There is no abstract available for this thesis.

I have proved that prevarication is a current that initiates the evil actions that are committed. I have traced some of the oblique, dishonest euphemisms used by Macbeth and Lady Macbeth in their language in their attempt to deceive themselves and others of their intentions. This linguistic device sharpens our awareness of their prevarication and avoidance of facing the truth, and their attempt at self-deception and equivocation. They enter into physical and spiritual duplicity. The Witches are structurally important and function in contributing to the ambiguous action of the play, and initiate the symbolism of darkness and evil that prevails. Macbeth's echoic diction links him to the forces of equivocation. Banquo dismisses their information, whereas Macbeth's empathy with the Witches and his ripeness for corruption result in the same information becoming disinformation to him. Macbeth's prevarication continues in order to secure his position obtained through heinous crimes and his lack of integrity in a world where it is difficult to distinguish appearance and reality. Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a prevaricator by means of obliquity and mutual intrigue, and shows her shrewdness and hypocrisy towards Duncan. She undermines logic, imagination and metaphysics and overpowers Macbeth's indecision to commit the murder, as she acts as a "thorn" to his conscience challenging his manhood and courage. Macbeth is coerced into acceding to the murder as a result of Lady Macbeth's bombastic exposure of the frailties violated by evil. The images of blood and sight merge when Macbeth sees his horrific hands after the murder a murder that symbolically "murders" sleep. Shakespeare uses the Porter to indicate the "equivocator" is synonymous with Macbeth, the prevaricator. Storms accompany the central action of the murder of Duncan, and the tremendous upheaval of nature reflects the tempest roaring within Macbeth. Macbeth's swollen, puffed up, deceptive language in his false declaration of his mourning for the loss of Duncan, illustrates his ability to prevaricate at his best. After Duncan's murder, Macbeth continues to secure his power and security by his desperate series of futile murders, which he commits without a moral self-catechismal examination of his conscience: he prevaricates with impunity. From their earlier close intimate association there is a deterioration in the relationship between Macbeth and Lady Macbeth: their ways have separated through guilt and lack of trust. Lady Macbeth declines to a languid, exhausted woman in the sleep-walking scene, as she recalls her past crimes and atrocities. Her personal confusion, anguish and disorientation result in a cataclysmic shudder that leads to her physical and spiritual implosion. Macbeth remains physically aggressive. His tactics for his physical confrontation with death are irrevocable: he suffers an isolated spiritual implosion in his virtual negation of life. I have shown that Macbeth is an orchestrated composition in which prevarication is the tool used for furthering ambition that motivates the action of the drama. / Thesis (MA)--PU vir CHO, 1986

I have proved that prevarication is a current that initiates the evil actions that are committed. I have traced some of the oblique, dishonest euphemisms used by Macbeth and Lady Macbeth in their language in their attempt to deceive themselves and others of their intentions. This linguistic device sharpens our awareness of their prevarication and avoidance of facing the truth, and their attempt at self-deception and equivocation. They enter into physical and spiritual duplicity. The Witches are structurally important and function in contributing to the ambiguous action of the play, and initiate the symbolism of darkness and evil that prevails. Macbeth's echoic diction links him to the forces of equivocation. Banquo dismisses their information, whereas Macbeth's empathy with the Witches and his ripeness for corruption result in the same information becoming disinformation to him. Macbeth's prevarication continues in order to secure his position obtained through heinous crimes and his lack of integrity in a world where it is difficult to distinguish appearance and reality. Lady Macbeth reveals she is in corrupt collusion with Macbeth, is a prevaricator by means of obliquity and mutual intrigue, and shows her shrewdness and hypocrisy towards Duncan. She undermines logic, imagination and metaphysics and overpowers Macbeth's indecision to commit the murder, as she acts as a "thorn" to his conscience challenging his manhood and courage. Macbeth is coerced into acceding to the murder as a result of Lady Macbeth's bombastic exposure of the frailties violated by evil. The images of blood and sight merge when Macbeth sees his horrific hands after the murder a murder that symbolically "murders" sleep. Shakespeare uses the Porter to indicate the "equivocator" is synonymous with Macbeth, the prevaricator. Storms accompany the central action of the murder of Duncan, and the tremendous upheaval of nature reflects the tempest roaring within Macbeth. Macbeth's swollen, puffed up, deceptive language in his false declaration of his mourning for the loss of Duncan, illustrates his ability to prevaricate at his best. After Duncan's murder, Macbeth continues to secure his power and security by his desperate series of futile murders, which he commits without a moral self-catechismal examination of his conscience: he prevaricates with impunity. From their earlier close intimate association there is a deterioration in the relationship between Macbeth and Lady Macbeth: their ways have separated through guilt and lack of trust. Lady Macbeth declines to a languid, exhausted woman in the sleep-walking scene, as she recalls her past crimes and atrocities. Her personal confusion, anguish and disorientation result in a cataclysmic shudder that leads to her physical and spiritual implosion. Macbeth remains physically aggressive. His tactics for his physical confrontation with death are irrevocable: he suffers an isolated spiritual implosion in his virtual negation of life. I have shown that Macbeth is an orchestrated composition in which prevarication is the tool used for furthering ambition that motivates the action of the drama. / Thesis (MA)--PU vir CHO, 1986

No description available.

Zhi-Quan Luo, John N. Tsitsiklis. / Bibliography: leaf 6. / Research supported by the Army Research Office under contract DAAAG-29-84-K-005

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2009. / Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2011-04-08T23:07:29Z No. of bitstreams: 1 2009_AnaTerraLemedaSilva.pdf: 1008257 bytes, checksum: 269986fff6645f91757a2c70711a10e0 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-04-08T23:07:56Z (GMT) No. of bitstreams: 1 2009_AnaTerraLemedaSilva.pdf: 1008257 bytes, checksum: 269986fff6645f91757a2c70711a10e0 (MD5) / Made available in DSpace on 2011-04-08T23:07:56Z (GMT). No. of bitstreams: 1 2009_AnaTerraLemedaSilva.pdf: 1008257 bytes, checksum: 269986fff6645f91757a2c70711a10e0 (MD5) / A presente dissertação investiga três personagens femininas de Shakespeare, aplicando princípios da abordagem lugar de fala, proposta pela Prof. Dra. Silvia Davini. Essa investigação pretende levantar subsídios para futuras performances que considerem a esfera acústica e simbólica da palavra, como um ponto de partida para a atuação. As três personagens estão organizadas, considerando o drama do qual fazem parte, num percurso que parte de uma máxima impossibilidade feminina e vai em direção a uma máxima possibilidade feminina. Tal percurso acompanha a cronologia das obras e as personagens são: Lavínia, de Tito Andrônico; Rosalinda, de Como Gostais e Marina, de Péricles, Príncipe de Tiro. Para essa investigação foram realizadas três frentes de trabalho em simultâneo: o estudo da arquitetura das personagens em relação à obra a qual pertencem; exercícios de fala com trechos dos textos das personagens (CD de áudio em anexo) e uma imersão como espectadora em montagens teatrais na cidade de Buenos Aires. A produção de Peter Hall e Cicely Berry contribuiu especialmente no desenrolar desse trabalho. Por serem diretores e preparadores vocais shakespeareanos, suas experiências trouxeram dados formais do texto que se revelaram úteis à atuação. A interação das três frentes de trabalho permitiu gerar reflexões sobre a relação entre a forma dos textos das personagens e os respectivos perfis femininos apresentados por elas. Dessa forma, através de princípios do lugar de fala, se levantam pontos de partida para atuação alternativos à freqüente subalternização da palavra dita no meio teatral contemporâneo. ____________________________________________________________________________ ABSTRACT / The thesis investigates three female characters of Shakespeare by applying principles of the speech’s place approach, proposed by PhD. Silvia Adriana Davini. This research aims to raise sources for future performances that consider acoustic and symbolic dimension of the word as a starting point for acting. The three characters are organized in a feminine journey considering the drama that each one of them belongs. It has to be said that the journey begins in a feminine maximum impossibility and goes to a feminine maximum possibility, following the chronology of the works. The characters are: Lavinia, from Titus Andronicus; Rosalind, from As You Like It and Marina, from Pericles, Prince of Tire. The research demanded the acomplishment of three work fronts simultaneously: the study of the characters’ architecture in relation to the work it emerges; speech exercises with excerpts of the studied texts (audio CD attached) and a immersion as a spectator in theater performances in the city of Buenos Aires. It was especially valuable to this research, the production of Peter Hall and Cicely Berry. Being directors and Shakespearean speech coaches, their experiences have brought text formal data valuable to performance. The interaction of these three work fronts has allowed thinking about the relationship between the texts’ form and the respective female profiles presented by them. Thus, through the principles of speeche's place approach, one can rise starting points for action alternative to the frequent subordinate treatment aplied to speech in contemporary theatre.

The purpose of this thesis is to suggest something of the extent to which the image of the theatre is reflected in Shakespeare's plays. By image is meant a variety of things — the physical theatre, its stage, its actors and its audience, and their metaphysical concomitants. The image of the theatre involves Shakespeare's attitudes towards the theatre itself; his comments upon the nature of dramatic illusion, life as an illusion, the inadequacies of stage representation ,and his methods of overcoming such difficulties. I have also been interested in Shakespeare's significant playing with the spectator's sense of dramatic illusion. Also included under this general heading of image are his ideas about the nature and function of drama as mirror, and the significant ways in which he uses the play-within-the-play as a reflector. Other aspects of the image are the way in which Shakespeare's characters describe themselves, or are described, as role-players, in the sense that they voluntarily adopt or are forced by circumstances to assume, a particular part; and also the theatrical imagery which permeates the language of the plays throughout the canon. As I have indicated in the introduction, recent criticism touching on this general area has proved to be quite extensive, and often most illuminating. Such writers as S. L. Bethell, Muriel Bradbrook, Una Ellis-Fermor, Bernard Spivack, Robert Heilman, John Lawlor, to mention only a few, have much to say on Shakespeare's characters, their role-playing, and other aspects of the image, which I found invaluable. Most of the critical commentary, however, though substantial enough and extremely useful in points of detail, was not concerned with the particular approach adopted by the present writer. To the best of my knowledge, none of the authors quoted has been consistently concerned with suggesting the way in which the theatre pervades Shakespeare's work; how it is reflected in his overt concern with the problems of the theatre, in his language and his view of life itself. There are a number of conclusions to this general, and by no means exhaustive, study. Shakespeare's remarks on dramatic illusion, as given in the prologues to Henry V and Pericles, suggest that he considers the matter of realistic stage presentation as of a somewhat peripheral concern for the dramatist. The true reality of a play lies in the substance which underlies the shadow, or vision, which is presented to us. Shakespeare, particularly in the comedies, often breaks the illusion, reminding us that we are watching a play. Yet for all this juggling with the audience's sense of illusion — often done subtly and less self-consciously in the tragedies — the truth which is reflected in the fiction remains unaffected. The inner play in Shakespeare, like the play itself, also serves to mirror truth, as in "Pyramus and Thisbe," "The Mousetrap," and others. The relation of the image of the theatre to character is particularly interesting. I concentrated especially upon certain groups of characters, the lovers, the villains, the fools, the kings, the tragic heroes. Of these groups, some characters are aware of their role-playing, others are not. The interesting and significant point is that the image of the theatre manifests itself in Shakespeare's conception of character. It also manifests itself in his language and his view of life. Prospero's famous speech in The Tempest, "our revels now are ended," provides perhaps a fitting climax to this study. As spectators to this last play, our own perspective, which encompasses the fiction of the masque and the "real" spectators Ferdinand and Miranda, themselves a part of the larger fiction The Tempest, is itself displaced and made fictive. We too become as figures in the play of life, the vision of reality. / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to examine the dramatic function of the Court Masque in the plays of William Shakespeare and to determine how the integration of the masque, either in whole or in part, enhanced his plays both structurally and thematically. The first chapter traces the development of the Court Masque from its introduction into the court as a recognizable form in 1512 to the highly elaborate productions of the Jacobean and Caroline periods. The emphasis is on the interrelationship between the masque and poetic drama and the use within the drama of certain qualities which had become associated with the masque. In the succeeding chapters, Shakespeare’s plays are grouped according to what appears to be the most obvious function of the masque. This grouping is in no way categorical as the function which the masque fulfills is often two or three-fold. In Henry VIII, Romeo and Juliet, and The Merchant of Venice, the masque provides a cover for romantic intrigue and thus advances the plot. In addition to this an irony is established through the juxtaposition of the event and the conditions under which it takes place. Love’s Labour’s Lost, Timon of Athens and Much Ado About Nothing illustrate masque associations with frivolity and affectation which reflect the unreal poses of the main characters. In these plays the denouement hinges upon the discovery of reality. Chapter IV deals with those plays which not only contain masque sequences but also reveal something of an over-all masque quality, plays in which the action moves through fleeting masque-like scenes to final order and harmony. The antimasque, though appearing in some plays previously mentioned, is examined in a separate chapter and its function and effectiveness assessed. The thesis reveals that while increased elaboration of masque production provided Shakespeare with possibilities for more theatrical effects in the public theatre and led to a greater use of stage spectacle in the later plays, never is the masque used merely for stage effect even when this was the fashion followed by many other dramatists. The masque is integrated into the plot and its qualities adapted to reinforce the theme. Of the many influences, both contemporary and traditional, which stimulated Shakespeare’s imagination, the masque was an important one. The masterful assimilation of the Court Masque contributes to the vitality and universality of the dramas and are a tribute to their author's genius and complete eclecticism. / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to examine the elements of folk entertainment, pastime, and ritual in four of Shakespeare's early comedies, The Taming of the Shrew, The Two Gentlemen of Verona, Love's Labor's Lost, and A Midsummer Night's Dream, with a view to determining the pattern into which the playwright's use of these elements evolved, and to demonstrate their importance in the development of the sophisticated comedies. This investigation considers these elements in their significance to the Elizabethan society and in their relation to the play in which they appear. The introduction defines those elements of social ritual and play which are later elaborated upon in their order of appearance in the plays examined. The significance of the evidence derived from such a detailed examination is cumulative, and the reappearance of certain elements in the four plays examined lends weight to the conclusions drawn in each chapter. These conclusions evaluate the role which ritual and entertainment play in each comedy, and the concluding chapter bases on the results of the entire study a more general account of this influence and its significance to Shakespeare's later career. The frequency of references to traditional folk-drama and the structural use of its formal elements indicates the extent of Shakespeare's debt to the popular culture of his time and to a dramatic tradition which derives ultimately from primitive pagan ritual. The basic elements of the traditional folk-drama most frequently met with in the early comedies centre on the motifs the Maying theme, the "flight to the woods", misrule, and the celebration of the rebirth of the year. In The Taming of the Shrew, situations analogous to those of the Mummers' Wooing sequences further the main action, and The Two Gentlemen of Verona weds the courtly and popular tradition in its use of the "flight to the woods" theme. Maying themes become thematic and structural in Love's Labor's Lost and A Midsummer Night's Dream, where they supply the pattern of the action. In these, as in later plays, Shakespeare uses polarity, e.g. everyday-holiday, to provide a dramatic perspective for the examination or revaluation of actions, concepts, or ideals. The use of misrule or holiday allows the dramatist to create an action, apart from the ordinary, in which to limit his approach at his discretion. I have used the term "fertility" to indicate a state of ordered harmony in both macrocosm and microcosm which, in the Elizabethan view of nature, was considered favourable to life. This investigation corroborates previous studies indicating that Elizabethan drama is a hybrid growth blending the more consciously artistic elements of the classical drama with the mimetic aspects of a long standing popular tradition. The vitality as well as the universality of Shakespeare's comedy may owe, perhaps, a great deal to the extent of his use of such traditional themes and rituals. / Arts, Faculty of / English, Department of / Graduate

No description available.