, Mao Qiling, Zhu Yizun, Hong Sheng, Jiang Shiquan and Ling Tingkan, all of whom have tried different ways to give interpretation of Peony Pavilion in varied historical and literary stands with distinctive identities. Their interpretative behaviors actually project the changes that took place in the cultural and thoughts history in Qing dynasty. The introduction part is a general description of the writing motives, approaches applied as well as brief summary of contents of each chapter. Chapter one studies the Peony Pavilion writing by Chen Weisong, Qian Qianyi and Liu Rushi. It argues that as an important symbol in Ming culture, the significance of Peony Pavilion is manifested in its high participation in Chen's memory of the elite culture of Ming dynasty. Peony Pavilion connects the literatus and other cultural elements in the landscape of Jin Ling district, which helps the poet to shorten the distance between the PAST and PRESENT. And in the second part of this chapter, the writing of Peony Pavilion by Qian Qianyi and Liu Rushi is discussed. As the core of elite culture memorized by Chen Weisong, Qian and Liu's interpretation of Peony Pavilion has made the picture of elite culture more vivid and touchable. What's more, the two parts have sharpened the contrast in cultural and political situation of the literatus before and after the fall of Ming Empire, which suggests the incurable trauma in their sentiments caused by the broken culture tradition after the fall of empire. Chapter two discusses the interpretation of the thoughts Qing（情）and Li（禮）of Peony Pavilion. This chapter begins with the description of two phenomenon, one is "worshiping faithful maiden"（貞女崇拜）and the other is "worshiping Du Liniang"in Qing dynasty, by means of constructing the writing tradition of faithful maiden in Ming and Qing, giving the reasons behind the cultural and literary interpretive behaviors, as well as pointing out the fact that Peony Pavilion was interpreted as a token of the thought of li（禮）. As it occurs in the coincidence with the revival of the thought of li （禮）in Qing dynasty, it may provide another vision for inspecting the theme and thought by putting it against the Confucian ideological background. It argues that as a strong voice, the qing（情）and yu（欲）dominates the interpretation of Peony Pavilion, however, the cases showed in this chapter proves the possibility of alternative voice existing against the Confucian cultural background. Chapter three concentrates on the dramatic interpretation by Jiang Shiquan who lives in the reign of King Qianlong. This chapter breaks through the writing motive of Lin Chuanmeng臨川夢from the two aspects of "art"and "ethic", by pointing out that the reason why Jiang Shiquan wrote the drama Lin Chuanmeng lies on his deep understanding of Tang Xianzu as an ethical bureaucrat in the Ming history. The two main clues in Lin Chuanmeng run parallel to emphasize the ethical bureaucratic identity of Tang Xianzu, and Jiang Shiquan's historical way of interpretation of Peony Pavilion demonstrates the spirit of "sao "（騷）and "ya"（雅）. Chapter four mainly discusses the three musical texts of Peony Pavilion, Nancixinpu, Nancidinglv, Jiugongdacheng, by means of textual research, it sorts out the distinctive features of each musical text on type of metre（板式）, arias（唱腔） , main words（正字） and added words（襯字）. It argues that the three musical texts contribute a lot in standardizing the singing of Peony Pavilion. In particular, Nancixinpu first avoids the deletion of words in the original text by Tang Xianzu, Nancidinglv first standardizes the metre of music, and Jiugongdacheng completes the Gongche （工尺）musical text for the first time. The last part concludes the dissertation. It points out that this study tries to open up alternative way of Peony Pavilion apart from the previous studies concentrating too much on the qing（情）and yu （欲）. The value of the literature cannot be realized until it is gazed and inspected in a dynamic and open cultural ideological environment = 本文以《牡丹亭》在清代思想及文化史中的詮釋為研究對象，在西方新歷史主義代表海登·懷特關於話語、文學及歷史寫作的理論、朗松的文學史研究方法以及揚·阿斯曼文化記憶理論的指導之下，試圖開闢《牡丹亭》研究的新方向。本研究的主標題為：「情慾之外」。正如題目所展示的，本研究將尋求「情欲」討論框架之外，《牡丹亭》詮釋的多種可能性。這項研究主要觀察明末清初至清道光年間，在思想史及文學領域的具有重大影響力的學者如錢謙益、陸圻、陳維崧、毛奇齡、朱彝尊、洪昇、蔣士銓以及淩廷堪等，以不同的身份、在不同的文化情境之下對《牡丹亭》作出不同的詮釋，藉以反思思想意識形態以及文學理論的變化如何在《牡丹亭》的詮釋中得以客觀的投射。緒論部分是本研究的寫作動機、研究方法以及主要研究內容。第一章以明清之際陳維崧、錢謙益以及柳如是對《牡丹亭》的詮釋為主要研究對象，指出陳維崧將《牡丹亭》作為重要的指涉對象，其重要性體現在《牡丹亭》在精英時代回憶中的高度參與性，它與其他元素如金陵的人文地景之間固有的千絲萬縷的聯繫，幫助詩人努力縮短「今日」與「往昔」之間鴻溝的距離。錢謙益與柳如是關於《牡丹亭》的書寫，令陳維崧記憶中的「精英時代」更加清晰可辨，這兩個部分在時間上構成了一個連續，一方面呈現了明清之際精英文化的精緻面貌，另一方面又深刻揭示鼎革之後傳統文化的斷裂在士人生命中所造成的創痛。第二章進入《牡丹亭》「情禮相扶」的思想在清代被詮釋的討論。本章以「貞女崇拜」與「麗娘祭」為研究對象，藉助清代文人建構杜麗娘「貞女」文化行為，并將此種文化行為置於清代崇尚貞女崇拜、「禮教」復興的思想背景之下，一方面凸顯《牡丹亭》「情禮」思想的「對話」意義，同時也回應了本文在詮釋《牡丹亭》「情」「禮」思想的一個寫作立場，即任何一種文學接受，都不可能只有一條單一的主線，《牡丹亭》「情至論」是一種非常強大的聲音，「情慾」之外，仍然還是有「情」「禮」思想的共生同謀。第三章以蔣士銓所作《臨川夢》為主要研究對象，從「技藝」與「道心」兩個層面論述《臨川夢》對《牡丹亭》「騷雅」抒情與政教文藝精神的詮釋。本章指出《臨川夢》的寫作主旨為：《牡丹亭》乃湯顯祖抒發聖人之感，以「美人香草」自諭，寄託政治幽懷。《臨川夢》以湯顯祖政治生涯與《牡丹亭》創作為兩條主線，目的正是為強調湯顯祖政治身份，以寫史書的方式寫戲曲，進而凸顯《臨川夢》的寫作主旨乃是明確《牡丹亭》非一般詞章，而是湯顯祖以「美人香草」為諭，闡發「騷雅」抒情與政教文藝精神。第四章以《牡丹亭曲譜》及舞台選本為研究對象，通過考證與辨析的研究方法，指出各曲譜在點板、按腔方面如何體現《牡丹亭》唱腔的發展特點。本章認為，《南詞新譜》，《南詞定律》及《九宮大成》在糾正《牡丹亭》在唱腔上的「不協律」貢獻尤多，《牡丹亭》唱腔之程式化始於《南詞定律》，并在《九宮大成》中得以鞏固和完善。最後一部分是結論。本文在結尾處指出，「情慾之外」的「外」顯示了《牡丹亭》詮釋研究的開放性，一部文學作品必須置於動態與多元的文化環境觀察中，才能夠進一步顯現其在文學史中的價值。

Shakespeare’s Shylock from the Merchant of Venice is a complex character who not only defies simple definition but also takes over a play in which he is not the titular character. How Shakespeare arrived at Shylock in the absence of a Jewish presence in early modern England, as well as what caused the playwright to humanize his villain when other playwrights had not is the subject of much debate. This thesis shows Shakespeare’s humanizing of Shylock as a blurring of the lines between Jews and Christians, and as such, a shift of usury from a uniquely Jewish problem to a human problem. This shift is then explicated in terms of a changing England in a time where economic necessity challenged religious authority and creating compassion for a Jew on the stage created compassion symbolically for Christian usurers as well.

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The problem with which this investigation is concerned is that of the warrior-hero ideal as it evolves in Shakespeare's English and Roman plays, and its ultimate failure as a standard for exemplary conduct. What this study demonstrates is that the ideal of kingship that is developed in the English histories, especially in the Second Tetralogy, and which reaches its zenith in Henry V, is quite literally overturned in three Roman plays--Julius Caesar, Antony and Cleopatra, and Coriolanus. The method of determining this difference is a detailed analysis of these groups of plays. This analysis utilizes the body of Shakespearean criticism in order to note the almost total silence on what this study shows to be Shakespeare's growing disillusionment with the hero-king ideal and his final portrait of this ideal as a failure. It is the main conclusion of this study that in certain plays, and most particularly in the Roman plays, Shakespeare demonstrates a consciousness of something more valuable than political expediency and political legality. Indeed, the tragedy of these political heroes lies precisely in their allegiance to the standard of conduct of the soldier-king. Brutus, Antony, and Coriolanus, among others, suffer defeat in their striving to capture a higher reality. This investigation demonstrates that the concept of honor has lost its value in the social matrix of political machinations.